October 8, 2014
Jerry McNeely, one of the most erudite and underappreciated of the early episodic television writers, died on July 14 at age 86.
Born in Cape Girardeau, Missouri, on June 20, 1928, McNeely entered the medium at the very tail end of the live anthology era, and came into his own in the liberal dramas of the Camelot years. By default a medical specialist – his first significant patron, Norman Felton, executive produced Dr. Kildare, and Kildare’s producer, David Victor, brought McNeely with him to his own hit, Marcus Welby, M.D. – McNeely took full advantage of that genre’s narrative dependency on sickness to survey all manner of spiritual and philosophical, as well as physical, maladies.
“The Mask Makers,” his first great Kildare script, grew out of scrupulous research on plastic story, but it’s most interested in charting the psychological aftereffects of a nose job on the insecure young woman (Carolyn Jones) who has it. “The Balance and the Crucible” skirts the cliches of a story about a minister-cum-doctor (he’s preparing for a career as a missionary), played by Peter Falk, who loses his faith after his wife’s death. At the beginning, Doctors Kildare and Gillespie are both impatient with Falk’s character, because they think he’s too good a doctor not to pursue medicine exclusively. He’s rightly offended at their implicit insistence that his faith has less value than science. But McNeely, a rationalist through-and-through, refuses to send this doctor off to the jungle; he doesn’t condemn religion outright but won’t sentimentalize it, either. Though Falk gets a long-deferred breakdown scene in the end, McNeely’s climax comes in the preceding scene, in which Kildare uses a bit of rhetorical gimmickry to convince his friend that if he still experiences doubt, as he has conceded, then he must also still have faith.
That’s quintessential McNeely: articulate forays into pedagogy and debate packaged as character-driven melodrama, in the same manner as Reginald Rose or David Simon. “Who Ever Heard of a Two-Headed Doll?” considers the thorny question of how to deliver grim news to a patient, especially one who seems utterly incapable of handling it. A “B” story, in which Dr. Kildare transitions from intern to resident (this was the third season premiere), illustrates McNeely’s grace in finding notes of wisdom and honesty in the perfunctory. Senior doctors barely acknowledge the staff promotions in a meeting. The residents must now supply their own batteries for their medical gizmos. Dr. Kildare’s brief respite from his patients is interrupted by a dorky intern, there to kick him out of the dorm room that’s no longer his. “That day you’ve looked forward to for so long, and it comes and it’s just another day,” Kildare muses ruefully. Ain’t that the truth.
Though modern medicine has, hopefully, left behind McNeely’s solution in “Doll” (blissful ignorance, with some caveats), his obesity episode could be remade on a modern doctor drama with few changes. In “Charlie Wade Makes Lots of Shade,” Charlie (Dale Malone, in accomplished performance) begins to suffer serious health consequences as a consequence of lifelong overeating. Kildare and Gillespie try to prod him into losing weight without crossing over into being unhelpful jerks. A nurse (Marion Ross) is less sympathetic: she spends every day feeling hungry in order to maintain her figure, so why should she sympathize with this glutton? The ending feels uneasy. Charlie vows to improve his eating habits, but we’ll believe it when we see it (which we don’t); McNeely has laced the script with reminders that Charlie’s struggle will never get any easier. (Malone, a prolific musical theater actor with only a handful of film credits, died young.)
Marcus Welby was more watered-down than its predecessor, although McNeely was able to do good work there, too; Victor chose his script on venereal disease, “A Very Special Sailfish,” to open the second season. McNeely and Victor collaborated on Owen Marshall, Counselor-at-Law, and then McNeely created a pair of short-lived dramas, Lucas Tanner (a teacher show) and Three For the Road (a family drama). Later he was a producer and writer for Trauma Center and Our House, as well as some acclaimed telefilms, including Something For Joey, for which McNeely received an Emmy nomination.
(In the meantime, McNeely took relatively impersonal detours through other A-list series, including The Twilight Zone, The Man From U.N.C.L.E., The Virginian, and McMillan.)
The remarkable aspect of McNeely’s writing, one so unusual that it became the hook for a 1966 TV Guide profile, was that almost two decades of it was done half a continent away from Hollywood, in Madison, Wisconsin. Secure in the patronage of Felton and a few others, McNeely was able to write in his spare time, commute to Los Angeles for story meetings while at the same time juggling a full course load in the University of Wisconsin’s Communications Department. McNeely believed that his unlikely success at such a remove was due to his ability to “write shootable first drafts,” a rare skill likely to motivate producers not only to keep a writer employed, but to keep him a secret as well.
Only when he retired from academia, in his mid-forties, did McNeely relocate to Los Angeles and expand his ambitions to including producing and directing; indeed, he even made acting cameos in several of his telefilms. (McNeely the polymath was also a songwriter, penning lyrics for songs in Dr. Kildare and The Man From U.N.C.L.E. – as well as collaborating with Jerry Bock on “Song of the Valley,” a theme for his 1961 Hallmark Hall of Fame.)
I met Jerry in 2004, when he was already suffering from Parkinson’s Disease and lived part-time in the Motion Picture & Television Country House. Because of his illness, I was only able to interview McNeely in detail about the first half of his career. That interview is presented below, as an “outtake” from the larger oral history project that will hopefully see the light in book form soon.
How did you get started writing in television?
