KobeFug

Gail Kobe, who died on August 1, was one of the busiest television actresses of the late fifties and sixties.  Falling somewhere in between ingenue and character actress, she was in constant demand as a guest star.  Although she had a wide range, I thought Kobe did her best work in heavy roles that required a certain quality of hysteria, like the high-strung young mother she played on Peyton Place during the height of its popularity.  Shortly before her fortieth birthday, Kobe made a dramatic decision to leave acting and work behind the camera.  Eventually she became a powerful executive producer in daytime dramas, exercising a major creative influence over Texas, The Guiding Light, and The Bold and the Beautiful during the eighties.

Last year, I learned that Kobe was a resident of the Motion Picture and Television Home and contacted her to ask for a phone interview.  She agreed, but with a certain reluctance.  Although Kobe seemed eager to reminisce – she’d recently donated her extensive papers to a museum in her home town of Hamtramck, Michigan, and was preoccupied with the question of her legacy – she wasn’t terribly receptive to fielding questions.  Kobe was smart, introspective, and sharp-tongued.  I got the impression that that she was used to steering the conversation rather than being steered – which meant that we didn’t get around to many of the topics I’d hoped to cover.  A couple of times, when I posed a follow-up question that was uninspired, or failed to fully grasp her point, she pounced.  “Are you having trouble hearing me?” she asked sarcastically, and later: “I thought I made that clear.”

On top of that, Kobe suffered from COPD, a lung disease that can impede mental acuity as well as the ability to speak at length.  We had to postpone a few times until Kobe had a good day, and she apologized often for failing to remember names – even though her memory struck me as better than average for someone her age, and I tried to reassure her of that.  After our initial conversation, I lobbied to schedule a follow-up session, but I had a gut feeling that between her ambivalence and her health, it probably wouldn’t happen.  And, indeed, we weren’t able to connect a second time.  As a result, my interview with Kobe ignores some of the key phases of her career – namely, the television series on which she had regular or recurring roles (Trackdown, Peyton Place, Bright Promise) and the soap operas that she produced.  Now that the opportunity to complete the interview is gone, I’m publishing what I was able to record here for the sake of posterity.

Tell me about your background.

I was born in 1932, in Hamtramck, to a largely Polish and French family.  At that time Hamtramck was sort of a village, a Polish village.  You could walk fifty blocks and never hear English spoken.  It was a very old-fashioned, terrific place to grow up.  But it did seem as though we were both European and behind the zootsers and all of that stuff that was sort of prevalent around that time.

My mother was very active in promoting both the history of Poland and, at the time, during the war, of being very supportive of the people who were under the nazis.  There were a lot of Polish artists who were able to escape, because artists were not treated well, nor was anybody else, by the nazis.  But they came to Hamtramck and they formed a group called the Polish Artists.  And they would do – there was a Polish radio station, WJBK, and they would do shows on that, that were serialized.  Interesting that I went into the serial form later, when I became a producer.  They were serials on the radio, and then they would conclude the story by doing the whole thing as a play for Friday, Saturday matinee, Saturday evening, Sunday matinee, and Sunday evening.  They would conclude the play and then finish on the air the following Monday.  But that was my first theater involvement.  I was a dancer, and I danced in those, and pretty soon I was given small speaking roles, in Polish.  And I did the Polish radio shows.

They were the most interesting people I’d ever met.  They were just fabulous.  They had scars and smoked cigarettes and they were flamboyant and beautiful and they wore makeup.  What a group!  It was called the Young Theater (Młody Teatr).  There we learned the Polish folk dances. We learned a lot of the poetry, a lot of the literature.  We met at the junior high school.  We used one of their auditoriums to meet and to rehearse.  It was a way to keep the culture going.

Did you speak English or Polish at home?

We spoke both languages.  And would you believe it, Polish is the language that I remember as opposed to French, which would have gotten me a heck of a lot more [work].  My mother made me really, really, really speak English, and pronounce correctly.  I said, “Don’t you think I would have been more interesting if I’d had a lovely accent?”  And I think so.  But, anyway, I learned to speak without an accent.  And I had the best of any possibility that you could have.  I was raised as a European in America.  How lucky can anybody be?

Did you also embrace American culture?

Oh, absolutely.  We marched in every parade there was.  I loved America.  I loved going to camp, which I did every summer.  I loved American baseball.  My dad loved American baseball.  We were very involved with American politics, having both parties represented in our home.  I think of them, my mother and my dad, in different parties, but living in the same house in America.  It was interesting on several levels, both as a woman who did not follow her husband exactly, and because they were two different approaches to politics.  But pride in America was something that I always had.  Always, always.  My grandparents did not.  They worked very hard and they made money for their children, and both families were quite large, Catholic families.  They took care of each other very well, and they also had pride in America, but not the same as my mother and dad did.  My mother and dad were both activists.  In the best way.  So I was able to be raised in the center of that.  But also, being surrounded by all these artists – if you don’t think that’s high drama at its best, you’re wrong.

Was it the auto industry that the Polish immigrants were moving to Detroit for?

Oh, yeah, absolutely.  All the factories were there.

Did your father build cars?

No, my father did not.  My father worked in his own garage.  He was a pattern maker.  In sand, if you can believe it.  I have a few things left that he made when he was a younger man.  But that’s what he did.  He said he was either behind or ahead of the industry – I can’t remember.  But he was not in the automobile industry itself.

How did you develop as an actress?

I started as a dancer first.  I loved dancing.  But as I began to spend more time with the Polish Artists, I realized how much longer the life of an actor was than the life of a dancer.  A dancer only lasted as long as their legs lasted.  And it was very, very [demanding].  You knew you had to practice two to three hours a day.  And I did take two or three dance lessons a week.  I studied with a man whose name was Theodore J. Smith.  Every time the Ballet Russes, for instance, would come into Detroit, we would have one of the major dancers teach a master class, which we were able to take if we could afford it.  Everybody saved their money so I could take those classes, and they were wonderful.

When did you leave Hamtramck?

In 1950.  I came to UCLA.  I had to do the test to see if I would pass to get into the college level, and I did, very easily.  I had wonderful teachers in high school that were very instrumental and helpful.  Bea Almstead, who I think always wanted to be an actor and taught English and speech, she was just terrific.  During that time I did a dramatic reading – I think it was a scene with Mary Stuart and Elizabeth the Queen, one of those things that you turn your head to the right or the left depending on who you are.  I won the speech contest.

She was really terrific, and so was Mr. Alford.  I thought he was an old, old man, and he was probably younger than I am now.  He taught Latin.  He was kind enough to teach me I had Latin by myself, so I could take part in the senior play.  I had the lead, of course.

UCLA was one of the few colleges [that offered a pure theater major].  Usually you had to train to be a teacher.  Of course my family would have loved that, because I would have had a job to fall back on.  But I had wonderful teachers in college, people who had been in the professional theater.  Kenneth Macgowan, who produced Lifeboat with Tallulah Bankhead.  He was the head of the New Playwrights division, which interested me from the beginning, from the time I was a seventeen year-old freshman, because I knew then that if you didn’t have the words on the page, there was no way that it would ever make any difference on stage.  I knew that so early on, and it stayed with me when I worked for Procter & Gamble.  I started their Writer Development Program.

