March 1, 2012
“I remember giving up smoking at the same time I was struggling with some script,” the television writer Jerome Ross told me some years ago. “The combination was rather difficult.” But the effort was worth it. Ross, who died on February 11, one day after his 101st birthday, may have been the first centenarian among the significant Golden Age dramatists, and will likely remain the only one.
Never a mainstay on one of the major live anthologies, Ross nevertheless sold scripts to nearly all of the big ones – Cameo Theatre, The Philco/Goodyear Television Playhouse, Studio One, Robert Montgomery Presents, The Alcoa Hour, Armstrong Circle Theater, Matinee Theater, The DuPont Show of the Week. He also wrote for the live comedies Mama, Jamie, and Mister Peepers.
Like his contemporary David Shaw, Ross was versatile, prolific, and largely anonymous. His work was difficult to pin down in terms of consistent themes or quality. Ross’s two episodes of The Defenders and his only entry in The Outer Limits are undistinguished by the lofty standards of those series; his scripts for The Untouchables, early in the series’ run, are solid but unexceptional.
And yet Ross contributed a remarkable teleplay to Arrest and Trial, a favorite of both mine and of Ralph Senensky, its director: “Funny Man With a Monkey,” a frank study of heroin addiction that corrals the horrifying energy of Mickey Rooney within the role of a flaming-out junkie nightclub comedian. Ross learned of John F. Kennedy’s assassination on the set of that show, from a crying Mickey Rooney. (Coincidentally, the other writer who contributed to “Funny Man,” Bruce Howard – who wrote the stand-up bits for Rooney’s character – passed away on January 30 at 86.)
Other noteworthy Ross efforts include his only episode of Way Out, “20/20,” a spooky piece about haunted eyeglasses and a taxidermist’s stuffed animals that come back to life; and “Family Man,” his only episode of Brenner, a story of a family who learns that their patriarch (Martin Balsam) is a mafioso marked for death. Ross was one of the ex-newsmen that Adrian Spies reunited to write for his rich, authentic newspaper drama, Saints and Sinners, although the series lasted only long enough for Ross to contribute one strong episode, “Ten Days For a Shirt-Tail,” in which the hero (Nick Adams) experiences the violence of jail life after refusing to reveal a source.
In 1965 Ross wrote the longest Dr. Kildare ever, a seven-parter for the show’s final serialized season. His papers, which he donated to the University of Wisconsin, Madison, hint at some intriguing uncredited work around this time. Ross was probably the “Perry Bleecker” (a pseudonym, assuming that’s what it is, that pinpoints a West Village intersection) who wrote the first draft of one of the best early episodes of The Fugitive, “Come Watch Me Die”; and he may have done substantial uncredited writing on “Final Escape,” the famous Alfred Hitchcock Hour in which a convict (Edd Byrnes) attempts to smuggle himself out of prison in a coffin. (Ross never had a feature credit, but he wrote three unproduced screenplays, which are available in the Madison collection.)
A devoted New Yorker, Ross enjoyed the life of a live television writer. He shared an agent, Blanche Gaines, with Rod Serling and Frank D. Gilroy, and she looked out for him. He got to do things like hang around with beauty pageant contestants before writing “The Prizewinner” (for Goodyear Playhouse, in 1955), and drive down to Washington, D.C., with his son for a day, to research material for an Armstrong Circle Theater at the FBI, where Clyde Tolson gave him a tour. Late in his career (if not his life), after the work in New York dried up, Ross moved to Los Angeles – “an enormous thing, which I kept delaying and delaying” – and settled in as a house writer for David Victor’s medical drama Marcus Welby, M.D. (1969-1976) for the length of its long run.
Like the show overall, Ross’s writing for Marcus Welby was fair-to-middling. The standout scripts were two tender romances, “The White Cane” (about a young blind couple who founder after the boy regains his sight) and “Unto the Next Generation” (about parents who must decide whether to have a second child, knowing that it could be afflicted with the same genetic disease that killed their first), although Ross earned his historical footnote on Welby as the author of one of Steven Spielberg’s first directorial assignments, the episode “The Daredevil Gesture.” Also during this period, he was a story editor on Earl Hamner’s short-lived comedy-drama, Apple’s Way (1974-1975). After a time, though, “it just got interminable on the Coast,” and Ross fled the “endless stupid rewrites” and returned to New York.
On a frigid winter day in early 2003, I ventured up to Ross’s Upper West Side apartment in the hope of conducting a detailed oral history. Already, Ross was shrunken and hobbled by age, in the hands of caregivers and foggy about most of his television work. In one of those sad quirks of senility, however, Ross was able to remember the initial years of his career with some clarity. Although the interview was more fragmentary than I had hoped it would be, I have reproduced the best portions of it below.
Jerry, how did you begin as a writer?
I started as a cub reporter for the New York Post. This is in the days when there were five or six evening newspapers, and it was absolutely invaluable training. I covered crime stories, bank stories. And about six months on what was then called ship news. This is before the days of air travel, of course, so every incoming celebrity or politician or statesman had to come in by boat. The regulars, of which I was one, would go down every morning at six o’clock on the cutter, to what was called “quarantine” on Sandy Hook, and board the boat. We’d have a list of celebrities to interview.
