Ben Casey Outtakes

October 4, 2013

In 1972, Bruce Dern asked for permission to leave the set of the science fiction film Silent Running, in which he played the lead, for two days in order to shoot a cameo in an upcoming John Wayne Western, The Cowboys.  During those two days, Dern became one of only a handful of actors to earn the dubious honor of killing John Wayne on screen.  (Of Wayne’s Westerns up to that point, only The Alamo saw him die at the end – and, of course, everybody died at the Alamo.)  Supposedly it was Dern’s idea to not only shoot the Duke, but to shoot him in the back.  When they heard that their star was about to become the most hated man in the movies, the producers of Silent Running panicked and declared that their movie had to come out before The Cowboys.  (It didn’t, and it wasn’t a hit.)

The director of The Cowboys was Mark Rydell, and had Dern not been released for those two days, he had a backup plan: Rydell would have used the star of Ben Casey, the television series that launched his directing career, in the small role that Dern ended up playing.  Blowing away John Wayne in a big movie in 1972 ended up as a footnote in Bruce Dern’s ascendant filmography but for the struggling Vince Edwards, it might have been an important career move.  His days as a leading man were over, but it’s easy to imagine an alternate cinema history in which Edwards turned character actor and played Al Lettieri-type roles – hulking, aging thugs, in other words – in some of the many action and neo-noir movies that came out of Hollywood during the late seventies and eighties.

That’s just one of the many tangents that I stumbled across, but didn’t have room to mention, while I was researching these pieces on Ben Casey and on Vince Edwards’s strange career as a TV director.  And because it’s what blogs are good for, I’m going to reheat a selection of this ephemera below.

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One of the things that entertained me about Vince Edwards was that the group of ragtag hangers-on that he cultivated.  Lots of insecure stars had such entourages but, perhaps because they were looking for ways to rake the churlish, interview-averse Edwards over the coals, journalists did an unusually thorough of enumerating and mocking these individuals.

Unlike that other movie star Vince – Vincent Chase, the fictional character (based on Mark Wahlberg) at the center of the recent TV series Entourage – our Vince’s entourage didn’t start with family.  Although he had six siblings, including a twin brother, Bob Zoino (who is apparently still alive), Edwards kept his family at arm’s length.  In fact, one of the ways he managed to look bad during the run of Ben Casey was by exchanging barbs in the press with both Bob (who was a bus driver while Vince was Ben Casey) and their mother, June.

Of the colorful characters who did follow Vince around and keep him entertained between takes and horse races, the closest  to him was Bennie “The Fighting Jew” Goldberg, a pint-sized former boxer.  Dwight Whitney, in one of two snide but detailed TV Guide profiles of Edwards, described Goldberg as the star’s “dresser, errand boy and general factotum.”  Born in Poland and raised in Detroit (like our friend Gail Kobe, a decade later), Goldberg lost the world bantamweight title to Manuel Ortiz in 1943, and died the day before September 11, 2001.  According to co-star Harry Landers, Goldberg was a thug who implemented various small-time cons to keep his boss in gambling money.  His Hollywood career included bit parts, usually as boxers, in John Frankenheimer’s All Fall Down and an episode of Cannon, and at least once on Ben Casey.  Here he is in that episode (“When I Am Grown to Man’s Estate,” 1965):

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Along with Goldberg, Edwards’s lackeys included a pair usually described as his “stand-ins”: Ray Joyer and George Frazier.  Joyer’s lasting claim to fame is as the orderly (below) who slams the gurney through the double doors at the start of the final version of Ben Casey‘s opening credits – a role he sought to exploit a year after Ben Casey went off the air, by suing Bing Crosby Productions in both state and federal court for residuals.  Alas, the trades didn’t report on the resolution of his case.  Joyer died young, around age 50, in 1975.  Frazier was an animal trainer who kept lions, and his experiences were the springboard for the Edwards-scripted-and-directed TV movie Maneater.  But, surprisingly for someone in such a colorful line of work, little else about Frazier turns up in the newspaper archives.