Getting back to the good teachers that we had, Ralph Freud had been in Detroit with the Jessie Bonstelle Theater, which was one of the WPA theaters, and he was the head of the Theater Division.  There was a Radio Division.  I don’t know that there was a television division until the next or the following year.  Walter Kingston, who had one of the first classical music radio stations here in California, in Los Angeles, that I became aware of, was on staff too.  He taught radio.  I still know that I could fix an electric lamp if it was broken, because we had to learn how to do lighting.  We had to learn how to sew and make costumes and do that.  We had to do props, we had to do makeup, we had to take classes in that.  It was like being part of a company of actors, all though college.

What was the first professional work that you did?

I was still at UCLA when I did The Ten Commandments.  Milton Lewis was what they called then a talent scout.  He went to everything.  Everything!  All over Los Angeles – every little theater, every major company that was passing through.  Dapper gentleman.  He saw me in a play that was written by Oscar Wilde.  He called me to come for an interview at Paramount.

When I was there, we went to have lunch, and this gentleman came over from [Cecil B.] DeMille’s table, which sort of looked like the last supper.  There he sat in the middle of all of these men who worked for him.  All of the departments that worked for him.  He wanted to meet me.  And that was the beginning of my relationship with him.  And I did test for [The Ten Commandments], for the part that eventually went to Yvonne DeCarlo.

What was your impression of Mr. DeMille?

He was wonderful to me.  He kept me working.  I played a lot of different roles [in The Ten Commandments], and I did all of the looping.  I played a slave girl in one of those midriff outfits that you can hardly believe.  It was the last of the big, major costume dramas, and it was his last picture.  I got to have tea with him.  Most afternoons he would ask me to join him.  A lot of people were terrified of him, and I just adored him.  He was a very handsome man, a very bright man, and he would challenge me on so many little [things], just intellectually.  And I, for some reason, just accepted the challenge and loved it.

You played roles in the film other than the slave girl?

Yes I did.  It was the scene of the first seder.  I was there for a week, week and a half, I don’t know how long – a long time – every time the red light went on I would have to stop and moan and carry on as though my eldest son had been killed.  It was wonderful!  Then I played a young girl helping one of the older women across – one of the Jews escaping the Egyptians – and we rehearsed and rehearsed and rehearsed, and took her across and made way for her.  Well, when it came time to shoot it, suddenly there was this big water buffalo in front of me, and I stuck my hand out and stuck it in the middle of his forehead.  I just said, “No, no, no!”  DeMille did laugh about that a lot.  Other people thought he was going to kill me, because I think it ruined the shot.

Today, you’d never have somebody play different parts in the same movie!

No.  But we once had a little contest among really close friends to see if they could find me [in the film], and they couldn’t.  And people still can’t, and it’s fine with me.  It’s so absurd – I have the dumbest line, something about “a blackbird drops its feather.”  I think it’s with Anne Baxter.  He fired somebody – he’d already done that scene, and I replaced somebody.

Why do you think DeMille took an interest in you?

I think I challenged him.  I disagreed with him often.  When he said he was going to hire Yvonne DeCarlo and not me, I said, “Why would you do that?!  I would be much better than she is!”  And he said, “You’re not the right age.  You’re too young.”  I said, “I could be older.  I would be wonderful!”  That’s how I was when I was young.  I think about the boldness of some of the things I said.  It was fun.

And you were in East of Eden?

Oh, yes.  Well, I went to school with Jimmy Dean.  I did a play with Jimmy, and we would sit and talk.  He was so full of himself, but he was of course talented and wonderful and really cute.  But I was not interested in him.  I thought he was a terrific actor, and so spoiled.  So spoiled.  I wanted to leave the play because Jimmy was taking all of the time to discuss his role.  And I said, “Wait a second.  There are two people in this play, and you’ve got to listen.  You cannot be tap dancing around here to your own private music.”

I think I was smarter then than I was later in my life, about relating to actors.  A lot of them have to be, in order to get any place in their careers, single-minded.  And that doesn’t [make] them good husbands, or even good friends, sometimes.

You sound as if you were pretty single-minded yourself.

Oh, I think I’ve always been single-minded.  Yeah.  I loved rehearsing, even more than performing.  I loved new material.  I loved creating.  To me that was the creative part of acting that I just adored.

But you didn’t get the opportunity to rehearse much in television, did you?

Well, no, but you could.  Nobody stopped you from going into each other’s dressing rooms and running lines and looking for things.  And I did a lot of theater, small theater, and I was always in somebody’s class.  I joined Theatre West in the first year [1962].

I remember sitting, when we were all young, sitting with Clint Eastwood and David Janssen, saying, “Ooh, listen, you guys, I’m taking this terrific class, with Curt Conway. Listen, you’ve got to come to this workshop!”  They were already stars, for god’s sake.  We were all in the commissary together having lunch, I think, when I said to them, “I’ve just been loving this class!”  And they said, “Yeah, keep going to class, kid.”  I just said, “I have to.  That’s what’s interesting to me.”  They of course were both stars, and they were interested in other things.  They each had their own show, and I had done each of those shows.  I really liked them.  They were fun, and god knows they were handsome, and I played interesting roles, always, on their [shows].  I rarely played victims.  I cried a lot, but I rarely played victims.

Clint Eastwood has really developed, I think, as both a man and certainly a director.  I don’t know that directing at that point was [in his plans].  Don Siegel was directing a couple of the Rawhides, and I think that’s how Clint Eastwood became interested in directing.

Don Siegel directed one of your Twilight Zones.

Yes he did!  He was a wonderful director.

Did you get the part in East of Eden because of your connection to James Dean?

No, I did not.  I went on a call to read for a small role.  And he [Kazan] hadn’t made up his mind until that morning who was going to play it, and you were just one of the students.  I think the whole scene was cut from the movie.

What was your take on Elia Kazan?

I didn’t have any respect for those men.  I, of course, thought they were incredible.  But they took advantage, such advantage, of women.  He and Arthur Miller, Odets, they were all after whatever body they could get into.  It was hateful.  They were disgusting, because they used their position in order to fuck everybody alive.  Excuse my language.  And I knew it then.

So you actually saw Kazan and others taking advantage of actresses?

Did I see it?  Was I sitting on everybody?  [Sarcastically.]  Yeah.  It was very clear.  Not on the set, I didn’t see it.  But then I was so devastated, because it was just this nothing scene.  And everybody [else] was excited to be in a Kazan film.  But as you observed them, unless you were part of the Actors Studio, and I wasn’t; I tried twice, I think, for the Actors Studio, and then I sat in on a couple of Lee Strasberg’s classes, and I really did not like them.  And yet that was the way that I worked, but there was something about those men and the advantage they took of their positions that upset me emotionally very much.  It wasn’t even something I could talk about until later.  I wasn’t one of the devotees, one of the people who fell over and became a disciple.

Without challenging you on that observation, I am curious as to how you perceived that aspect of sexual inequality if you didn’t actually witness it in action.

I don’t know.  You may challenge me all you wish.  I don’t know that I can give you a satisfactory answer.  I would go with no makeup on – I didn’t get all dolled up and put on the right clothes and put on the right makeup.  So it wasn’t that I didn’t have a sense of self.  I didn’t have a sense of vanity.  But on my thirty-some birthday I sat in the corner of my closet, and I was married at the time, and said, “Who the hell am I?  Who are all these people hanging up in here, these clothes?  Who are they?”  They were all different, one from the other.