The old story of seeing it done and thinking I could do as well or better than that. I had just finished my dissertation for my doctorate in Communication Arts, and I had accepted an appointment at the University of Wisconsin for fall. So I had the summer essentially free, and I thought I’d write something. I had an idea for a TV play, and I sat down and I wrote it in three days.
Then you had to sell it.
It’s a long story, but it’s quite a story. I looked in writers’ magazines to find the names of New York agents, and I picked one who had attracted some attention by representing Ira Levin and Stephen Sondheim. So I boldly wrote to her and said, “I’ve written this TV script, and could you read it?” Weeks went by, and finally I got a letter back from her that said, “Yes, I’ll read it. Send it to me but then be patient, because it’s going to take a while.”
So months passed, and I hadn’t heard from her. Flora Roberts was her name. [Finally] I got a call from her, and she said that she liked the script a lot and was submitting it to Matinee Theatre, which was a live hour-long show done in the middle of the afternoon by NBC, primarily to sell color TV sets. They’d had trouble marketing them because they couldn’t demonstrate [the appeal of color].
She submitted it to Matinee Theatre, and they passed. And she submitted it to every other show in town. Her first choice was Studio One, just for the prestige of it, and everybody passed. Then, when she heard that Norman Felton was taking over Studio One for the summer, she went back and showed it to him, and he liked it and bought it. People used to ask me: How do you break into TV? I’d say, “It’s very simple. You get a real good agent and, against one in fifty thousand odds, you write an original script and they buy it.”
I found later that there were some other things that happened behind the scenes that I didn’t know about. When my script got to Flora’s office, even thought she had given me permission to send it and said she would read it, it got tossed on a stack of hundreds of unsoliticed manuscripts that she was getting every day. That wasn’t where it was supposed to be, but that’s where it was. One day her secretary, during her lunch hour, having her lunch, idly was looking for something to read. She reached down to this stack and took mine and opened it, flipped through it, and saw a page that attracted her attention. Laid it aside, a couple of days later got back to it, read it, liked it, took it into Flora and said, “I think you may want to read this.” That just wasn’t part of her job – that was the only time this ever happened.
I hoped and felt that once I had broken through and gotten a network credit, that it would become easier. And I guess it was easier, bottom line, because I sold some other stuff. I wrote another script and she sent it to Ralph Nelson, and he bought it. Ralph Nelson was producing a series called Climax. Ralph was a top-notch TV director and had become [the] producer.
But, right at that time, the industry shifted gears and shifted to the west coast. Rather than a [live] television industry, it became a film industry. What I got out of the second show, Climax, was a number of inquiries from producers, all essentially saying, “When you move to the West Coast, please come in and see me.” There was no hint that anybody would be interested in hiring me as long as I was not living on one coast or another.
Had you gone to New York for Studio One? What was that experience like?
Yes. The experience was mindblowing. My jaw was hanging open most of the time. Because, in the first place, it was the first play I had written that had been produced, let alone by front-rank professionals, with professional actors. I think Studio One paid one round-trip airfare, and I went twice. I went for some rehearsals, and came back for the final rehearsals and air. So I paid my own way once, as I recall.
I assumed, now that I had broken through with two scripts, that I could function [by] marketing my stuff from Wisconsin, but it just wasn’t to be. It was as if O’Hare International didn’t exist. Only if you lived on one coast or the other.
Another wildly improbable coincidence finally got me going for good, and that was: The Hallmark company sponsored a worldwide competition for original teleplay writing. The International Teleplay Competition, they called it. They had some celebrity judges – Maurice Evans, and I can’t recall who else. As I recall, first prize was $8,000 or maybe $10,000. It was substantial, for that day and age at least. So I wrote a ninety-minute script, and handed it into the competition. They had hundreds, I heard later. Hundreds and hundreds of scripts.
A few months later I got a call from a woman who was a graduate of the University of Wisconsin, and knew of me. We had mutual friends. She, on a personal level, called me before the announcement had been made, and just said quietly that, hey, hang on a minute, I think you might hear some good news here. And I thought, “My god, I’ve won the contest!”
Well, I didn’t win the contest. I won second place. George Schaefer, who produced the Hallmark Hall of Fame series, just on his own – he had nothing to do with [judging] the competition – but out of his own curiosity and interest he asked if he could read the top ten. He read them, and mine was one of those, and he liked it and said, “Hey, I want to do this.” George told me he didn’t care for the first [place] winner [and] really didn’t have any interest in doing it. He did want to do mine. So the irony was, by the time they negotiated my contract, I got almost as much money as the first prize winner did for my fee for the script.
So the initial winner received the money, but didn’t get produced?
Yes. So, again, from nothing. My career was non-existent and stalled. Then all of a sudden, the second time, lightning struck out of the blue. I sold this script, and this time it got me rolling. Norman Felton moved to California, and started producing Dr. Kildare. He was willing to hire me because he had confidence in me, and knew my work. And as long as I was working and getting assignments, then the other producers who were afraid of hiring somebody in Chicago [would follow suit].
How long did you stay in Chicago? When did you finally move to Los Angeles?
Travel and work schedules just got to be unrealistic as I started getting more and more assignments, flying back and forth for script conferences. I think the last year before I [moved] I had like eighteen round trips between Madison and L.A. Finally I was going to have to decide whether I was going to be in the academic world or in the production world.
So you were still teaching the whole time?
Yeah. An article [in] TV Guide related to my being a teacher, a stuffy dignified teacher who wrote Man From U.N.C.L.E.
That was really unusual at that point.