That was really where I started. In the course of it, the 1929 crash happened, and deflation was so severe that the city editor of the second largest evening paper, the New York Post, was making something like fifty dollars a week. Everybody had been cut back. An elderly uncle of my mother’s, who came in every day on the train from Long Island, was used to traveling in with an early radio producer, who was looking for somebody to write a children’s show called Tom Mix, based on the western [star]. My mother’s uncle, knowing nothing about radio or writing, said, “I have a young nephew . . .”
Anyway, this was a job I had, writing – I rather think it was five fifteen-minute programs a day. So I sat up all one night and wrote one, and thought this was an awfully easy way to make a hundred and fifty dollars a week, which would have been three times what the city editor of my newspaper was getting. After a while, it seemed more reasonable to resign my newspaper career and get into radio.
The only radio credit I could verify was something called Society Girl.
That was interesting. That was a soap opera that a dear friend of mine, a collaborator, David Davidson and I, wrote. We hated the leading lady, who couldn’t act at all. So we wrote several letters, presumably fan letters, saying how much we liked the show, but we didn’t like the leading lady. Rather nasty! It didn’t go, the show.
David Davidson is one of my favorite unknown television writers, especially on the newspaper drama Saints and Sinners. What do you remember about him?
He was a newspaperman, too. We met working on the Post. A big story broke in the Bronx, we both made a dash for a telephone, to phone in the story, and we began fighting as to who had the rights to the phone, and it turned out we both worked for the same paper! That’s how we met.
Then, in the early fifties, television came in, and so I gradually lapsed over into it. Particularly, there was a show called Mama, a very popular show based on Van Druten’s very successful play. I worked on that with Frank Gabrielson. He was an excellent writer, and I worked with him, and did an awful lot of them. I did more shows, I think, than most. About 125 shows over about four years. That was the TV version. It started, I think, as a radio show.
What were the rules for writing Mama?
It was a warm, lovable family show. Nobody could do any wrong. Really, the friendly – well, this happens today, too. Any popular show becomes almost a unit of friendship. Writers were allowed much more flexibility in those days. We could go on the set, and all that sort of thing.
There was a period in Hollywood where there were strict limits set on the number of writers who could be on the set for x number of minutes. This was following various conflicts, so it all had to be spelled out in the next union contract. But we did have a Writer’s Guild strike. It was called the Radio Writers Guild in those days, and I think I was either the first or second president of it here.
You were also involved with the Television Academy.
Ed [Sullivan] and I and several other people met, perhaps monthly, getting this thing underway, at Toots Shor’s. Toots was a favorite of Ed Sullivan. [We] read our monthly report, with a defecit of two or three thousand dollars, or whatever. Ed Sullivan said, let’s make up the defecit, for goodness sake, and he took out the biggest bankroll I’d ever seen, and peeled off – he said, “Let’s all chip in.” Then he caught the look of horror on my face, I think, and said, “Well, those who can afford it.” This was the Academy.
Did you know Ed Sullivan well?
Not very well, no. I can’t remember where we met. I had something to do with his show when he was on the air, in the radio days. I think I arranged to have William Lyon Phelps of Yale on the show for some reason. I was involved off and on, but I can’t recall that I wrote anything.
How did the television industry’s shift from New York to Los Angeles in the sixties affect you?
A whole group went to Hollywood about the same time. This happened for all of us, increasingly, as television shifted to Hollywood, we would go out to do a show. Many of us all stayed, in those days, at a hotel called the Montecito. This was a famous place for New York actors, directors, and writers, because it was so cheap, as compared with the decent hotels. I had my whole family out one summer. Dick Kiley taught my kids how to dive in the hotel pool. Sidney Poitier was staying at the hotel with us, because in those days, he wouldn’t have tried to get into the Beverly Wilshire Hotel. That just didn’t happen in the fifties – even Sidney Poitier wasn’t going to allow himself to be humiliated.
When Rod Serling died, and he died really at the top of his career, in Ithaca or near there, with the family, the funeral was held in the East. I think Carol stayed on in the East, but there was a memorial service in Hollywood or Beverly Hills, which was announced in the paper. And Rod’s agent and I were the only people to turn up at the memorial service in L.A. It was shocking. Nobody took the trouble – you know, Rod was dead, so what the hell.
Do you have any favorite shows from the Hollywood half of your career?
I remember this Mission: Impossible, “Operation: Rogosh,” which was very good. The difficulty of letting complications box you in a corner, and then having to figure it out. “Soldier in Love” [a Hallmark Hall of Fame with Jean Simmons] was a good thing.
On the whole, are you satisfied with your career in television?
At 92, which I am now, I look back and think I should have stayed writing plays in New York. [I wrote plays that] tried out. Nothing that ever reached Broadway. I did a play called Man in the Zoo, a year or so after I graduated from Yale in 1931, which was very well received. And then I spent a year rewriting it for Broadway, but it never – I think the producer, Crosby Gaige, died, and that was the end of that.