I don’t want this to be some kind of psychological study.  I’m going there with you, but it’s not something that I want you to use as representing me.  Do you understand that?  How did I – I don’t know how I was able to pick up on it.  I was like that all the time.  And yet, I was very attracted to attractive men.  But I didn’t like Franciosa or Gazzara.  I loved Montgomery Clift.  I didn’t like Brando!  Now that’s a sin to say that.  But I used to say it then, and people would say, “How could you not like the most brilliant…?”

What early roles do you remember doing on television?

The Rebel.  I just loved the writing.  [“Night on a Rainbow”] was about a woman whose husband came back from the Civil War addicted.  It was way, way, way ahead of its time, and the woman’s role was really well-written.

Dragnet was one of the first shows.  That was like straight dialogue for like three pages, and he [Jack Webb] was insistent that you know it word for comma.

That’s interesting, because eventually Webb came to be known for his reliance upon TelePrompTers.

Well, because he wanted what he’d written, and there were too many actors who couldn’t do three pages in a row.   He was asking for people to use muscles that were not used in pictures or television, up until then.

I never used cue cards when I did a soap, until I got [contact] lenses.  You did not stop tape for anything when I was doing Bright Promise.  When I got lenses I suddenly saw these things – they used to write them on big pieces of cardboard, and I looked at them and I just stopped dead and was watching, and I said, “What are those?”  They were like huge birds.  They were the cue cards.  Well, I took my lenses out and I never put them back in.  Because when I had that haze of nothing, it gave me this wonderful, wonderful privacy.  Everything was a private moment.  When I put my lenses in, I did say to the guy who I was acting with, “God, you’re good!  You are so good!”  But all the other distractions were wiped out by not being able to see.

KobeDrag

What are some of the other TV guest roles that you remember?

The Outer LimitsHogan’s Heroes.  I played a lot of foreign [characters] – I could do that sort of Middle European accent.  I did Combat, I did Daniel Boone, I did a bunch of everything.  I was always called back [to do different roles on the same shows], which I think was a really nice – they don’t do that now.  Ironside – oh, that was wonderful.  I played with Arthur O’Connell.  He and I were starring in the Ironside, and he dressed me like a young boy.  It was really funny.  They took me to the boy’s shop at Bullock’s and I got the suit and the shoes and everything.  I’ve never seen it.  I never saw a lot of the early television that I was in because we didn’t have VHS or DVD or any of that stuff, and at night I would be rehearsing for a play or a scene that I was doing at Theatre West.

This is kind of a silly question, but how would you know when an episode you’d filmed was going to be broadcast?  Would they send you a note or something?

No, you saw it in TV Guide.

So you didn’t get any special treatment – you had to hunt them down for yourself!

Yeah.  That’s why I have all those [clippings] that my mother cut out.  My mother saved a lot of stuff.  And my sister was a librarian, and used to saving things.  Between the two of them, they saved things early on, and then I started, knowing, hey, I should save this, because you can’t count on your memory.

How did your career build?  Did you have an agent who got you a lot of work?

I did.  I was with Meyer Mishkin for a long time.  He would set up the interviews, but eventually people started calling for me.  I always was prepared.  I was always there on time.  And directors asked for me, which was really nice.  I worked with a lot of wonderful directors.

Which directors do you remember?

Well, I remember Don Siegel.  And Perry Laffery, for The Twilight Zone.  I worked with him a lot, and then he became an executive with the network.  He was the one that said, “You know, if you ever get tired of acting, you could direct.”  And I said, “I want to, I want to!”  But it was really hard.  Ida Lupino was sort of the only woman who was directing.

And I had a hard time when I made the switch over to producing.  I had been hired to do a movie – and I will not go into names and specifics on this – but on Friday I had the job and on Monday I didn’t, because the person he wanted became available.  I went to bed for three weeks, cried for three weeks, wept, carried on, pounded the pillow, got up and said, “Nobody’s going to have the ability to do that to me again.”  I made my decision that I was not going to act.

And I’m really sorry, when I think about it now.  I loved acting.  I didn’t love producing.  What I loved was the ability to be able to hire people who were good young writers, good actors.  I was in a position to give people jobs that should have them, not because of the way they looked but because of their ability.  Not because of who they knew, but because of their ability.  I would say to my whole staff, listen, you do your work, you get it done well, efficiently, and tag after the person whose job you think you’re interested in, if they give you permission to do that.  Including me.  And if they’d write a script on spec, I’d read it.  I’d do all the reading I had to do, which when you’re doing an hour of television a day is a lot of reading.  Because we were doing long-term, short-term breakdowns, they called them.  Doing notes on the breakdowns, and then we had other writers.  For me to agree to read stuff was really a promise that was not easy to keep, when I was producing.

Did you ever consider making a comeback as an actor? 

When I stopped being a producer, one of the young gentlemen I knew that was managing actors said please, let me represent you.  He talked me into it.  [Then he said] “You have to go to read for this.”

I said, “Read for this?  It’s three lines!”

He said, “Okay, but will you come and read for it?”

He went with me, and I read for it, and they said thank you very much, we’ll let you know.  And it was a pretty good reading – I mean, for three lines.  Gee, could you tell a lot?  They were just casting whatever.  As we were coming out, we were going down the sidewalk, and who was coming toward me but Carroll Baker.  She was coming toward me, and she ended up playing those damn three lines!


“This hamburger is like leather,” Harry Landers growls.  “Leather.”  Even after the waitress removes the offending sandwich, he mutters it a few more times.  “Leather!”

Landers is best known for his five-year run on Ben Casey as Dr. Ted Hoffman, sidekick to the brooding brain surgeon of the show’s title.  Diminutive and eminently reasonable, Hoffman often acted as a calming influence on the towering volcano that was Dr. Casey.  Landers’s other claim to fame, as a coffee pitchman in a series of commercials for Taster’s Choice, also made good use of his mumbly bedroom voice and his air of approachable warmth.

All of that just shows what a good actor Landers could be.  In life, Landers was a bantamweight tyro, a heavy drinker who spent more than a few nights in jail.  Many of his stories revolve around his sudden flashes of anger, and the consequences of on-set outbursts.  He has mellowed somewhat with age, but even in his final year as an octogenarian, Landers seems capable of scary explosions of temper.  During the hamburger incident – and in fairness, that patty did appear scorched to excess – I was sure that we narrowly avoided one.

(And yes, Landers is 89, not 90.  All the reference books give his date of birth as April 3, 1921, but in fact it is September 3.  At some point, someone’s handwritten 9 must have resembled a 4.)

As he talked about working for Hitchcock and DeMille, Landers was expansive, but also genuinely modest.  “Why do you want to know all this crap?” he asked more than once.  A moment of honesty finally won his respect.  “Why did you decide to interview me?” he wanted to know.

There were several possible answers, but I went with the most accurate.  “Because you’re the last surviving regular cast member of Ben Casey,” I replied.

“That’s a good reason,” Harry agreed instantly.  But when I asked him to comment on some of the widely publicized conflicts among the show’s stars, he would only go so far.  “No, it’s no good,” he said after interrupting himself in the middle of an anecdote and casting a wary eye in my direction.  “You’re too smooth!”