It was. I won an award – I guess it was a Writers Guild Award for best script of the year. They had a dinner in New York and a dinner in L.A., and I didn’t go. I couldn’t afford to be flying all over to see Rod Serling receive his award. So I didn’t go, and won it! And heard later that the guy who was the emcee said, “And the winner – in Madison, Wisconsin?!”
What script was that for?
I think it was the first one, the Studio One script.
What was that about?
And the story and the setting and the characters were sort of really out of my background. I’m from southeast Missouri, Cape Girardeau. It was a folk fantasy, sort of. Your traditional drought-ridden desert, where the farmer’s trying to raise crops, needing rain desperately. They’re very religious. They have a meeting at the school to pray for rain, and in the middle of their prayer, a knock on the door. A man in a white suit (James Daly) is at the door. He says, “I’m an angel. The lord heard your prayer for water, and he said you good people deserve some help. So I’m here to get you some water.” The people are dazzled, confused. There’s another knock on the door, and it opens, and it’s James Gregory, who’s dressed in black. They call them Mr. Black and Mr. White. Each claims the other is an emissary of the devil, and that he’s going to poison the water and destroy the village. And each claims that he’s going to save the village. The townspeople, try to figure out how they’re going to decide. Finally somebody suggests a wrestling match. [Mr. White and Mr. Black] say, “No, the lord wouldn’t be party to any violence. It just isn’t done any more.” This young agnostic farmer says, “How about a staring match? If the lord would give him strength to wrestle the devil’s courier, he’d give him strength to out-stare him.” So they decide that they’re going to have a staring match. They’re going to sit down and open their eyes, and the first guy to look away is the loser. And he’ll go on and get out and let the other one find the well.
Is there a twist at the ending? Do you remember how it ends?
Oh, I remember how it ends. They’ve engraved a circle in the dirt and they’ve all been warned to stay out of the circle. The agnostic’s daughter sees that one of the men, Mr. Black, looks like he’s in trouble, his eyes are [wavering], and she in compassion decides to take him a drink of water. And something happens – a clap of thunder and lightning. The people say, “Mr. Black left his seat to help the little girl [and] he lost the contest. Linus, the agnostic, says, “No. Mr. White won the contest, but Mr. Black was the one who acted like an angel.” That sways the people, and they stand up to Mr. White, who throws a fit, and a great temper storm rages at them. But they all keep their courage, and Mr. White finally sheepishly grins and says, “That was rather histrionic of me, wasn’t it?” And he goes off down the lane and the people get their water. It’s a sweet little story.
Were you pleased with the production, and the actors who performed it?
Oh, yes, I was.
Did you watch the broadcast in the booth?
No, from the apartment of a friend, near the studio in midtown Manhattan. The friend said, “Look, I live four or five blocks from where these things are done.” So we went to his apartment and watched the show live there, and then hurried back to the studios to say thank you and goodbye to [the cast and crew]. It was a thrilling event in my life, it really was. It got wonderful reaction. Time magazine did a piece about it, and me. John Crosby, who was the number one TV critic of the day, wrote a wonderful rave review. If I had written it myself, I think [it could have been] more flattering.
Did you go to Los Angeles for Climax?
I went out to L.A. for a rewrite conference, a story conference. It was the first time I’d ever been to California.
What was your Climax script, “Two Tests on Tuesday,” about?
A young man, a military veteran, is in college, married, has a child, and he cheats on a crucial exam and gets caught. The price of his cheating is he’s going to fail the course, and there’s a chain reaction of things that will happen if he fails this course. His life is really going to be badly [altered] because of one grade, and so he asks the professor to be kind, and to be lenient – essentially give him a passing grade. The professor says, “I can’t do that. I can’t just give you a grade. You really flunked this course.” So the young man buys a gun, and he intends to kill the professor. But he doesn’t, and then it works out compassionately.
And the script that won the Hallmark contest, “The Joke and the Valley”?
Dean Stockwell, with a backpack, is walking through a rural area. Rainstorm. He goes into a barn for shelter, stumbles over a man’s body. Owner of the barn comes through the [door], and he assumes Dean Stockwell has killed this man. He looks down and examines the body – the owner, played by Thomas Mitchell – and he sees the guy’s face and he starts laughing. Just breaking up. It’s a sort of a semi-thriller about proper respect for the law, I guess you might say. Keenan Wynn, who is Thomas Mitchell’s best buddy, Keenan and Thomas stage a fake assassination of Keenan, and they make Dean Stockwell think they’re going to kill him, hang him on the spot, and of course he’s terrified. When he realizes they’ve been kidding him, he’s holding this knife, and he stabs Keenan and really kills him. The townspeople are all anxious to forgive him, because it was their joking that led to it, and Thomas Mitchell says, “No, you’re not going to forgive him. He killed him, and he’s going to be punished for it.” It didn’t get quite the level of enthusiasm that “The Staring Match” did, but the reviews were very positive, and it brought me considerable attention.
There was a four-year gap between those last two shows. Were you writing spec scripts during that time?
Yes. But none of them sold.
Were you clear, at that point, that you wanted to break into television or film as a writer?
To be really honest, I wanted to be an actor first. I would immodestly say I was a pretty good actor at the top semi-pro levels. I did a season of summer stock. But I was married. We had a child. My wife felt very threatened by the idea of my trying to be an actor. And she should have, because it didn’t make any real sense. So I fell into writing as an alternative, a fall-back position. I had always like to write, and my university work certainly involved writing. I entered some playwriting contests at the collegiate level, and won some contests. So it wasn’t totally out of the blue that I would continue that. It all fell into place. I was able to be in show business without prejudicing my marriage.