February 4, 2012
Few things are as obnoxious as an obit think-piece, a lazy essay that tries to force connections between two people who happened to die around the same time. But Ben Gazzara and Zalman King died on the same date – yesterday, February 3, both from cancer – and, dammit, they did have something important in common. Both of them, at least during the brief periods of their respective careers in which they were television series headliners, were passive actors who cultivated a stillness at the center of activity. They suppressed their egos in a way that only a few television stars have had the courage to try: William Peterson, in C.S.I.; David Duchovny (who had, crucially, been directed by King on Red Shoe Diaries), in the early seasons of The X-Files; and of course David Janssen, in everything he ever did.
The job of a television star is not to recede; it’s to reach out and grab the viewer, to be the entry point into a new world and then the object of familiarity that encourages a weekly return. Gazzara, in Arrest and Trial (1963-1964) and Run For Your Life (1965-1968), and King, in The Young Lawyers (1970-1971), went against the grain. Their instinct was always to underplay, to count on their magnetism to draw you in toward the subtle detail work they were doing.
A cops-and-lawyers procedural with an unwieldly premise, Arrest and Trial stands out, in retrospect, as a science experiment in clashing acting styles. It pitted Gazzara, an acclaimed young Broadway actor associated with Strasberg, Kazan, and Tennessee Williams, against ex-baseball player Chuck Connors, an impossibly jut-jawed TV western star who never did an acting exercise in his life. In Arrest and Trial, Connors was likably stolid – the Rifleman in a suit – but Gazzara was mesmerizing. He was perhaps the first American television star with the courage to use each episode as his own sandbox to play in, exploring the stories and the inner life of his character with a Brando-esque curiosity, rather than aiming to mold a consistent, familiar genre archetype (in this case, the brilliant detective who always gets his man). This was the short-lived New Frontier moment of the liberal TV cop, and Gazzara played Detective Anderson’s police interrogation scenes not as an inquisitor but like a psychiatrist or an oral historian. Most television stars step out into the lights with a story to tell; Gazzara said to the guest stars, tell me your story. And to the audience: project yourselves onto me.
Roy Huggins’s Run For Your Life cast Gazzara as Paul Bryan, a lawyer dying of an unspecified and symptomless illness, who decides to chuck his grey flannel suit and a live a boho life for his remaining days. Immediately the show ran away from that premise as fast as it could, plunking Gazzara’s character down into a glut of recycled action and espionage stories. But there were moments, especially in the early episodes, where Paul Bryan strayed into some off-the-path locale or exotic subculture, and Gazzara just nailed the proto-New Agey bliss of exploration and transformation that Run For Your Life was fumbling toward. The pilot was about deep sea diving and it was called “Rapture at 240,” and how many other sixties television actors could and would play rapture? Gazzara derided both series in his autobiography, with some justification; he felt that this flirtation with mainstream stardom delayed his more important work for the independent filmmakers like John Cassavetes and Peter Bogdanovich. In their films, Gazzara moved into a more operatic mode, essaying epically flawed or doomed characters, especially in The Killing of a Chinese Bookie and Saint Jack. But even when a script required him to yell and scream and smash things, Gazzara never seemed to be overacting. “There was a quiet, understated nobility about him, earned the hard way, from the ground up,” is how Video Watchdog editor Tim Lucas put it on Facebook yesterday.
Zalman King made his Hollywood debut as a teenaged thug in 1964’s “Memo From Purgatory,” a late episode of The Alfred Hitchcock Hour that Harlan Ellison also counts as his television debut (although that isn’t quite accurate). A blonde, strapping James Caan played the Ellison figure in the autobiographical “Memo,” but in my head I’ve always transmogrified King – diminutive, quick, Jewish, transparently intelligent – into Ellison’s television avatar. The writer and the actor became lifelong friends; when we spoke about King years ago, Ellison referred to him affectionately as “Zally.”
A year later, on The Munsters, King played a bearded beatnik (sample dialogue: “Man, that cat is deep”). At twenty-three, he was already typed (happily, I suspect) as an outsider, a kook. It was an inspired choice when King was cast as the most prominent of The Young Lawyers, a trio of eager law students who represented the poor and disenfranchised under the supervision of a grizzled Legal Aid lawyer. Top-billed Lee J. Cobb played the old lawyer, never overdoing it but still fulsomely dyspeptic and a formidable font of wisdom. King stole the show from him. He was one of the most open actors of his generation. As Gazzara had, King projected an empathy that worked beautifully within the context of this do-gooder show. King’s character was written as a young hothead, a generation-gap foil for Cobb; but King brought to the role a plausible and only semi-scripted gravitas, a provocative rebuke to the assumption of unidirectional communication between young and old. Sixties TV was full of fake hippies – beaded sellouts like The Mod Squad – but King slipped one in under the radar, creating an intellectual, atypical anti-establishment figure. His Aaron Silverman was not some flaky peace-sign thrower; he was a fast-thinking, urban, Jewish liberal (really a radical, if you read between the lines), movingly and sincerely committed to change by challenging the system over and over again. Quick: Name another television character from the early seventies who fits that description.