Retired now, Landers lives with his son in the San Fernando Valley.  He misses his old house in Sherman Oaks and, even more, the vibrant street life of Manhattan.  Until recently, he visited New York City several times a year.  So many of hangouts closed and so many of his East Coast friends passed away, though, that after a time Landers found himself seeing shows, dining alone, and going back to his hotel to watch television.  He stopped going back.  But he’s still active, and still pugnacious: his residuals are so “pathetic” that he doesn’t cash some of the checks, “just to drive the accounting offices crazy.”

As we wrapped up, he insisted on picking up the check.  “I’m a gentleman of quality,” said Landers.  “You can’t bribe me, kid.”

How did you get started as an actor?

I was working at Warner Bros. as a laborer.  There was an article in the Warner Bros. newspaper that they distributed throughout the studio, and they mentioned my name.  In World War II, I did what I think any other kid my age would have done.  I was a little heroic on a ship that was torpedoed, and I saved some lives.  It was no big deal.

How did you save them?

Well, this torpedo was hanging by the fantail.  Some kid was trying to get out through a porthole.  One kid was frozen on the ladder.  I just moved ahead with a flashlight, and had people grab hold and go towards the lifeboat.  Just a little immediate reaction.  I think if you’re a kid, you don’t realize what you do.  You just do it.

So anyway, one day I was out in the back of the studio, where the big water tower is, and I’m pounding nails, and a limousine drove up and a man got out.  His name was Snuffy Smith.  He asked for me, and somebody indicated where I was pounding nails.  He said, “Bette Davis wants to see you.”

I said, “What?”  I was scroungy, stripped to the waist, matted hair, sweaty, angry.

He said, “Yes, she wants to see you.”

So I grabbed a t-shirt and put it on, and got into the limo.  Now I was fear-ridden.  On the ship, I wasn’t.  How old was I?  I was in my early twenties, I guess.  I remembered Bette Davis as a kid, watching her movies.  To this day, I think she’s still the motion picture actress in American cinema.  She’s incredible.

So they asked me onto the stage, to Bette Davis’s dressing room.  They were shooting.  There was a camera and all the sets.  The man went up and said, “Miss Davis, I have the young man.”  So she said, “Come in, come in.”  I walked in and there she was, seated in front of the mirror.  She looked at me and shook my hand.  She asked me a few questions.  She said, “What can I do for you?”

Maybe when I was a kid in New York City, in Brooklyn, I always realized I’d wind up in Hollywood someday.  I never knew why or what, but it was a magnet.  Motion pictures is better than sex!  And she said, “What can I do for you?”

I used to watch the extras.  Beautiful little girls walking around, and they were always rather well-dressed and doing nothing, and I’m sweating and pounding nails.  And they were making more money.  I think I was making like nine or ten dollars a day.  I said, “I’d like to do what they’re doing.”

She said, “You want to be an extra?”

I said, “Yes, ma’am.”

Then she picked up the phone and she spoke to Pat Somerset at the Screen Actors Guild.  Put the phone down.  A few seconds later the phone rang.  She said, “Yes, Pat.  Bette here.  I have a young man here, and I will pay his initiation.”  That was the end of it.  She told me where to go.  She wrote it down: The Screen Actors Guild union on Hollywood and La Brea.  We talked for maybe three more sentences, said goodbye and shook hands.

The next time I ran across Bette Davis was at a party at Greer Garson’s house.  By that time many years had passed; in fact, I was in Ben Casey.  I was with Sam Jaffe and Bettye Ackerman.  They knew Greer – Miss Garson – very well.  There was Bette Davis, and she didn’t remember me.  I [reminded her and] a little thing flicked in her mind.  It was just a very brief kind of a [memory].  That was the last time I ever saw her.

That was before the strict union rules.  Now you give an [extra] special business or a line, they automatically have to become a member of the Screen Actors Guild.  Every now and then they would say, “Hey, you.  Can you say this and this?”  They’d give me one or two short lines.  So I’d be in a short, fast, little scene.  But I always knew this was going to happen.  It was just a progression.  I met a young man who was going to an acting class, Mark Daly, who’s dead, many years ago.  He always had books under his arm.  I said, “What are you reading?”

He said, “Plays.”

I never read a play in my life.  I said, “Oh.”

Then he said, “Harry, what are you doing tonight?”

I said, “Nothing.”

He said, “I’m going to an acting class.  Come on down, you might like it.”

I went down there and I met the person who ran the studio.  It was an incredible place, called the Actors Lab.

That was the left-wing theater group, many of whose members got blacklisted during the McCarthy era.

Yes.  Most of them did.  It was a residual effect out of the Group Theatre.  That’s where I met some of the people who became fast friends of mine.  The one woman I met was Mary Tarsai, who was sort of the administrator.  She wouldn’t say no to me.  She was afraid I was going to kill her.  I was interviewed to become a member.  You had to audition and all that stuff.  So it was like, okay, come to class next Thursday.  Then I met people like Lloyd Bridges, and an incredible actor and an incredible man who was an associate producer on Alfred Hitchcock Presents, Norman Lloyd.  What an amazing man.  Beautiful voice.

Stella Adler taught me, and threw me out of her class.  She called me a gangster, and she was right.

Why did she call you a gangster?

I don’t know.

Then why do you say she was right?

Well, I was rebellious.

Many of the Actors Lab members were later blacklisted because of their political views.  Were you?

No.  No, because I was not that prominent.  They were after the big names, like J. Edward Bromberg, Morris Carnovsky, who were – I’m not going to go into whether they were communists or not.  Hume Cronyn.  But it was immaterial to me.  See, I knew what they wanted.  The desire to overthrow the government was the least motive in their minds.  They were political activists who wanted a better life for the people.  No discrimination.  So I was very sympathetic to what they had to do and say.

Once there were a bunch of us picketing Warner Bros. studio, from the Lab, and we were rounded up and taken over to the Burbank jail.  They put like seven, eight of us in a holding cell.  The door was unlocked.  I walked out.  My mother lived in Van Nuys, and I got to my mom’s house in a cab or whatever, had some lunch, spoke to her, and I went back to the jail.  Opened the door and went back in.  People said, “Hi, Harry.”  They never knew I was gone.

The Actors Lab was in Los Angeles, but you went back to New York at some point.  Why?

I missed New York.  By that time I was out of New York City for quite some time, but I just wanted to go for the adventure.  I drove to New York with two guys.  One became a very famous actor, Gene Barry.  Marvelous man.  And a guy named Harry something – Harry Berman, I think.  Big, tall, huge heavy guy.

This would have been the late forties, early fifties.  Tell me about some of the young actors you got to know in New York during that time.

Ralph Meeker.  Good friend.  Very tough man.  Great fighter, wrestler.  Robert Strauss.  Harvey Lembeck.  I was in a play with Marlon Brando that I walked out of, stupidly.  Luther Adler was directing.  Adler begged me not to.  It was dumb.  There was a hotel in New York called the Park Central Hotel, on 55th and Broadway.  There was a gym, and I used to worked out there, and Brando used to work out there.  We became friendly, and we liked each other immediately.  We knew all the same people.  Robert Condon, Wally Cox, an incredible man called Red Kullers [whom Cassavetes enthusiasts will remember as the man in Husbands who sings “Brother, Can You Spare a Dime?”].  Brando and I got along very well.  We double-dated a few times, and I did a movie with him, The Wild One.