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But the most fascinating member of Edwards’s circle was one who escaped Whitney’s notice: a jack-of-all-trades named Marcus W. Demian.  Well, actually, his real name was Bernard Schloss, he was born around 1928, and more than Edwards’s other hangers-on, he seemed to have some artistic aspirations.  Demian was probably the screenwriter Edwards occasionally told the press he had on retainer to work up movie ideas for him when he was riding high.  Demian accrued writing credits not only on Edwards’s projects (Ben Casey, Matt Lincoln, and Maneater) but on Channing, some British TV series, and the movie Little Moon and Jud McGraw.  Demian was also an actor – below is an image of him in his one Ben Casey bit part – with screen credits as recent as 2011′s Bucky Larson: Born to Be a Star, in which Demian played “Old Man with Pig.”  Demian was also a restaurateur – a partner, in fact, in the early Los Angeles vegetarian restaurant the Aware Inn – and a master hypnotist.

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It gets better: In October 1966, Demian made the front page of the New York Times after he menaced his wife with an eight-inch ice pick after she leapt from his red sports car on Manhattan’s First Avenue,  And why was that front page news? Because the fellow who hopped out of his chauffeur-driven limo and took the ice pick away from Demian was Henry Barnes, the city’s traffic commissioner, who was 60 years old and a survivor of several heart attacks.  Demian fled, twice – first by jumping into the sports car and speeding away, and a second time by diving out a window when the police showed up at his nearby apartment.  The cops finally nabbed him a few blocks away and booked Demian on assault and weapons charges.

Oh, and the woman who almost got ice picked?  According to the New York Times piece, she was a television performer named Diane Hittleman, and she married Demian in Mexico in June of 1966 and dumped him three months later.  Well … maybe.  Also in 1966, there was a local TV program called Yoga For Health, featuring one Diane Hittleman (who also did yoga with Johnny Carson on The Tonight Show, and died in May).  At the time that Diane Hittleman, who was the same age as Demian’s Diane Hittleman, was married and had three children with her co-host, Richard Hittleman.  One has to wonder if the Times was giving Hittleman a break, and if Marcus picked up some bad habits from his famous (and famously womanizing) buddy.

Needless to say, I tried to contact Marcus Demian for an interview, but the phone numbers were all disconnected and the letters and e-mails bounced back.  If you’re out there, Marcus, we’d love to hear your Vince Edwards stories.

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Also present in the murky history of Ben Casey is another bizarre true crime story, one with echoes of the Leonard Heideman case that I wrote about early in the days of this blog.

“Wife Held For Murder in Film Editor’s Death,” read the May 8, 1962 headline in the Los Angeles Times, which reported that one Jeane Sampson, 40, had shot her husband to death during a struggle for a revolver.  The dead man, identified in the papers as John E. Sampson, 50, and usually credited on screen as Edward Sampson, had edited the pilot for Ben Casey and been the show’s head film editor during its first season.

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According to Jeane Sampson, she was a battered wife, and her husband had interrupted a suicide attempt.  She told the police that she was going to shoot herself because she “got tired of being used as a punching bag.”  The deadly chain of events began when Jeane Sampson called her parents in Palm Springs and told them of her plans to commit suicide.  They begged her to wait, but Jeane locked herself in the bathroom of their home (at 1103 Eilinita Avenue in Glendale) with a revolver and the couple’s only child, ten year-old Terry.  Edward Sampson heard the commotion and went to investigate.  Terry screamed through the bathroom door to her father:  “Go away, Daddy, or you’ll be hurt.”  Daddy should’ve listened.  Instead he broke down the bathroom door and then – blammo.

Jeane Sampson was arraigned for murder the following week and a hearing was set for the fall.  She didn’t make it.  On August 13, Jeane Sampson took a fatal overdose of barbiturates.