The scripts on The Young Lawyers were pretty good (Ellison contributed the best one, the searing anti-drug love story “The Whimper of Whipped Dogs”); but the ideas I’m describing came out more through King’s extraordinarily expressive acting, the play of complex thinking and sincere compassion across his face. Just a glimmer there; then The Young Lawyers went away and it was back to Barnaby Jones, geriatric crime-solver, and Steve McGarrett, authoritarian prick, and Richard Nixon, not a crook.
King was a minor movie star throughout the seventies, accruing credits that are impressively consistent in their status as either arty cult films (Some Call It Loving) or exploitation (Trip With the Teacher) or a fusion of both (Blue Sunshine). Then he began directing and producing; I haven’t seen much of that work, but the Showtime series Red Shoe Diaries was a big enough hit to make King a rather disreputable household name, a middle-aged soft-core pornographer at whom one was encouraged to laugh up one’s sleeve. The Young Lawyers should be easier to see, and King should be remembered as one of the most unusual and exciting actors around during the seventies.
February 12, 2011
“As a dear friend of mine pointed out: ‘Life is discovering we keep a lot of appointments we didn’t make.’” – John McGreevey, in a letter to the author, January 28, 2003
Emmy Award-winning television writer John McGreevey died on November 24 of last year. His death has been mentioned in various internet forums, but was not noted in the press at the time. McGreevey’s son, Michael, a writer and actor, confirmed his father’s death in an interview last week. “He died an incredibly satisfied and fulfilled human being,” said the younger McGreevey.
John McGreevey wrote well over 400 teleplays and screenplays during a career that spanned six decades. Best known for the twenty-one stories he crafted for the Depression-era family melodrama The Waltons, McGreevey won an Emmy, a Peabody Award, three Christopher Awards, the Writers Guild of America’s Paddy Chayefsky Laurel Award, and numerous other honors. Neither an opinionated social critic like Rod Serling or Chayefsky, nor a “writer’s writer” like Howard Rodman or Richard Alan Simmons, McGreevey has been somewhat neglected by historians, probably due to the variety and prolificity of his output. He nevertheless ranks among his generation’s most skillful craftsmen of popular television.
Born in Muncie, Indiana, on December 21, 1922, McGreevey wrote his first one-act play at the age of five, and performed it in his family’s backyard. His enthusiasm for writing and reading saw the bookish McGreevey through a troubled childhood, during which his father struggled with alcoholism and money problems. Once McGreevey came home with a good report card, only to be jeered for his bookishness by his father and his father’s drunken poker buddies. According to Earl Hamner, Jr., and Ralph Giffin’s book Goodnight John-Boy, McGreevey turned his memories of his father, a World War I veteran, and his father’s “wartime trench-mates” in to an early Waltons episode, “The Legend.”
When McGreevey was nine, financial difficulties compelled his father to split up the family. Separated from his two sisters, John went to Fort Wayne to live with two “rather strange Irish Indiana Hoosier great-aunts,” according to Michael McGreevey.
“He didn’t have the structured family that most of us know, and I think he always yearned for it,” Earl Hamner, Jr., the creator of The Waltons, said last month. “The Waltons was sort of an idealized family, and I think that he found it gratifying to work with, to write about such people.”
Possessed of a very high I.Q., McGreevey advanced through school quickly, and left for college when he was only fifteen. As a student at Indiana University, he gravitated to the drama department, where the future character actors Charles Aidman and Andrew Duggan (a lifelong friend) were fellow students. Jug-eared and painfully slim, McGreevey nevertheless exuded enough charisma to attract the attention of both talent scouts (he screen-tested at MGM in 1940) and the ladies. But the woman whom McGreevey married was not a fellow student but a secretary in the university’s theater wing. Seven years older than her husband of sixty-eight years, Nota McGreevey survives him.
Radio, still in its heyday during World War II, was an obvious place for an aspiring writer to get his start. McGreevey, classified 4F during the war due to his poor eyesight (he had disobeyed a doctor’s order that he do no reading while recovering from the measles), applied for work in all the big cities but was rejected. Eventually he found a job at KATR, a Phoenix station, where he wrote and performed in over four hundred weekly segments of a western anthology called Arizona Adventures. His wife was a frequent co-star.
Around 1952, McGreevey moved to Connecticut, hoping to crack the fresh new market of live television that had sprung up in New York. He sold scripts to Lights Out, Danger, and The Philco Television Playhouse, as well as radio dramas like Curtain Time, Stars Over Hollywood, Nick Carter Master Detective, Dr. Christian, and The First Nighter. But the first wave of live TV writers had already established themselves, and McGreevey found the pickings slim. He jumped at the chance to move to Los Angeles when a friend offered him a six-month contract writing for MCA’s television unit, Revue Productions. Writing episodes of Revue’s bland filmed anthologies, Studio 57 and Schlitz Playhouse, did little to secure him a West Coast foothold, although McGreevey did manage to adapt one of his favorite stories, Stephen Crane’s “The Blue Hotel,” for Schlitz. (An avid Crane enthusiast, McGreevey amassed a collection of rare first editions of the writer’s works.)