Murray Hamilton was the most talented.  He was an amazing actor.  There was never a finer southern gentleman who ever lived.  And very liberal politically.  Married one of the DeMarco sisters.  Murray got married in my old house up in Sherman Oaks.  When Murray would come in to L.A. – he hated Los Angeles – he, after working, would go back to New York.  We all had to stuff him into a plane.  Fear of flying.  He would have to be stoned before he would get on the plane.

One day he came up from downstairs and opened the door.  He used to call me Hesh, and I used to call him Hambone.  He said, “Harry – Hesh – you have to do me a favor.”

I said, “What?”

“You have to keep me off the sauce.”  Now, Murray was an alcoholic.  I was.  Strauss, Lembeck, Meeker, all very heavy drinkers.

I said, “Okay.”  He was doing The Graduate.  Remember The Graduate?  He played that beautiful girl’s father.  He said, “Now, the director [Mike Nichols], he said ‘Murray, you have to stop drinking.  We can’t see your eyes any more.’”

How did you stop drinking?

I didn’t.  I think just, as the years went on, these people went out of my life.  I just slowly but surely stopped [carousing].

Tell me about doing live television.

Some were small parts, some I was a star.  One with James Dean, I was the lead, opposite Hume Cronyn.  Cronyn was my teacher at the Actors Lab, the best teacher I ever had.  He was the star, he and Jessica Tandy.  I was in love with Jessica.

What did you learn from him?

I learned you cannot get on stage without knowing your lines.  There was a time when I was able to do an improvisation on anything, and I thought that I was a very good actor, or a great actor.  I hit my marks and people hired me all the time, so I must have been pretty good.  I never felt that I had the freedom, the confidence, to really have the opportunities to let go and do it.

What live shows do you remember?

I did so many live TV shows.  One of my best moments on live TV was a very famous show called “The Battleship Bismarck,” on Studio One.  I played a fanatical nazi on the battleship.  There’s the set, the battleship, and I was here saying everything like “Sieg heil!” and “Achtung!”  I’m on the set, talking, during a rehearsal break or something, and I looked over and said, “Oh, my god.”  I flipped.  Over there was Eleanor Roosevelt.  I didn’t ask permission, although I’m a very polite man, respectful of my peers, superiors.  I just said, “Excuse me,” and walked up to her.  I’m not very tall, and she was, and I’m in my nazi uniform.  I said, “Mrs. Roosevelt – ”  She grabbed my wrist and said, “Dear boy, what are you doing?!”  The uniform I had on.

Ernie Borgnine and I were cast in Captain Video.  We got paid $25 an episode, and we shot it in New York City.  We had to learn a whole script a day, for $25.  We did it for two weeks.  We would write the cues on our cuffs.  It was impossible.  We worked so well together.  A very sweet guy.  The last time I saw him, Ernie knew the dates, and he said, “Who cast us in the show?”  I said, “Uh….” and he said, “Elizabeth Mears!”

You were in the classic Playhouse 90, “Requiem For a Heavyweight.”

I replaced Murray Hamilton in that show; I don’t remember why.  The only thing I really remember about the show was that [Jack] Palance was not very friendly.

The famous story about that show is that Ed Wynn couldn’t remember his lines, and right up to the last minute they were going to replace him with another actor.

I never knew Ed Wynn prior to that, but his son I’d worked with quite a few times in the movies.  Keenan Wynn would beg him: “Come on, Dad, you can do it, come on, you can do it!”  And the old man did it, and it was a marvelous performance. 

Do you remember any incidents where something went wrong on the air?

I remember I was supposed to be on the set of Tales of Tomorrow, and I was in jail.

What happened?  Did you make it on the air?

Yes!  Bob Condon, the brother of Richard Condon, who wrote The Manchurian Candidate, bailed me out of jail.

And why were you there in the first place?

I destroyed an apartment house.  The night before I had a date with a beautiful girl from Westchester County, the daughter of an actor and a crazy girl, just a nut.  I went down to her apartment on 37th Street or 38th Street, and I took Bobby Condon with me.  He and I were good friends.  I spoke to her – I think her name was Betty – and I said, “I’m bringing a friend.  Get a girl.  The four of us will go out.”

Well, we went down there and she was pissed at me.  I knocked on her apartment door, and she wouldn’t let me in.  I said, “Will you open the door?”  Blah, blah, blah, blah.  “Come on, open the door.”  And I became angry and I kicked the door in.  Dumb.  I was a kid.  I kicked the door in, and that was it.  But as I walked out of the apartment house, I wrecked the entire apartment house.  Like three, four banisters on the stairs, I kicked the spokes out, [pulled down] the chandeliers.  Went home.  About five o’clock in the morning, six in the morning, the cops grabbed me and threw me in jail, and they threw Bobby Condon in jail.  They let him out immediately, but they kept me in just because of my attitude.

So one of the cops called over and said, “Yeah, he’s in jail.”  So they had a standby actor walking [in my place] all camera rehearsal.  Meanwhile the jailers were cueing me for my lines.  They loved it!  I had grabbed my script and my glasses [when the police arrived].  But they bailed me out just in time to get me to the set.  I got there just in time.  I needed a shave.  I had scrubby clothes.  Gene Raymond was the star of that show.  He looked at me like, “Oh, wow, who are you?”

The producer never forgave me, but the show was marvelous!  One of my better performances.

Above: Landers and Gene Raymond on Tales of Tomorrow (“Plague From Space,” April 25, 1952)

You were in Rear Window.  Tell me about Alfred Hitchcock.

I was prepared to dislike him.  I don’t know why; I was a great fan of his.  When we got on the stage, he said, “All right, kiddies, show me what you’d like to do.”  That was all improvised: we’re in a club, she picks me up in a club coming out of a movie.  We get through doing it and he says, “Oh, that’s marvelous.”  He says, “Harry, come here.  Look through the camera.”  I didn’t know what the hell I was looking at.  But he was gentle, and sweet, and so nice to work with.  Which surprised me.

You were also in The Ten Commandments, Cecil B. DeMille’s last film.

I played three different parts.  I was the first guy in America in fifty years who screamed at Cecil B. DeMille on the set, in front of God and everyone.  Everybody’s dead silent.  DeMille’s blue eyes went [looking around in search of the culprit].  The assistant director goes, “Harry, get back where you belong.”  I said to myself, “I’m fired.  That’s it.”

Why did you yell at him?

By that time, I’d watched DeMille scream at actors, and he could be very, very cruel.  He did not know how to direct actors.  He directed donkeys and elephants and mass crowds.  With actors, he didn’t know.  When I got on the stage first time, one of the actors said, “With Cecil B. DeMille, raise your hands all the time.  ‘Yes!’ ‘Yes!’”  I said, “Oh, okay.”

Anyway, in the scene, I’m on a parallel.  I’m an Egyptian architect, and I’m surveying.  I look up this way, and I’ve got a flag, and I look this way, and this way.  A good-looking guy, John Derek, played Joshua, and he breaks loose from his Egyptian captors.  So I jump off the parallel – the only reason I got the job is because I was always very well-built – and I grab him, hit him, knock him on the floor, and jump on him.  Then some other people grab him.  DeMille is sitting with his binder.  Looking through his viewfinder, he says, “You!  Move three inches to your left.”  So I knew he meant me.  I moved three inches, maybe five, maybe six.