Were your students aware of your second career as a television writer? Would it be an event on campus when a show you had written aired?
Yes, it was. The Madison papers always featured the fact that I had written this week’s such-and-such. I was a minor-league celebrity on campus, I guess.
Were there other writers who influenced your own writing?
I’d have to say no. There are a lot of writers that I admire, and whose work I enjoy, but in the sense of a literal influence, no, I don’t think so. Once Rod Serling got going, I certainly looked to him as a model, both career-wise and the quality of his writing. I can’t say I was a friend of Rod’s. He was very gracious to me after I did a Twilight Zone and in the process met him, and he was interested in the fact that I was an academic. I invited him to come to the campus to speak, and he said sure, he would do that.
Rod was something of a celebrity by that time. He came to the campus and gave a lecture and was very successful. The Union Theatre there on the campus was full, and routinely when we had guest speakers in, we’d pay them for their travel, at least. We couldn’t pay them a fee. I tried to do that and he wouldn’t take it. He just did it as a courtesy to me.
Some of the thematic materials of “Joke and the Valley,” and “The Staring Match,” as a matter of fact, I would say probably relate to Serling. Not consciously at the time – I wasn’t trying to write a Rod Serling script – [but as] I look back at it now.
How would you divide your time between your two jobs?
I always tried to keep something going, something I was working on as a writer. One year, maybe, I would do six Dr. Kildares, and that was about as much as I had time for, to do that and teach and go back and forth for conferences, meetings. By the time I finally decided to choose between the careers, I had done everything I wanted to do in the way of ambition in the academic world. I got my full professorship at a very young age. So I had done what I wanted to do there. I hadn’t done everything I wanted to do as a writer. Then I used the leverage as a writer to become a producer. That was a very easy step. The producers like David Victor that I worked for were eager to have me produce, and so it was a natural step. Above all it avoided that awful time when I would finish a script and put it in the mail and say goodbye, and then see it on the air. That was painful.
Well . . . they’re never going to do it the way you wanted it done. It will be different. It may be better, but it will be different. If you’re producing it yourself, you just simply have more control. You can do it the way you had envisioned it.
Do you mean in terms of casting? Rewrites?
As a producer, you had more leverage in terms of script control. You still had to relate to the network, that’s for sure. Listen to their ideas and notes and sometimes accept them, and sometimes tell them to get out of the office. But all of the decisions [were the producer’s]. The use of music always has been very important to me. My son is a very successful motion picture composer and conductor, and I think he gravitated into that because implicitly, partly, of what I was doing and the importance of music in my work.
Can you elaborate on that?
I would aways really become deeply involved in the music process. One example: I did a [made-for-television] picture called Something For Joey, about John Cappelletti, a football player whose brother had leukemia. The composer I hired, just because I really admired him so much, was David Shire. The end of that picture – I didn’t know how we were going to do it. The end of the picture is at the Heisman Trophy dinner. John Cappelletti gives the Heisman Trophy to his little brother, who is dying. He has just received it, [with] all the flashbulbs and everything, and now all of a sudden he turns around and gives it to Joey. It’s such an incredibly touching moment. I can’t watch it today without bawling. And David Shire proposed something very startling to me. He said, “That’s got so incredibly much emotional power going there, if we score it like that, a big movie climax, I think it’s going to go over the top.”
So I said, “Well, what’s your solution?”
He said, “I’d like to start the cue when he finishes his speech and gives the statue to Joey. Start the cue there with the full orchestra, and then strip it down. As the final scene plays, take the instruments away, and at the end just a spare one-hand piano.” It was a brilliant idea, I thought, and I had confidence that he could do it. And he did. But that’s an example of [how] I involved myself at that level, just because I was interested in it. I wanted to be a part of it.
It’s interesting that you mention that, because I think that one of the few elements that date your Dr. Kildare shows is that they are somewhat overscored, and the music is very melodramatic.
Yes, I think that was partly as a result of the taste of a man named Doug Benton, who produced [Dr. Kildare]. And David Victor, who was the executive producer. Subtlety was not too welcome around Dr. Kildare.
Did you generally have a good relationship with Dr. Kildare and its production staff?
Yes, I did. And I enjoyed it. I enjoyed the fact that it sort of let me use my academic connections. I think the first one I did was on – Carolyn Jones had a nose job. So it was very simple for me to use my connections to get to a famous plastic surgeon at Wisconsin, and he was most gracious and mentored me right through it and gave me all of the technical information I needed.
A man named Marshall Goldberg has a story credit on several of your Kildare teleplays.
Marshall was a doctor. He contacted me. He came to Wisconsin on a fellowship, to do a research fellowship. He looked me up because he thought I could help him sell his writing. And I took one of his stories and took it to the Kildare people and said, “I think I could make this into a good episode.” They let me try it, and I did. So we gave Marshall a story credit, and he and I had some other projects that we touched base on.
The Kildares are all very sensitive, and character-driven.
That, I would say, is deliberate. That interests me a lot more than the nuts and bolts plot points.
So you’re thinking more in terms of character beats than story development.
Yeah. Right. Okay: A good rhinoplasty can turn a very homely woman into a beautiful woman.
“The Mask Makers” is very frank, emotionally.
We reconstructed Carolyn Jones’ nose from a photograph of her. It was her real nose.