In 1956, an aggressive William Morris agent named Sylvia Hirsch took an interest in McGreevey and landed him assignments on a series of popular independent shows: Lassie; Dick Powell’s Zane Grey Theatre (he wrote the premiere episode, “You Only Run Once,” and “Three Graves,” one of Jack Lemmon’s last television appearances, before settling in as a fast, reliable rewrite man for the show); and Screen Director’s Playhouse, an anthology drama whose proto-auteurist gimmick was to assemble a lineup of fading big-screen directors who were still a few notches above accepting routine television work. One of McGreevey’s scripts, “Markheim,” was directed by Fred Zinnemann, and working alongside the director of High Noon convinced the young writer that, perhaps, he would really be able to have a career in Hollywood.
At the same time, McGreevey was working as a de facto story editor on Climax, the live dramatic anthology that was one of the flagship shows to originate from CBS’s new Television City facility in Los Angeles. McGreevey doctored scripts under the table until one of the show’s directors, John Frankenheimer, took him aside and told him that he should stand up for himself and demand credit for his work. McGreevey followed Frankenheimer’s advice.
A western fan, McGreevey welcomed the chance to launch his own horse opera, co-creating Black Saddle with Zane Grey producer Hal Hudson in 1959. A fairly generic vehicle for Peter Breck that got lost in the glut of late-fifties TV westerns, Black Saddle lasted for a year and a half. McGreevey found his next niche far from the old-west, in the anodyne suburban world of Don Fedderson. He story-edited My Three Sons early in its run, and continued to write for that show and the even more treacly Family Affair for the rest of the decade. For McGreevey, these innocuous comedies were meaningful. They encapsulated his belief in the value of family, which he thought should be (in Michael McGreevey’s phrase) a “safety net of unconditional love for everybody.”
Most comedy writers tended to get pigeon-holed in the land of the laugh track, but McGreevey darted nimbly between the most saccharine of sitcoms (Hazel, The Flying Nun, Mayberry R.F.D.) and tougher action shows (Wagon Train, Court Martial, Ironside). McGreevey was a plot wizard, not a gagman, and his son recalled that the show which tickled his father the most was an off-beat failure called Grindl, created by Mister Peepers’ David Swift and starring Imogene Coca as a maid who worked in a different household each week. “I remember him coming down the stairs, actually laughing, when he was writing that one,” said Michael McGreevey. John McGreevey gravitated towards shows that blurred the line between the serious and the comedic; he wrote eight episodes of the slapstick western Laredo, and often contributed light-hearted episodes to dramatic series. “Birds of a Feather,” for instance, was an atypically semi-comedic Arrest and Trial that featured Jim Backus as one of several con artists trying to outwit one another.
During the sixties and early seventies, McGreevey was one of those impossibly prolific writers who made the network-television engine run. Just to pick out the obscurities from his resume which have not (as of this writing) made it onto his Internet Movie Database page makes for an exhausting list: Celebrity Playhouse; Soldiers of Fortune; Cimarron City; The Californians; Michael Shayne; The Islanders; Hong Kong; The Americans; The Bob Cummings Show; It’s a Man’s World; Gentle Ben; Nancy; The Name of the Game; Make Room For Granddaddy; Sarge; Lucas Tanner; Bridget Loves Bernie. McGreevey always juggled three or four assignments at a time, tracking his progress on each on a corkboard (later replaced with a dry-erase board) in his office.
The Waltons debuted in 1972 with an episode scripted by McGreevey, who became the most important writer for the show other than Earl Hamner. Like Hamner, on whose adolescence The Waltons was based, McGreevey tapped a well of autobiography whenever he paid a visit to Walton’s Mountain. Hamner liked “The Foundling,” McGreevey’s story about a deaf girl abandoned by her family, so much that he chose it over one of his own segments to launch the series. Along with Kathleen Hite, Marion Hargrove, and Rod and Claire Peterson, McGreevey was one of the inner circle of writers who could be counted on to get the show’s rural, period setting right.
According to his son, McGreevey identified strongly with the central character of John-Boy (Richard Thomas), the artist-as-a-young-man character at the center of the show. Michael McGreevey, who acted on and wrote for The Waltons, referred to Hamner and John McGreevey as “John-Boy 1” and “John-Boy 2.” But the identification was more complex than that. At the same time he channeled the bottled-up hurt of his own turbulent childhood through John-Boy, McGreevey articulated his adult perspective – his ideas about family and fatherhood – in the dialogue the character of the Walton patriarch (Ralph Waite).