Now when DeMille spoke, he had somebody put a mike in front of him.  When he sat, somebody put a stool under his ass.  So he’d never look [at anything].

That legend is really true?

Absolutely!  I was there.  So the mike is in front of him, and he said, “I said three inches, not three feet!”

I went insane.  I picked up John Derek, I pushed him like this.  I walked up to DeMille, I got very close to him.  I cupped my hands.  I said [loudly], “Mr. DeMille!”  Now this is a huge stage of donkeys and hundreds of people.  “Mr. DeMille!  Would you like to go over there and measure me?”

He was flabbergasted.  Prime ministers would come to see this man.  He was Mister Paramount.  And, anyway, I thought I was fired.  I came back the next day.  Next day, nobody spoke to me.  Not one actor.  Two days later, I’m walking on set.  DeMille looked at me and said, “Good morning, young man.”  Turned away and walked straight ahead.  I’m saying, “Wow, what goes with this?”  Nobody knew why I was still on the set, why I was still working.

Now, every actor in Hollywood worked on The Ten Commandments, and a lot of them weren’t even given screen credit.  I got paid $200 a day, six days a week, plus we always went overtime – $250 a day.  And I worked on it for three months.  I was making more money than John Carradine, who was an old friend of mine, more than Vincent Price.  I was papering my walls with checks from Paramount.  One day, the assistant director, a great guy, says, “Harry, I gotta let you go.  The front office is screaming about it.”  He’d told me this once before, about a month before.  He said, “Harry, we’ve got to let you go.”  Because they’d never put me on a weekly [deal].  They said, “Get rid of him, or he’s going to make [a fortune off of us].”

When I was fired by the assistant director, I climbed up to tell DeMille.  He was always up on a parallel.  By this time I’d grew to love the old man.  I really did.  I realized how incompetent he was!  I walked up and he waited, and then he looked and said, “Yes . . . young man?”  He always wanted to call me by name, but he could not remember my name.

I said, “Mr. DeMille, I just wanted to say goodbye and I wanted to thank you very much for just a great time.”  And I really meant it, in my heart.  I said, “It was a great experience.  I appreciate it so much.”

The assistant director was waiting at the bottom of the parallel.  He climbs up the ladder.  DeMille said, “Where is this young man going?”  And the assistant director looked at me, and looked at DeMille, and said, “Nowhere, sir.”

I stayed on the picture for another full month, at $250 a day overtime.

Here’s the end of the story.  Months later I’m walking through Paramount, on an interview for something, and as I’m walking out, walking towards me is Cecil B. DeMille and his film editor and somebody else.  He stopped, and he went like this [beckons].  I walked towards him.  He extended his hand and said, “Hello.  How are you?”  And then he looked very deeply into my eyes and said, “Is there anything I can do for you?”

I’m not very smart when it comes to that.  I said, “No, sir, but I thank you very much for the offer.”  He said okay.

As I walked away, I realized the whole thing.  DeMille, in those days, was probably in his sixties.  I was in my thirties.  I must’ve reminded him of someone he knew as a kid, who was a very good friend of his, or a relative.  I took DeMille out of the twentieth century and took him back to when he was a child, or a youngster.  We saw each other and he would sense-memory back to somebody in another life.  That’s the only reason he tolerated me, I suppose.

What made you think that?

Every time we spoke, he turned to his left, like there was a name on the tip of his tongue.  Like he wanted to call me John or Bill or something.

I see – that’s why he was always blocked on your name.

Yeah.  He was always busy, people talking to him, and when I spoke to him, all of a sudden everything evaporated and he just zeroed in on me for a moment.  And then he was back to [what he was doing].  So that’s the only logical conclusion I could come to.  Or maybe it was because I screamed at him.  I felt so secure, I got my own dressing room, and I changed a whole huge scene in the movie by telling the assistant director the dialogue was incorrect grammatically.  I brought my little immigrant mother on the stage and introduced my mom to Cecil B. DeMille.  “Madame, it’s such a pleasure meeting you.”  I felt very confident with the old man.

How did you get the part on Ben Casey?

There was a show called Medic, with Richard Boone.  I did one of the episodes.  It was a great show.  One of my better moments.  [A few years later] I was walking down the streets of MGM to go to my barber.  I had a barber there who used to cut my hair.  As I’m walking down the studio street, my agent walked up.  He said, “Hey, Harry, what are you doing?”  I told him [nothing].  He said, “Do you know Jim Moser?”  I said, “Yes.”  He produced and wrote Medic, and he produced Ben Casey and did the pilot.

Anyway, he arranged an interview for me.  It was on a Friday.  I’ll never forget this.  I went there and read for him and Matt Rapf and I forget the studio executive’s name.  I did four or five pilots prior to that, and you could almost tell when you had something.  When I got home I called my agent and I said, “I think we have a series.”

Monday, he called me and said, “They want you back for another reading.”

So I went back to the studio.  There was Vince Edwards, who I knew in New York City.  Knew him quite well.  They handed us each a script and we started reading.  And Jim Moser got out of the chair, he grabbed the scripts, threw them up in the air, and said, “That’s it.  You guys are the parts.”  That’s how I got it.

Landers and perpetually scowling Vince Edwards (right) on Ben Casey.

What was Vince Edwards like?

Amazing man.  One of the smartest, stupidest men I’ve ever known in my life.  Complete contradiction.  It’s too long to go into.  He was abusive to many people.  He was petty in many ways.  He was far more talented than he gave people a chance to realize.

He had a photographic memory.  Every now and then we’d have time to rehearse.  We’d sit around the table and read our scenes.  Vince would read a script once and he knew every line.  Every dot, every comma.  He knew everything.  Sam Jaffe and I had difficulty, especially with the latin terms.  Vince would just glance down and he’d get every paragraph, like that.  Jaffe and I used to look at each other and go, “Wow.”

It was also his downfall, because he never bothered to study, to learn his lines.  He was a much better actor than he gave himself a chance to be.  He had charm.  He had a great voice.  He sang very well.  He had an incredible since of humor.  He was quick as a cat.  Very witty.

I’ve heard a couple of things about Edwards during the production of Ben Casey.  One was that he spent all his time at the racetrack.

Sure.  I’m directing one of the episodes, okay?  Now, Vince is an old friend of mine.  I knew him in New York City.  When he first came out here, he stayed at my house.  When he had an appendicitis attack, I got him to a doctor.  My mother used to feed him chicken soup.

Vince, lunchtime: “I’ll be back.”  He didn’t care who [was directing].  He was ruthless.  He’d go, and [after] the hour for lunch, “Where’s Vince?”  We had to shoot around him.  He’d show up around three, four o’clock.

We haven’t gotten in Franchot Tone.  What a man, what a man.  He was brilliant.  Do you know who he is?

He replaced Sam Jaffe as the senior doctor for the last season of the show.

Yeah.  Sam Jaffe left for two reasons.  It’s a sordid story.  But Franchot Tone was amazing.  He was the son of a doctor.  Very rich.  Responsible for the Group Theatre.  When they ran out of money, when they were doing Odets plays and all that, he would [write a check].