The Internet Movie Database has Sampson’s date of death wrong and so I don’t entirely trust their list of his credits, which includes the TV series Disneyland and Lassie and several juvie B-movies (one of which, 1955′s The Fast and the Furious, he evidently co-directed).  Sampson also shot some second-unit hospital footage for Ben Casey.  On the same day it published his obituary, Variety noted separately that producer Stanley Kramer’s upcoming feature A Child Is Waiting would include stock footage of a baby’s birth, filmed by Sampson for the Casey episode “I Remember a Lemon Tree” (one of the two written in part by Marcus Demian!).

And yes, I did try to find out what happened to Terry Sampson (whose birth in 1952, when her father was working at Paramount, had been announced in Variety).  But – perhaps fortunately – I didn’t succeed.

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Next week, I’ll conclude our Ben Casey coverage with a interview feature.  No, you’ll never be able to guess who the two subjects are – and in fact, I’m still as surprised as I am delighted that I found them and that they remembered so much.  Tune in….

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“Why not directing?  There’s no big mystery about it.  It’s – well, it’s just having a point of view and – and a certain amount of selection and taste.”

– Vince Edwards

Last month, I wrote about the problems of writing about television direction.  With the auteur concept in film criticism, the collaborative nature of the medium becomes a dangerous trap: how do we determine, through research or comparison, which decisions were made by the director rather than by the writer, the cinematographer, the actors, or the editor?  Television multiplies that problem by sheer volume – most directors racked up a hundred or more TV episodes during their career – as well as access – logistically, how many of those hundred or more shows can be located and screened in quick succession?  Compounding the daunting element of scale is the assumption that television is not a director’s medium.  More than in feature filmmaking, the director’s role is proscribed, with producers, stars, and editors routinely making decisions that would typically fall to the director in cinema.  The process of discerning a television director’s personal style is a kind of reverse engineering.  It’s not enough to study Director X’s episodes of many different series.  One also needs to look at other directors’ episodes of the same series, as a means of identifying which touches are unique to Mr. X and which might be part of a given show’s overall “house style.”  And, perhaps, familiarize oneself with the unquantifiable work of many actors: how are they different under Mr. X’s direction than under someone else’s?

The fraternity of fanatics who have seen enough television to be qualified to undertake such studies is small.  I’m one of them, but even I find the prospect intimidating.  In the back of my mind, I have a list of a dozen or so episodic directors active between the fifties and the seventies who consistently delivered first-rate work.  But it would take a pretty big research grant to fund the hundreds of hours necessary to write authoritatively about even one of those bodies of work.

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Which brings us to Vincent Edwards, the star of Ben Casey, and also an occasional director of television segments.  Edwards might seem an unexpected choice to serve as our guinea pig here, but there are certain factors that make him well-suited to our purpose.  First, his videography is manageable: he helmed only about twenty-two hours of television across nearly thirty years.  Second, he was famous, which means that we have access to more biographical information than we would expect to find for a rank-and-file television director.  Third, the case of the television-star-turned-director is a fairly specific phenomenon that recurs across the history of successful TV series, and we may be able to benefit from certain generalizations about how it happens, and what the results tend to be.

The other factor that makes Edwards interesting is that he’s something of an extreme case.  Edwards came to mind when I was reading reviews of a Mad Men episode directed by John Slattery (who, like his co-star Jon Hamm, has become one of the series’ regular directors).  One mentioned Slattery’s “lovely lyrical images,” another his “usual visual flair.”  The seven episodes of Ben Casey that Edwards directed are also precociously cinematic.  In fact, Edwards’s kid-in-a-candy-shop infatuation with the camera and its possibilities is so manifestly in evidence that his work on Ben Casey has attained a tiny cult following among the handful of aficionados who pay attention to such things.  (The post seems to have been swallowed by the internet, but Edwards-as-director came in for a round of both admiration and scorn a few years back in one of the discursive discussions on auteurist extraordinaire Dave Kehr’s blog.)