McGreevey won his Emmy for a 1973 episode of The Waltons called “The Scholar,” which explored adult illiteracy. McGreevey’s protatonist, an African American woman (Lynn Hamilton) who was deeply ashamed of her inability to read, became a recurring character on the series. “It was a mark of his excellence that any characters he created were usually so well-designed, so beautifully created, that they lived on. They were so good we just kept them in the show,” said Hamner.
Hamner and McGreevey became close friends, and traveled together – to Japan, to Athens – with their spouses. McGreevey was a knowledgeable traveling companion, Hamner recalled, but also a notorious “klutz” who managed to fall off a bicycle into a French canal and once had to be fished out of the ship’s pool during a cruise.
The recognition he received for his work on The Waltons elevated McGreevey’s status in the industry; from then on, he was able to give up episodic scripting and work exclusively on made-for-television movies and mini-series. Even there, McGreevey was chameleonesque, developing parallel specialties in fact-based docudramas (Judge Horton and the Scottsboro Boys, Hiroshima: Out of the Ashes, The Unabomber) and trifles like Little Mo and the Andy Williams Christmas specials. His first movie-of-the-week, Crowhaven Farm, was an atypical excursion into gothic horror, which retains a cult following today.
When McGreevey retired in 2003, his son was sure that he would find it impossible to stop writing. Not so: he put his pen down for good, and never looked back. “He was one of those lucky writers for whom it wasn’t painful at all,” said Michael McGreevey. “It was liberating, almost.”
June 4, 2008
Debuting today on the website is the last of the dispatches from the archives that got killfiled when the late, lamented Television Chronicles magazine received its cancellation notice back in 1998. It’s a lengthy production history and critique of the hybrid 1963-64 police procedural-slash-courtroom drama Arrest and Trial, now remembered mainly as a footnote in TV history due to its structural resemblance to Law & Order.
As a footnote is arguably how Arrest and Trial should be remembered. It’s not a classic on the order of East Side/West Side or The Invaders. When I took on the show, it was on the assumption that its blatant emulation of elements of Naked City (in the arrest half) and The Defenders (in the trial half) would mean it might rank alongside them. As I actually watched and wrote about Arrest and Trial, I realized that the attempt to combine the disparate virtues of those two classics had created something of a misshapen mess – and I wondered if the series was worth the amount of time and the number of words I’d devoted to it. But as Timeless Media began releasing Arrest and Trial on DVD last fall, it seemed like a good time for me (and perhaps my readers) to reconsider the series.
In polishing the piece a bit and revisiting some of the episodes, I’ve been reminded of the virtues that do make Arrest and Trial eminently watchable. Ben Gazzara was one of the most inventive actors of his generation, with an intimate technique well-suited to the small screen. The show’s sizable budget permitted more location shooting than just about any other Universal TV production ever managed, and so Arrest and Trial offers a terrific tour of 1963 Los Angeles. (And as I know the city better now than I did ten years ago, I’d love to have time to watch the episodes again just to try to figure out where each one was filmed. If anyone Angelenos who are seeing the show on DVD care to, I hope they’ll post some notes along those lines in the comments here.)
I was also struck by how Arrest and Trial‘s image of law enforcement is so far removed from both our actual and fictionally represented experiences that it’s like something beamed in from another planet. The Civil Rights-era plainclothes detective (played by Gazzara) who heads up the first half of Arrest and Trial is not just soft-spoken and empathetic – the kind of guy whose shoulder you just want to lean your head on – he’s also a frank advocate of the policeman as social worker and psychiatrist instead of head-buster. You can imagine how real-life cops of the twenty-first century would guffaw if they somehow found this program in their Netflix queues. Today our police have dropped all pretense of having a relationship with civilians that’s anything but adversarial – and our cop shows and cop movies, both those that demonize and even those that glorify the police, get a visceral charge in depicting the collateral damage that their subjects inflict on anyone unlucky enough to get between a cop’s foot and an ass that needs kicking. I live in a city where the police department has enacted blatantly unconstitutional policies against its citizens, over and over again, and been rewarded not with censure but with municipal and judicial approval. So seeing Arrest and Trial again after ten years moved me unexpectedly. It was a reminder of one way in which we’ve lost our way since the sixties. Or, if that’s too naive, it’s a depiction of a civic ideal that we might never have had – but that we should still be trying for.
To date Timeless Media has released two DVD collections of Arrest and Trial, containing 18 of the series’ 30 episodes. Of the thirty, four episodes are essential: “Journey Into Darkness,” “Funny Man With a Monkey,” Sydney Pollack‘s “The Quality of Justice,” and “The Revenge of the Worm.” Thus far only the first two are available among the DVDs, so one hopes a third volume will emerge.
If you make it all the way to the end, don’t neglect the episode guide, which contains a lot of wonky trivia – episode budgets, shooting dates, unused episode titles, uncredited writers and actors – gleaned from the series’ production files.