Now, I’ll tell you a story about him.  He would talk to no one.  It took months before he would relate to anyone in the cast.  On any level.  I became his buddy.  The reason?  Right before we’re shooting, he came out and said, “Harry, I understand you have a dressing room upstairs?”  I did.  I had three dressing rooms, one upstairs – the editors had their own private dressing room there – one on the stage, and one downstairs with Vince.  He said, “Can I have the key?”  He looked over, and there was a pretty little extra in the doorway.  So I slipped him the key.

After that we became very, very good friends, and he turned out to be a marvelous source of information about all the Group Theatre actors.  Tone was a total alcoholic.  He was a marvelous, compassionate, bright guy.  But when he came to the studio, the minute he passed the guard, the phone on the set would ring: “Watch out, Franchot’s on the way over.”  Franchot had a rented Chevrolet.  The sides were bent like an accordion.  He would hit the sides of the building: boom, boom, boom.  He’d get out, staggering.  He and his companion, carrying two big paper bags loaded with ice and whatever they were drinking.  Scotch.  Clink, clink, clink, went the bags.  They’d go into the room, and that was it.

One day, when I was directing the show, he looked at me and said, “Harry, you know, you do something that the other directors don’t do.”

I said, “What’s that, Franchot?”

He said, “You always have me seated when we’re in a scene.  Why do you do that?”

Well, I didn’t want to tell him that he was swaying in and out of focus all the time.  I said, “Well, Franchot, you’re the boss of the hospital and this guy is your subordinate, so it’s just proper etiquette.”

He said, “Oh, yes, dear boy, thank you, I see.”  With a little smirk on his face.

Franchot Tone as Dr. Freeland on Ben Casey.

I want to go back to Sam Jaffe.  I heard that he left Ben Casey because of conflicts with Vince Edwards.  Is that accurate?

Partially.  Yeah, I’d say it was accurate.  If Vince was in a bad mood – if you’re the star of the show, you’re a total, total dictator.  The atmosphere on a set is dictated by the star.  Vince was the boss.  And Vince usually was in a pretty good mood, but he had an assistant who worked for him, an ex-prizefighter.  What I’m going to tell you is too sordid, it’s such a cheap kind of a . . . oh, why not?  They would do thievery.  Christmastime, they would collect money to buy gifts for everyone.  They kept half the money.

But Edwards was making a fortune as the star of the show, right?

Yes.  He blew it all.  He owned an apartment house with Carol Burnett out in Santa Monica – they were business partners together.  Vince sold out his rights to get some more money to go to the track.  I’m at Santa Anita one day with Jack Klugman, and I go to the men’s room.  I look out and I see Vince walking towards the men’s room.  I don’t want to bump into him, so I made a sharp left back into the bathroom, got into a stall, locked the stall.  I was waiting for Vince’s feet to go out so I could leave, because he invariably hit you up for money.  If you were at the track, and you saw Vince coming towards you, you immediately pulled out like two twenty dollar bills and put it on the table.  Because he’d hit you up for money.  “See, Vince, that’s it.  That’s what’s left of my stake.  I came in with three hundred dollars,” and whatever.  Some bullshit.  And he knew it.  He owed me a lot of money.  I’m a schmuck.

So he really stole the Christmas gift money from the cast and crew of Ben Casey?

Yeah.  They would give people extra business.  You know what that is, an actor gets extra business?  He gets an increase in his pay.  It makes him eligible to become a member of the Guild.  So they would create extra business for extras, and if you did extra business you would pick up an extra hundred dollars.  So Benny Goldberg, his little thuggy partner, would collect the money.  It was petty.  I remember once – I don’t know why I’m telling you all this shit.  I can’t do it.  It’s too demeaning.  You’re too smooth.  No, it’s no good.

Well, it sounds as if Edwards had a very serious addiction.

Oh, enormous.  He had a huge problem gambling.

Do you think he liked doing Ben Casey?  Did he like acting, like being a star?

I don’t know.  Did he like doing it?  Sure.  He was making a lot of money.  There was an episode where – I’ll tell you this, I don’t care – Jerry Lewis was directing one of the episodes of Ben Casey.  He and Vince got into it.  Bing Crosby got on the phone – he was the boss, you know that, he owned the show – and Vince disappeared.  All of Vince’s lines went to me and Jaffe.  And Jerry Lewis directed the show without any problems.  We were all pros.  But he was a difficult guy in many ways, yes.  In many ways, no.  Instead of focusing on his acting, his focus was get it done and go to the track.

Did your earlier friendship mean that you were on better terms with Vince than the rest of the cast was?

Yeah.  By far.  Absolutely.  I could get away with murder with Vince.  He was afraid of me.

He was bigger than you, though.

Ah, he was full of shit.  He was blown up with drugs, but he had the wrists of a fifteen year-old girl.

What kind of drugs was he on?

I don’t know.  I think, in those days, enhancement drugs.

Steroids?

Yeah, steroids.  Oh, yeah, he was a two hundred-and-ten pound phony baloney.  But it was all right.  He was very smart.  Big ideas.  But a dumbbell.  Didn’t know how to treat people.  He believed that they tolerated and hated him.

But there was only one Ben Casey, and it was him.  Nobody could take that show over.  Nobody.  He was it.

I think that surly quality of his made the character, and the show, unique.  He wasn’t a wimp like Dr. Kildare.

Yeah.  I knew actors who were up for the role.  Russell Johnson, from Gilligan’s Island, was up for it, and two or three other actors.  But Vince got it, and was marvelous in it.

Did Jim Moser have a lot of involvement in Ben Casey?

No, outside of writing.  He was the producer, but he was never on the stage.  Matt Rapf was one of the producers.  They rarely came on the stage.  I think it was part of the caste system in Hollywood.  When you reach a certain level, you don’t go back.

Tell me about Sam Jaffe and Bettye Ackerman, who played Ben Casey’s leading lady.  Were they together before the show began?

Already married.  She was his student.  After Sam died, she moved to South Carolina.  She would come out here and she would call me and I would have lunch with her, maybe once or twice a year.  She became a Tennessee Williams type of lady.  She developed a slight little Southern accent.  She reverted back to her youth.  She was a marvelous lady.  Her brother was a doctor.  She was very well-schooled.

I became Sam Jaffe’s son in some ways.  Just chemistry, mutual likes, politics.  People we knew.  He’d always call me up: “Heshel, how are you?”  When he died, the whole town came out.

If people called you Hesh or Heshel, that makes me wonder: Is Harry Landers your real name?

No.  Harry Sorokin.  Landers is my mother’s maiden name.  It’s an old Russian name.  Seven children.  We all took my mother’s maiden name but one brother and the girls, because my father walked out on seven kids.  I, and my brothers, out of outrage and heartbreak about my father deserting us, disassociated ourselves from him.  A dreadful man, really, a very bad man.  But I loved him, in retrospect.

Let me try this one more time though: You said there were two reasons why Sam Jaffe left Ben Casey.  What was the other one?

It was Vince’s gopher, who was a rated prizefighter, one of the top fifteen, twenty, I think a lightweight.  Not a very nice man.  Jaffe, I realized, had developed an intense dislike for him.  And his dislike for Vince, as the years went on, increased, because Vince would do things that were not very nice.  Scream at a makeup man, just stuff that no gentleman of quality would do.

I haven’t ask you much about your character on Ben Casey, or what you did with it.