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“I just went up [to the producers of Ben Casey] and said, ‘I wanta direct a show.’  They said, ‘OK, we’ll find a script.’”

– Vince Edwards

The script that Edwards pulled was a heavy female melodrama called “Dispel the Black Cyclone That Shakes the Throne.”  The patient of the week was one Clarissa Rose Genet (Mary Astor), a reclusive opera star whose comeback has been thwarted by blindness (because blind people have never become successful recording artists) and also by the controlling impulses of a live-in manager (Eileen Heckart) who prefers that her solo client remain as helpless as possible.  Although Clarissa’s heterosexuality is carefully established by the introduction of an old flame (James Dunn), it’s implied that the hysterical, unsympathetic manager, Polly Jenks (Eileen Heckart), is motivated in part by an obsessive same-sex attraction.  Can Dr. Casey untangle all these unhealthy attachments and convince Clarissa to have the surgery she requires?

“It needed – uh, fluidity,” said Edwards of this rather lugubrious outing.  “Fluidity” translated into a range of showy, often unmotivated camera movements.  Fittingly for someone with a megastar’s ego, Edwards began his directing career on a crane: “Cyclone”’s cold open commences with a crane down into Clarissa’s cavernous foyer, and then a two-minute long-take in which Polly and a doctor (Wilton Graff) outline some of the basic facts of the plot.  Edwards tries to enliven several routine dialogue scenes by sending the camera on a slow, circling prowl around the actors.  There’s a distracting fast pull-back on Astor during a scene in which she makes a pivotal shift in loyalty, from Polly to her estranged, alcoholic daughter (Luana Anders), and an equally flashy zoom in on Heckart at the moment when Polly learns she has been fired.

Amid the expected overzealousness of a freshman director, though, there are good instincts.  Edwards creates a number of stark, forceful close-ups on his actors:

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“Where does the shadow go when the sun has set?” is the last line of the episode – Polly’s, as she contemplates an empty life after her break with the healed Clarissa.  Edwards creates a literal correlative for this line, a dramatic final image in which the camera pulls back, isolating Heckart in a shadowy hospital corridor amid a row of bright spotlights extending into the background.  No actual hospital anywhere in the world, it’s safe to say, has ever employed a lighting scheme of this sort.

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Edwards’s second episode, “For a Just Man Falleth Seven Times,” concerns dying businessman Thomas Hardin (Lew Ayres), who experiences a burst of strength and euphoria during his final hours.  Once buttoned-down, now impulsive, he goes forth into the seedy side of town and proposes marriage to a coded prostitute (Lee Grant).  Edwards tries out more ambitious compositions in the red light district sequences: a handheld camera following Ayres as he walks through the scuzzy streets, a god’s-eye point of view to establish a waterfront dive.  The circling pans from “Cyclone” recur, and Edwards sets up several compositions that can be called signature shots.  The most evident is a positioning of actors at right angles in different planes, which creates a dramatic depth of field and also allows Edwards to eschew the standard shot-reverse shot grammar of the television conversation.  Here it is in “For a Just Man”:

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And an earlier instance in “Cyclone”:

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Amid the show’s rudimentary sets, Edwards sought out striking places to put the camera.  In “For a Just Man” he positions Grant and Sharon Farrell (playing Ayres’s daughter) behind the fence that surrounds the upper-floor terrace (an indoor set) where patients are often seen recuperating.

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An identical shot recurs in Edwards’s next episode, “Every Other Minute It’s the End of the World”:

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The ninety-degree positioning of actors reappears in “Every Other Minute,” too:

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“Every Other Minute” is a convoluted story about a teenaged girl (Patricia Hyland) who’s going blind as a result of diabetic retinopathy; the twist is that her father (Francis Lederer) is a survivor of Nazi medical experimentation and thus vehemently opposes the experimental procedure that Dr. Casey proposes to save Hyland’s eyesight.  The script never recovers from that cringeworthy (in)convenience, not even after a wild second-act curveball.  Edwards, rather like Dr. Casey, is hell-bent on experimentation, most of which does not spring organically from the material.  There’s an attention-grabbing move in a scene between Casey and the German refugee, in which the camera suddenly whirls around a hospital wall and places the two actors in silhouette, behind the window.  The dialogue at that moment is routine; nothing in it compels such an extreme shift in emphasis.  (Casey even turns off an overhead lamp for no reason, except to make the lighting more dramatic.)