May 27, 2008
After a pretty public battle with cancer during the past year, Sydney Pollack left us on May 26 at the age of 73. That’s not exactly young but it comes as a bit of a shock still, because Pollack had been so robust in recent years, so visible within the industry, and so active (and marvelous) as a character actor in movies like Eyes Wide Shut and Michael Clayton. Word of Pollack’s illness first emerged last August when he dropped out of Recount, the HBO movie about the 2000 presidential election that premiered a day before he died. (Jay Roach of Austin Powers replaced him.) Pollack had sworn off television the second the had enough clout to do so, after he won an Emmy for directing a Chrysler Theatre segment called “The Game” back in 1965. Recount would have been the first thing he directed for television in 43 years. Obituarists like me would be remarking about what a long path he’d taken to come full circle.
I wish I could say something positive about Pollack the man, who I found rather smug and standoffish during my only encounter with him, or about his movies. Pollack’s films tended to garner praise for their “adult” good taste and their classical, old-fashioned style. I thought they were banal and middlebrow, and that none of them excepting a few of the earliest ones did anything to stimulate the senses or the intellect.
But Pollack was an ideal episodic television director, and for a short time, a tremendously important one. Between 1961 and 1965, Pollack enjoyed a meteoric rise from assignments on a few journeyman westerns (Shotgun Slade and The Tall Man) through the top episodic dramas (Ben Casey, The Fugitive, The Defenders) and into the handful of remaining anthology hours (Kraft Suspense Theatre and the Chrysler Theatre, both shot on film, not staged live) still on the air in the mid-sixties. That wasn’t as unusual an accomplishment as it sounds. In television at that time, one tended to either get stuck in the episodic rut for a long haul, or make the leap to features quickly; ambitious young directors and their agents understood that the clock was ticking. Stuart Rosenberg, Elliot Silverstein, Robert Ellis Miller, and Mark Rydell were the Big Five along with Pollack who vied for the top TV jobs throughout the early sixties and then got their first important movies between 1965-1967; if one compares their television resumes, the chronologies and the shows that crop up look a lot alike. But Pollack was younger than any of them and among his contemporaries he may have the record for the smallest number of TV segments done before the pole-vault into the big leagues was achieved.
Pollack in a rare leading role (he began as an actor, but mostly in supporting parts) in the 1960 Alfred Hitchcock Presents segment “The Contest of Aaron Gold”
And how does the early work stand up today? Energetic, inventive, youthful, far livelier than the most TV episodes of the time, but notably devoid of personality. The shows are kid-in-a-candy-store exercises in technique, all tracking pull-backs and crane shots, most of it just restrained enough to complement the material rather than overwhelm it. Pollack’s Cain’s Hundreds and “The Black Curtain,” a flavorful, seedy Cornell Woolrich adaptation for The Alfred Hitchock Hour, are experiments in noir lighting and composition, deliberate studies in a particular style.
The film critic Scott Foundas, one of the few to write about Pollack’s TV period, describes a “dazzling … cubistic montage of bustling street scenes to suggest the disorientation felt by a timid Native American boy ill at ease in the big city” in the Ben Casey “For the Ladybug … One Dozen Roses.” “Karina,” a Frontier Circus, begins with an abstraction, a harlequin against blackness, walking straight into the camera. A moment later a shot of Elizabeth Montgomery’s gartered legs glimpsed in a crystal ball ripple-dissolves into the real thing. Then a shot of her as a black-clad wraith, cape swirling, running into and over the camera. That’s all in the teaser – and everything after the opening titles is routine. These sound like gratuitous, indulgent flourishes wedged incongruously between whole acts of standard rhythmic shot-reverse shot framing that Pollack couldn’t vary and keep to his tight production schedule – and that’s exactly what they are. But the truth is that so much of television looks so monotonous, one tends to take the visual pleasures where they come without dwelling too much on how unmotivated or immature they might be.
Since Pollack was working on the best TV shows in Los Angeles, the material was very good – the writers Pollack worked with, Howard Rodman and Stirling Silliphant and S. Lee Pogostin, put more of a personal stamp on the episodes than he did – and so were the performers hired to guest-star. That was Pollack’s saving grace: he was good with actors. “King of the Mountain,” a Cain’s Hundred, is a fine three-character piece with Edward Andrews as a corrupt cornpone bigwig and Nashville‘s Barbara Baxley as his sullen, suffering wife. Robert Duvall, not always his subtle, reliable self this soon, has key early roles in that segment as a crooked, slow-moving sheriff’s deputy who finds the buried vestiges of his decency, and in Pollack’s Arrest and Trial (Rodman’s “The Quality of Justice”) as a child killer. There are delicious riffs from Pat Hingle as a smiling, straight-out-of-Jim Thompson psycho lawman (Cain’s Hundred‘s “The Fixer”) and a Vegas high-roller in a string tie (Kraft‘s “The Name of the Game”); and Cliff Robertson, going from broken-down fighter pilot on Ben Casey (“For the Ladybug … One Dozen Roses”) to a compulsive gambler on the Chrysler Theatre (“The Game”). And, of course, there’s “A Cardinal Act of Mercy,” the Ben Casey tour de force in which Pollack coaxed perhaps the finest of Kim Stanley’s few recorded performances out of the fragile actress. She won an Emmy. Already Pollack was forming, not a stock company of character actors, but a model in miniature of the succession of crucial star relationships (with Robert Redford, famously, but also Jane Fonda and others) that would drive his movie career.