Really? Surely they couldn’t have known that when they cast her.
No. You know that’s going to be almost an astonishing thing to see this homely woman, and the next time you see her she’s gorgeous. But it was true, and the psychological basis for that character – I remember Carolyn said that it was the accurate story of her life. It’s what happened to her, when all of a sudden she began to get hit on by all of these great-looking guys, and she said, “For two days it was fun, and then I wanted to scream at all of them: Where were you the rest of my life, when I needed you?”
Do you remember where you got the idea for the story, which turned out to be accurate in her case?
No. It was a dramatist’s invention. I didn’t get it from her, certainly. She [said] after she was cast, and I met her and we were talking, [that] it was autobiographical, whether anyone knew it or not.
I guess a good writer can invent something, and it turns out to be accurate!
Well, yes. I would always test in my own mind the logic of characters’ actions.
Your Kildare scripts all strike me as being very – and unusually for television and even relative to other episodes of the series – intellectual and even philosophical in their content.
I understand what you’re saying. I almost wouldn’t know how to speculate on what that meant to Norman [Felton]. I think that accurately describes my work. I always found it difficult to develop a story that did not have some kind of moral thematic drive to it.
Because that’s what interested you about writing? More than plot or character?
A rather vague question, but did one usually come to you before the other: the story or the thematic idea that it expressed?
I’ve never been posed that question, nor have I posed it to myself – which came first. I really think it was all part of the package. If I’m going to do a story about a drought-stricken community that prays for rain, then just going into it there are thematic moral parameters that are going to get involved because they’re important. And useful.
Useful in telling the story?
Yes. And not only in theory, but right down to the mechanics of the second act curtain. I mean: This is going to give me a good freeze-frame.
Wasn’t it a struggle, even then, to write television scripts that were that cerebral? For instance, I can’t imagine The Man For U.N.C.L.E. allowing for that kind of writing.
No, The Man From U.N.C.L.E. was playing a video game. It was toy time. For me. I did try to bend those scripts enough that – I did one [that was] a parody of – I did Faust, in The [Girl] From U.N.C.L.E. It was fun. I did what later became The Producers, Mel Brooks’ big hit. I’m not implying that I stole from Mel or that he stole from me, goodness knows. But the premise [is] this Off-Broadway theatre that THRUSH, the bad guys, are using in their evilness, and they need it to stay just as it is, and in order to do this they’re going to keep a show running in that Off-Broadway theatre. A bad show. It’s got to be a bad show. And that’s the premise of The Producers. So I did it on U.N.C.L.E., and it worked great.
My only disappointment was, I wanted it to be an original musical comedy, in that form. I got a good friend of mine, Mary Rodgers, who is Richard Rodgers’s daughter and a composer herself, to agree to write the music. I thought that was an achievement, and I knew she’d be great. I wrote these lyrics for the numbers, and before Mary even joined the project or was ready to join the project, the composer on the show, a gentleman whose name I conveniently forget, wasn’t about to let anybody come in. Weekly he scores these shows, you know, The Man From U.N.C.L.E., and they’re going to do an original musical on it, and they’re going to bring in a woman from New York to write music? No way! All sorts of strings were pulled that I didn’t know about at the time, to ensure that that wasn’t going to happen.
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.
November 3, 2011
Tom Donovan, one of the last of the major live dramatic anthology directors, died on October 27 at the age of 89.
Donovan directed at least two fondly remembered classics from the early television drama. One of them, “The Night America Trembled,” was a Studio One that told the story behind Orson Welles’s infamous 1938 War of the Worlds radio broadcast. Golden-voiced Alexander Scourby played Welles, and the huge cast included unknowns such as Ed Asner (as “third reporter”), Warren Beatty (“first card player”), Warren Oates (“second card player”), and John Astin (not even credited, as another reporter).
“Night,” which has appeared on various DVD releases of dubious legitimacy, feels a bit creaky today – there’s no heart amid all the bustle. But “Button, Button,” a famous episode of Way Out, remains vivid in the memories of many who saw its original broadcast, and it still works brilliantly today. A prelude to Sidney Lumet’s Fail-Safe, “Button, Button” takes place entirely in an underground military bunker, where a nervous officer (Tim O’Connor) must decide whether to launch a retaliatory nuclear strike after all outside communications abruptly cease. In keeping with Way Out’s supernatural theme, there is a character named Sergeant Gee (Warren Finnerty), a new recruit who knows far too much about the men in the bunker and who offers every argument in favor of pressing the button. Is Gee just a warmongering hillbilly, or is he perhaps an agent of something much more sinister? The ambiguity remains at the conclusion. Every element of Donovan’s direction maximizes the viewer’s nuke-paranoid anxiety, not only the claustrophobic staging but also the clever contrast in acting styles between the solid, reassuring O’Connor and the wild-eyed, wheedling Finnerty.
Beginning his career as a stage manager and bit player on Broadway in the late forties, Donovan transitioned into television with a meager staff job at CBS. “I was offered $20 a day, on call, with no guarantee of days to be worked,” Donovan said in an interview for the Directors Guild of America. “Joe Papp, a fellow stage manager at the time, described the four steps of promotion at CBS: stage manager, assistant director, director, and out.” Essentially, Donovan matriculated as predicted, remaining at CBS for nine years and spending much of that time as an associate director.