I don’t know, what’s your question?  How did I interpret the part?  I didn’t.  Well, I was the second-in-command.  Vince was the chief resident and I was the second in command of whatever the unit was, and I was just playing footsies to Vince.  He was the big wheel.  That’s all it was.

The classic “best friend” role?

Yes.  I was just his best friend on the series, and Jaffe’s good friend, but I didn’t have any – my part was indistinguishable.  Anybody could have phoned it in.  It was not a challenge.

Were you content to be in that kind of secondary role?

Sure!  They paid me very well.  I became very well-known, and if you’re rather well-known, you’re treated with a – it’s a great lifestyle.

The show was very popular.

Huge!  For two years we were number one, number two.  I remember once in Louisiana, visiting my ex-wife in Baton Rouge, walking down the street and people screamed.  They would tear the clothes off you.  You’d walk into a restaurant here, you couldn’t pay the tab: “Please come back.”  You go to a movie, you never wait in line.  You’re ushered right in.  I was a half-assed movie star for a while.  I was halfway up the ladder.  I like that title.  I’ll write a book: Halfway Up the Ladder.

Do you remember any other Ben Casey episodes that used you prominently?

“Minus That Rusty Old Hacksaw.”  Gloria Swanson played my mother.  First time I came on the set, I probably had an eight o’clock call, and she was probably there since five in the morning, being made up.  When people introduced themselves, she would extend her hand.  People would kiss her hand.  I never kissed anybody’s hand.  So she extended her hand and I took it and said, “How do you do?”  I shook it.

Slowly but surely, and I say this without any reservations, she fell madly in love with me.  Everybody in the studio thought I was having sex with Gloria Swanson.  Totally impossible.  She was old enough to be my grandmother.  Last time I saw Gloria Swanson, she gave me a big hug and a kiss on the cheek, and she took my hand and squeezed it.  I opened it and in it was a piece of paper, and she said, “I suppose you can’t be reached?”  And I said no.  She said, “Here’s my phone number.  Call me.  Please call me, Harry.”  That was the end of Gloria Swanson.  I wasn’t very bright about those things.

In one of the episodes, I’m dying of some sort of unknown disease, and they have a big microscope and they look at my body for what was making me sick, a pinprick or whatever.  There were a couple of other episodes [in which Ted Hoffman figured prominently], where Vince was ill or he didn’t show up or whatever.  But Vince was very zealous about his position in the show and who he was.  There was a while – I don’t mind saying this – where you could not hire an actor as tall as Vince, or taller.  They once hired an actor who was taller, and when they were in a scene together, Vince sat or the other actor sat.  It was never eyeball to eyeball, because Vince would not put up with any kind of competition.

Gloria Swanson and Harry Landers on Ben Casey (“Minus That Rusty Old Hacksaw,” March 15, 1965).

You and Vince both directed episodes of Ben Casey.

He was a very good director.  He was a better director than I was.  For one reason: Vince had a photographic mind, as I told you.  He was mechanical.  All of the actors who I ever directed loved me.  I’m the best acting teacher, best acting director in the world, including Elia Kazan.  I’m brilliant at it.  But I never really mastered the camera.  I should have gotten the cameraman aside, but I did not; I winged it with the camera, and it showed.  But, you know, they hired me.  I did three shows, so they must have saw something they liked.  I was adequate.  Out of Ben Casey, I got a Death Valley Days to direct.

Did you do any more directing after that?

No.  I’m the second laziest man in America, and probably the most undisciplined person that ever lived.  If I had disciplined myself, I would have had a very large career.

Here’s a TV Guide profile of you from the Ben Casey era. I’m curious as to how much they got right.  Were you in fact an unofficial technical advisor on Action in the North Atlantic (1943)?

That’s true.

And your wife was Miss Louisiana of 1951, 1952, and 1953?

Yes.  But I’ve been divorced for years.  If I had a brain in my head I would have stayed married.  I would’ve been the governor of Louisiana years ago.

Is it true that you got the audition for Ben Casey because you saw Jim Moser stranded on the side of the road after his car broke down, and stopped to help him?

That was made up by the publicity guy.

Do you remember doing Star Trek?

Yeah.  I was a guest star, and it was a dreadful experience for me.  I had just got out of the hospital.  I’d had a lung removed, and I was not steady on my feet.  Usually I was one take, two takes, print.  I was always great with dialogue.  This time I was not good.  The producer, who produced Ben Casey, insisted I do the job.  He said, “Oh, Harry, you can do it.”

Oh, right, Fred Freiberger produced the final season of Star Trek.

Yeah.  What a guy!  He was a member of the Actors Lab.  But I was not happy with that show.  It was not one of my better [performances].

Why did you have a lung removed?

I was on location doing a movie with Elvis Presley.  Charro, I think it was.  I was working in Death Valley.  I was a gym rat, and I came back and I felt a pull in my right lung, and I had it x-rayed and I had a growth.  It was not a good moment for the doctors or Harry.  They could have treated me medicinally, but in order to play it safe, they decided to remove the upper right lung.  This involved a lot of money.  Maybe they were right, but I don’t think so.  An incredible, painful nuisance.  They cracked every rib in my body.

Landers with William Shatner (left) on Star Trek (“Turnabout Intruder,” the final episode, June 3, 1969)

Is that why you didn’t act much in the years immediately following the Star Trek episode?  You kind of disappeared for a long time.

I just didn’t want to work.  I don’t know why.  I had a lot of money.  In fact, I even turned down a lead opposite Shelley Winters in some movie she was doing.  I always felt that once you reach a certain plateau, which I did, people always want you.  What I didn’t realize was: out of sight, out of mind.  All of a sudden it was like, who? what?  So I just sort of disappeared.  It was a period of eight, ten years where I didn’t work.  I didn’t care.  I don’t think I had an agent.  I didn’t bother.

What were you doing during that period?

Collecting art, and selling art, which I do today.  I’m a huge art collector.

What kind of art?

All kinds.  I’m very good with antique art, old art.  I know the Picasso, Chagall, Miro, Calder and all that stuff, but I’m partially colorblind, so I stay away from that.  I buy antique art.

You mentioned that Jack Klugman was a friend.  Is that why you appeared several times on Quincy?

Yes.  I didn’t want to do them.  Walking by Universal, going in and out, Jack saw me and he stopped.  “Harry, get in here!”  He said, “Please do one of the shows.”  They were minor parts.  I just did them to please him, and I enjoyed every moment of it.

Finally, I guess we should talk about Taster’s Choice.

Out of the blue my agent called me: “They want you to do a commercial.”  I said, “Okay, I’ve done a few commercials.  Quite a few, in fact.  What is it?”  One of the sponsors’ wives saw me in one of the episodes of Ben Casey.  I did the video version here, on tape: “Hi, my name is Harry Landers, and I drink Taster’s Choice coffee because it gives me diarrhea.  Taster’s Choice coffee comes in small packets.  It’s instant brewed coffee.  It’s fucking delicious!”  I do a lot of improvising.  So, I did it, and then they flew me to Chicago to do the audio version.  It was on the air so often, it got to the point where the disc jockeys would say, “Who the hell is Harry Landers?”

This interview was conducted in Sherman Oaks, California, on April 30, 2010.  The image at the top is from The Untouchables (“Portrait of a Thief,” April 7, 1960). I’m not entirely clear on what this is, but it features Harry in a recent acting role.

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