Dutch angles, not dated at all: Piper Laurie in “Something About Lee Wiley”
As one of the top-of-the-heap young directors, Pollack enjoyed a certain amount of control over the material he worked on, a considerable rarity. It was during the anthology period that he first connected with David Rayfiel, later the most important of his screenwriters, and I’m guessing that Rayfiel’s TV scripts for Pollack bear the director’s clearest thumbprint out of all his small-screen work. “Something For Lee Wiley,” a lush twenties melodrama about a female singer blinded in a riding accident, was a 1963 Chrysler with a terrific star turn by Piper Laurie and some gorgeous color photography (Pollack’s first). Foundas wrote that its “air of dreamy fatalism and a jagged use of flashbacks . . . directly anticipates They Shoot Horses Don’t They?” That gets at another influence that Pollack’s work begins to show around this time, an influx of dutch angles, freeze frames, interpolated stills, and tricky edits. Perhaps Pollack merits another award: as the director who imported the biggest undigested European New Wave influence into sixties television. The obvious contemporaneous reference point is Arthur Penn’s Mickey One, the mid-sixties American cinema’s boldest attempt to grapple with the New Wave form in the raw; Pollack’s most avant-garde TV efforts hold the same fascination as the Penn film, more fascinating objects than real successes. Oh, and there’s the jazz music, another New Wave signpost that Pollack appropriated with as much constancy as possible in episodic TV: “Lee Wiley” was scored by Benny Carter, “The Watchman” (the second Rayfiel script, for Kraft) by Lalo Schifrin. Early harbingers of the inexcusable Dave Grusin muzak to come.
The Pollack-Rayfiel collaboration curdled on “The Watchman,” a talky, pseudo-existential mess that limned the thirty-year relationship between a Spanish guerrilla (Telly Savalas), his Boswell (Jack Warden), and the woman they shared (Victoria Shaw). Pollack pulled off some stunning beauty shots, stumbled over a clumsy expository gimmick (Warden addresses a psychiatrist who remains off-camera), and emphasized the romance between Warden and Shaw. It was the same trick he would fall back on in The Way We Were: duck the half-baked ideas in the script and pour on the emotion.
(There’s at least one more Pollack-Rayfiel effort, an unsold pilot called “The Fliers,” starring John Cassavetes, that I’ve been unable to see.)
Pollack would’ve blanched at my assessment of his film career; he disowned his early films, like the earnest, urgent The Slender Thread, and most especially his TV work. I can guess why: he probably felt there were too many camera moves, too many crude cuts, in comparison to the smooth style of his features. In his book Female Brando: The Legend of Kim Stanley, Jon Krampner got some good, specific quotes from Pollack about that Ben Casey segment, so the memories were there if Pollack chose to dredge them up. But in virtually every other interview I’ve read, when he was asked about his TV work, Pollack copped a superior attitude, putting down both the shows and his own contributions to them. Which is fine if you’re, say, Robert Altman and your style really did evolve into something revolutionary; conversely, if your career has instead yielded sentimental, brain-rotting slop like The Way We Were (which is the blacklist rendered as a Hallmark card) and Out of Africa, then curt dismissals of the rambunctious, promising early impulses might be taken as snooty and ungracious.
I don’t make that comparison arbitrarily, for Altman was another contemporary of Pollack’s who moved up from TV into features in the late sixties. Altman worked on Kraft Suspense Theatre, too – got fired off it, actually; he had a hard head and his ten-year trudge through TV had a lot more detours and tangents than Pollack’s. Altman’s TV segments are eccentric, personal, audacious, while Pollack’s are clever, imitative, pretentious, and ultimately writer- and actor-centric. You can see the blueprint for their film careers right there in the television resumes. Altman, for what it’s worth, seemed to cherish his TV work in his later years, took pride in it alongside his films (almost to a comic extent, considering how powerful some of those are), even recorded audio commentaries for DVDs of his Combat episodes.
In mid-1965, Pollack directed “The Game,” a Chrysler Theatre which was, like his earlier Kraft piece “The Name of the Game,” a taut, claustrophobic gambling story set entirely within the interior of a casino. It’s a remarkable work that I’ll write about in another context later. Even before “The Game” won him an Emmy the following year, Pollack had run into some sort of conflict with the suits at Universal and turned the final editing over to his writer, S. Lee Pogostin. The statue clenched Pollack’s ability to flip the bird to TV for good (he’d already finished The Slender Thread). Robert Altman’s exit from TV came around the same time, when he told Variety that Kraft’s Suspense Theatre was as bland as its cheese (it wasn’t, but no matter) and necessarily had to clean out his office at that enterprise; it was a long winter before MASH. Pollack wafted out of TV on the golden wings of his Emmy. He was 31 – the same age I am now.
Jack Warden (note how skillfully Pollack integrates his shock of red hair into the mise-en-scene) and Telly Savalas in “The Watchman”