Though he may have directed for Danger and other CBS programs as early as 1954, Donovan’s first significant work as a director came on the prestigious anthology Studio One during its final two years (1956-1958) on the air. Donovan was also in the directing rotation on The United States Steel Hour during its vestigial years (1960-1963), during which time that series came to enjoy the distinction of being the last prime-time show to be broadcast live on a regular basis. (It, too, had gone to tape by the end.) In the meantime Donovan helmed a few series episodes – for Hawk and N.Y.P.D. – but was in greater demand as a director of live and videotaped dramatic specials.
Among those specials were: a musical version of “The Bells of St. Mary’s” (1959), with Claudette Colbert; a remake of “Ninotchka” (1960); a take on “The Three Musketeers” that starred Maximilian Schell and Vincent Price; a production of Hemingway’s “The Killers” (1960) in which boxer Ingemar Johanssen was recruited to play Swede (“his movements were unnatural and indicated that . . . Donovan had overcoached him,” wrote one reviewer); “The Man Who Knew Tomorrow” (1960), a fantasy for U.S. Steel with Cliff Robertson as a writer whose characters come to life; “The Dispossessed” (1961), a liberal drama in which the black actor Juano Hernandez played Native American leader Chief Standing Bear; “The Law and Lee Harvey Oswald” (1963), a panel discussion about the Kennedy assassination; the football-themed “A Punt, a Pass, and a Prayer” (1968), one of the first contemporary, original dramas done on The Hallmark Hall of Fame; and “The Choice” (1969), a David Susskind-produced drama for Prudential’s On Stage about the moral implications of the then-new technology of heart transplantation.
“I had a few turkeys, but most of the stuff I was pretty proud of,” Donovan recalled.
If the list above does not speak for itself, here is another one, which may imply that Donovan enjoyed a reputation as an actor’s director. These are some of the performers he worked with in one-off television productions, all of them armed with enough clout to choose their material and their directors: Edward R. Murrow (in “The Night the World Trembled”); Jackie Gleason (in Donovan’s only Playhouse 90, a 1958 adaptation of William Saroyan’s “The Time of Your Life”) and Art Carney (in two taped dramas from the mid-sixties); Helen Hayes and Patty Duke (in a 1958 Christmas episode of U.S. Steel); Edward G. Robinson, in “The Devil and Daniel Webster” (1960); Henny Youngman (in a 1961 U.S. Steel); Alfred Lunt and Lynn Fontanne, headlining the final U.S. Steel in 1963; and Richard Burton (in Donovan’s lone feature, Lovespell). That’s not to mention the many young actors Donovan helped to bring along, including Gene Hackman (in at least two U.S. Steel Hours, the earliest in 1959), Richard Harris (in 1958’s “The Hasty Heart”), and Jill Clayburgh (in “The Choice”).
Like David Pressman, who died in August and whose career somewhat parallels his, Donovan faced a choice in the mid-sixties: either move to Los Angeles or move into soap operas, which were virtually the only dramatic programming originating out of New York. Donovan chose the latter. He became, in 1964, the original director of the long-running Another World, and also originated Our Private World, a short-lived prime-time spin-off of As the World Turns that tried to cash in on the Peyton Place craze. Eventually producing as well, Donovan spent nearly four decades in soaps, during which time he passed through Love Is a Many-Splendored Thing, Hidden Faces, A World Apart, Where the Heart Is, Ryan’s Hope, and General Hospital.
Robert Collins, who died on October 21 at the age of 81, was an Emmy-nominated writer, director, and producer. He was perhaps best known as the creator of Police Woman.
Police Woman was a more commercial spin-off of Police Story, the acclaimed anthology of cop tales that became one of the most unanticipated outliers of quality television in the seventies. Collins was one of that show’s first and most valued writers. “He just can’t miss. Every Collins script is off-beat, right-on, and sparkling,” wrote Police Story creator Joseph Wambaugh in a memo to the producers. The most famous of those sparklers was probably “Wyatt Earp Syndrome,” a well-researched look at a peculiar psychological phenomenon whereby beat cops, in their fourth or fifth year on patrol, grow restless and begin to take chances and initiate confrontations. The only compromise in Collins’s script was the title: the actual term among police was the John Wayne Syndrome, but legal squeamishness compelled a silly change.
Collins was past thirty-five when he came to prominence as a writer (television may have been a second career). Immediately in demand after debuting on The Invaders, Collins moved on to The Name of the Game, Dan August, Cannon, Mod Squad, Sarge, and The Sixth Sense. Prior to Police Story, he did his best work on a pair of medical dramas. For The Bold Ones, Collins wrote “A Nation of Human Pincushions,” which wondered whether acupuncturists were healers or quacks, and “A Standard of Manhood,” a moving story of male impotence. Collins also wrote two of my favorite Marcus Welbys: “Fun and Games and Michael Ambrose,” about a diabetic teenager and his seemingly uncaring father (John McMartin), and “Another Buckle For Wesley Hill,” which guest starred the great, underrated Glenn Corbett as a physically active man who must accept that illness will curtail his independence.
I’m pretty sure that “Another Buckle,” in late 1970, marked Collins’s directorial debut. While he continued to work as both a writer and director for hire, Collins was able to direct his own material on Welby, The Sixth Sense, Police Story, Medical Story, and possibly other shows. The roving hyphenate – that is, a freelancer who is able to both write and direct for a series without also being its producer – was and remains rare in episodic television, which isolates direction from story more decisively than filmmaking does. Douglas Heyes (Maverick; The Bold Ones) and Montgomery Pittman (77 Sunset Strip; The Twilight Zone) are the only two writer-directors I can think of who managed this trick for a large stretch of their careers, and being in their company is a feat I perhaps admire more than some of Collins’s more obvious accomplishments.