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Edwards also sets up some odd shots in a scene where a frantic Hyland go-go dances herself into a coma.  At one point, Edwards creates an impossible image, intercutting overhead shots of the dancers with low-angle shots taken from a hole in the floor (which is, of course, not evident in the wider shot).  A moment later, Hyland appears to be positioned upright against a wall, even though her character is supposed to be lying on the floor.  These shots are disorienting, but without evident purpose.

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Hyland, of whose brief acting career Ben Casey was one of the high points, recently spoke favorably of Vince Edwards as “a lovely, generous director” who instilled “a warm sense of trust in her.”  Fifty years earlier, Eileen Heckart offered a similar endorsement of Edwards’s first time behind the camera: “I didn’t think much of the script, but he was brilliant.  He’d done all his homework.”

All of Edwards’s first three directorial turns feature not just strong performances but, notably, strong performances by women.  In “Cyclone,” the two leads deliver work that’s well within their range – Astor world-weary and formidable, Heckart sharp and shrewish – but there’s also a fine, fragile performance by Luana Anders (below) as the neglected, wistful daughter.  In “For a Just Man,” solid, enjoyable work by Lew Ayres is upstaged by the two younger women in Hardin’s life: open-faced Sharon Farrell, playing Cordelia to Hardin’s lear, and Lee Grant as the waterfront wife, bitter but secretly vulnerable.  (Farrell was dating Edwards at the time; Grant took a similar approach to a similar character two years later on Peyton Place, and won an Emmy for it.)

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It’s commonly assumed that actors who become directors will function best as actors’ directors, and Edwards seems to succeeded in that regard.  “People who are actors often know how to deal with actors really well.  They don’t treat them like a light fixture,” said Hyland.  “There’s just a little more rapport.”  But another, less intuitive scenario is that actors will take performance as something already mastered, and become more consumed initially with mise-en-scene, because it’s the aspect of the job that’s new to them.  This was true of Vic Morrow, the Combat star who started directing for his series a year after Edwards, and of Sydney Pollack and Mark Rydell, two young character actors who initiated a permanent transition into directing on Ben Casey – and of Edwards as well.

Compared to what came before, Edwards’s next three episodes – “Eulogy in Four Flats,” a quasi-comedy about an old con man who fakes illness so that his neighbors will take care of him; “Three L’il Lambs,” an unsold backdoor spinoff about three newly-minted residents of varying skill and commitment; and “Run For Your Lives, Dr. Galanos Practices Here,” a silly, cliched yarn about the generational conflict between an aging Latin American revolutionary and his assimilationist doctor son – were comparatively restrained.  The signature shots are still in evidence – for instance, the god’s-eye point of view in “Eulogy”:

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And the ninety-degree positioning of actors in “Three Li’l Lambs”:

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But the eye-catching set-ups are less evident.  In fact, only this restricted composition in “Three Li’l Lambs,” which emphasizes one character’s anxiety about his professional performance and echoes the earlier behind-the-fence set-ups, stands out.  (It’s also another long take that allows a two-person conversation to play out without cuts.)

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A laziness begins to creep in: “Eulogy” contains a twenty-three second shot of Edwards descending a flight of stairs, a shot duration which (along with some of the endless dancing scenes in “Every Other Minute”) suggests that Edwards’s episodes may have come in short.  “Galanos,” in particular, is almost entirely conventional in its lighting and composition.  And the performances are uneven: Norman Alden is quite moving in the scene shown above, in which his character expresses uncertainty about the choice of medicine as a career, but he conspicuously overplays an earlier scene in which the character botches a diagnosis.  Was Edwards passing out of his experimental phase and trying out a more conventional style?  Or was he simply getting bored?  Did it matter that none of his second three episodes included female roles as prominent as those in the first three?