Via his telefilm scripts, Collins also co-created the trucker drama Movin’ On and developed the short-lived Serpico for television (David Birney was no Al Pacino), but as with Police Woman both were handed off to others once they went into production. His Police Story plaudits launched Collins into the realm of made-for-television movies, where all the brightest TV talents went in the seventies, and he focused on biopics and current events stories: J. Edgar Hoover, The Life and Assassination of the Kingfish, The Hijacking of the Achille Lauro. “Gideon’s Trumpet,” a Hallmark Hall of Fame about a famous Supreme Court case and one of Henry Fonda’s final starring roles, was Collins’s best-known longform. He also directed two undistinguished theatrical features, 1979’s Walk Proud and then Savage Harvest two years later.
The glory days of the trade paper obituary, in which an issue of the weekly Variety might fill two or three full pages with lengthy death notices, are long gone. These days, if the family remembers to send over a press release, it might get uploaded to the trades’ websites – usually with any spelling and factual errors intact. For Robert Collins, The Hollywood Reporter added a few details to a paid death notice that ran in the Los Angeles Times. For Tom Donovan, Variety padded a DGA press release, which properly enumerated Donovan’s Guild service but neglected his creative work, with a few details gleaned from the on-line sources. (Note how tentatively the obit recounts his credits: “episodes of” Danger and General Hospital and Another World on this or that date, because the Internet Movie Database cherry-picks these credits, and the reporter can’t be bothered to do the research that would fill in the gaps and emphasize the most important work.) And once upon a time, Donovan and Collins would surely have merited mention in the New York Times and the Los Angeles Times, respectively. But both of those publications have become increasingly indifferent to entertainment industry deaths. The assumption, I guess, is that it’s up to the unpaid citizen journalists to cover this beat now – but I’m not sure that’s happening in practice.
Although Tom Donovan recorded an oral history for the Directors Guild of America, he was missed by some of the other major outlets who do that kind of work, including the Archive of American Television and (regrettably) myself. As far as I know, no major interview has been published with Robert Collins, who may be in part the victim of a very common name; as of this writing the Internet Movie Database, for instance, has his date of birth and middle initial wrong, although at least most of the credits it attributes to Collins are actually his. But it doesn’t help that the seventies remain something of a historical ghetto for television, at least apart from the Norman Lear and MTM sitcoms. No one that I know of is doing substantial work on the best dramatic series of that decade – almost all of which were short-lived and underrated – and although the golden age of the made-for-television movie has a devoted cult following, all but a few of the films themselves remain maddeningly out of circulation, an rights-tangled marketing nightmare that no DVD label (save the Warner Archive) has attempted. I’m just discovering them myself, and not in time.
Sources include Ann Farmer’s Spring 2008 DGA Quarterly profile of Donovan, and The Encyclopedia of Television Directors, Volume 1 (Scarecrow, 2009) by Jerry Roberts. The Wambaugh quote is from Tom Stempel’s Storytellers to the Nation: A History of American Television (Syracuse UP, 1992).
November 21, 2008
The prolific television writer Paul Schneider died on October 13.
Schneider’s claim to immortality may be as the author of two pretty good episodes from the first season of Star Trek, “Balance of Terror” and the goofy “The Squire of Gothos.” A “haircut” of various fifties submarine movies, “Balance of Terror” introduced the Romulans, enduring Star Trek villains for four decades – even though, in a real “say what?” moment, the limited makeup budget necessitated that the Romulans look exactly like Mr. Spock’s race, the friendly Vulcans.
Born in Passaic, New Jersey, on August 4, 1923, Schneider did some of his earliest writing on the Mr. Magoo cartoons. The syndicated situation comedy How to Marry a Millionaire was one of his first television credits, but for most of his career Schneider wrote for dramas and action or fantasy series. His resume is almost a list of the most popular TV programs of the sixties and seventies: 77 Sunset Strip, Wide Country, The Lieutenant, Mr. Novak, Kraft Suspense Theatre, Bonanza, Big Valley, The FBI, Ironside, Mod Squad, The Starlost, The Six Million Dollar Man, Eight Is Enough, and Buck Rogers in the 25th Century, among others.
Schneider wrote his Star Trek scripts alone, but much of his work was done in collaboration with his wife, Margaret (also deceased). Together they seemed to excel in particular at medical dramas, penning multiple Dr. Kildares and at least a dozen Marcus Welby, M.D. scripts. One of the Schneiders’ Dr. Kildare segments, “One Clear, Bright Thursday Morning,” was a searing study of the fallout, both clinical and emotional, of the atomic bombing of Japan in 1945, and a high point of New Frontier-era television.
Writer Thomas Y. Drake, who had a brief but significant television career, died of cancer on August 8. Drake worked as a rewrite man and, eventually, as the credited story editor on Then Came Bronson, earning solo or shared teleplay credits on four of the series’ twenty-six episodes. Drake’s scripts included “The Old Motorcycle Fiasco,” with Keenan Wynn in a more or less autobiographical role as an old codger who rekindles love for riding hogs, and the memorably titled “Your Love Is Like a Demolition Derby in My Heart.”
Drake’s passing came less than a year after the deaths of both of Then Came Bronson‘s producers, Robert Sabaroff and Robert H. Justman, and its most prolific director, Jud Taylor. So we have probably lost the opportunity to see proper documentation of this ambitious, if not wholly successful, effort, which was mainstream television’s only really sincere effort to capture the vibe of the Easy Rider-era youth movement.
Drake’s other noteworthy television credit was as one of four credited writers on “Par For the Course,” a script for the short-lived series The Psychiatrist that won a prestigious Writers Guild Award. The segment featured Clu Gulager as a professional golfer dying of cancer. Herb Bermann, a songwriter for Captain Beefheart and later a writer for S.W.A.T. and Wonder Woman, explained in a 2003 interview that “Thomas Y. Drake . . . was a dear friend, and [Jerrold] Freedman was the producer, and Bo May was his friend and the four of us put together this teleplay.”
But they didn’t quite finish. According to Roy Thinnes, the star of The Psychiatrist, the series had already been cancelled by the time “Par For the Course” went before the cameras, and the script had no usable ending. Producer/co-writer Freedman had already accepted his next gig, and his parting advice to the performers was, “Trust Steven” – as in Steven Spielberg, the episode’s twenty-three year-old director. With Spielberg’s encouragement, Thinnes and Gulager improvised a touching finale that was, in fact, wordless. Thinnes recounted this anecdote during the taping session for his Invaders DVD interview, and he told me that “Par For the Course” contained one of the finest performances of his career. It’s a shame the show remains locked away in the vaults today.
The Vancouver-born Drake may have been better known as a folk singer and songwriter – credentials which perhaps led to his recruitment for the counterculture-oriented Then Came Bronson. Drake wrote a number of classic Kingston Trio tunes in collaboration with Bob Shane, one of the founding Trio members, as well as “Ally Ally Oxen Free” (using the pseudonym Steven Yates) with Rod McKuen. Together with future soap opera actor Michael Storm, Drake founded the Good Time Singers, a folk group launched on The Andy Williams Show that released albums on the Capital Records label.
I dig the Trio, but I don’t really know enough to assess Drake’s importance as a musician. Perhaps my readers can enlighten me . . . .
Thanks to Del Reisman and Gregg Mitchell of the Writers Guild of America.
November 6, 2008
Veteran television writer and story editor Nina Laemmle died on August 12 at the age of 97.
Laemmle held long-running positions as the story editor of several top television shows during the sixties and seventies. From 1964-1969, Laemmle was the story editor of Peyton Place, and one of the three writers who mapped out the prime-time serial’s complex plotlines (the others were Del Reisman and, for a time, Richard DeRoy). From there, Laemmle moved over to Marcus Welby, M.D., where she was the medical drama’s “executive story consultant” during its first five seasons. Following that, she worked on Quinn Martin’s short-lived Tales of the Unexpected (1977) and became a controversial headwriter of the daytime soap Days of Our Lives in the early eighties.
Prior to her stints on those series, Laemmle had worked in the story department at Four Star, Dick Powell’s busy television production company, from about 1958 until 1963. In that capacity she was credited as the story editor on much of Four Star’s output, including Richard Diamond Private Detective, The Zane Grey Theatre, Target: The Corrupters, and The Lloyd Bridges Show.
Most television story editors were freelance writers who took staff jobs occasionally. Laemmle was one of a handful of story gurus who functioned more like a book editor, forging supportive relationships with writers and working with them to develop their material during long, collegial conferences in her office. On Peyton Place, the show’s youthful writing staff was divided on the value of Laemmle’s motherly but rigorous story meetings: some found it stimulating, others stifling.
Laemmle sponsored the careers of dozens of talented young writers. When I spoke to her very briefly in 2005, Laemmle seemed especially proud of having given Robert Towne (Chinatown, Shampoo) one of his first assignments, on The Lloyd Bridges Show.
Laemmle was born in England on November 20, 1910, with the memorable maiden name of Nina Dainty. Later, in Hollywood, Nina married Ernst Laemmle, a producer and the nephew of Universal Pictures mogul Carl Laemmle. When Ernst Laemmle died in 1950, Nina took a job as a secretary in the film industry to support her three children.
Nina Laemmle’s colleagues described her in terms that evoked the stereotype of the genteel English lady: classy, reserved, private.
Christopher Knopf, past president of the Writers Guild of America and a talented Four Star contract writer during the early sixties, established himself at the studio after Laemmle invited him to write for The Detectives. In 2003, Knopf described for me the atmosphere that Laemmle helped to create at Four Star:
Nina was very, very creative and helpful with the writers. She loved the writers. You could go in and talk story with Nina. You could say, “I’ve got a problem with this script.” She’d say, “Come on, let’s have lunch.”
Being under contract, you went either to a producer – they usually came to you – or you went to Dick [Powell]. Or you went to Nina first and said, “What about this idea?”
You could work on anything. You’d do pilots. They were given to you sometimes, or you created them yourself. Maybe Nina would call you, or you’d go up to Dick or Nina. Everybody knew everybody. It was just wide open. There were no cliques out there.
Del Reisman, another former WGA president and Laemmle’s colleague on Peyton Place, issued this statement yesterday:
Stories were her passion. All manner of stories. Stories from celebrated literature. Stories from the headlines. Stories from her own considerable life’s experience. She applied this passion to whatever project she worked on, from the highly theatrical Peyton Place, serialized for years, to the clean, clear narratives of Marcus Welby, M.D., semi-anthological, a new story each episode. In the most professional sense, she was obsessed, and offered one hundred percent of her restless mind to all who worked with her and for her.