If there were only six Edwards-directed Ben Casey segments, they would form a predictable arc from novice’s enthusiasm into easily-distracted TV star’s boredom.  But there’s a seventh, an episode called “If You Play Your Cards Right, You Too Can Be a Loser,” which is as overstuffed as its title and as gloriously, wonderfully, touchingly self-indulgent any television episode ever has been.  Into it, Edwards crams every crash zoom, Dutch angle, ostentatious dissolve, extreme overhead angle, and action-framed-by-a-random-object-in-the-foreground composition that he can muster.  (A very small selection of them appears below.)  It is his “Wagon Wheel Joe” moment.

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What to make of “If You Play Your Cards Right”?  Some of Edwards’s excess is justified by the delirium that is periodically experienced by the central character, a glue-sniffing wife-beater (!) played by Davy Jones (only months before he turned into a Monkee).  Much of it, though, seems to be an expression of disinterest or contempt toward the material, which is difficult to fault.  The script is tawdry and unsubtle, and Jones’s fatal miscasting sinks what ever chances it had; there isn’t even a bit of throwaway exposition to reconcile his British accent with the American ones in which the actors (John McLiam and Louise Latham) cast as his parents speak.  In its final season Ben Casey morphed into a serial, and one could argue (perhaps feebly) that the splintering of episodes like “If You Play Your Cards Right” into three or four discrete subplots invites a disorienting mise-en-scene.  And there’s one other X factor, the replacement of the long-time cinematographer Ted Voigtlander with his former camera operator, William T. Cline.  But Cline’s imagery in the fifth season is generally no more adventurous than the gifted Voigtlander’s had been, and other directors’ episodes in that year are far more sedate.  Plus, there is evidence of a clash between Cline and Edwards.  (In his memoirs, producer John Meredyth Lucas claimed that Edwards packed on the pounds in between seasons, then scapegoated Cline for making him look fat after the need to slim down was pointed out.)  When Edwards went off the directorial rails, it was his own doing.

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The initial assumption one makes about TV stars who begin directing their own shows is that they do so purely as an expression of ego.  (“Isn’t directing a TV show that you’re acting in an exercise in vanity?” is how The Atlantic put it, rudely, to Slattery last year.)  Perhaps.  The actors who launched abortive directing careers off their long-running hits often tend to be the same stars who used their clout to seize control of those shows and push out the original creative teams – for instance, Richard Boone on Have Gun Will Travel and Alan Alda on M*A*S*H.  Edwards falls into this category to the extent that, after Ben Casey became a hit, the show’s set ran according to his whims.  Although there’s no evidence that Edwards controlled the hiring of producers, or influenced story content, as Boone and Alda did, there was little question of anyone saying no when he expressed the desire to direct.

But it’s important to consider the context behind Edwards’s career move.  Ben Casey’s initial producer, Matthew Rapf, was committed booster for young talent and the series was a training ground for aspiring directors from the beginning.  Sydney Pollack did his first important television work on Ben Casey, and then paid that forward by inviting his friend Mark Rydell out from New York for an on-staff apprenticeship as a director-in-training.  Pollack and Rydell in turn became mentors of sorts to Edwards as he prepared to direct.  Crucially, in the years just before Ben Casey, Edwards had the good fortune to work as an actor for some of the most promising filmmakers in Hollywood.  He’d garnered some acclaim for leading roles in two existential, quasi-independent films noir (Murder by Contract, 1958; City of Fear, 1959) directed by Irving Lerner, who (presumably at Edwards’s behest) became a regular director on Ben Casey.  Edwards appeared in The Night Holds Terror (1958) with John Cassavetes, who remained a friend and cast him in a memorable cameo (as a dumb lug who beats up a whole jazz combo in a long pool-hall confrontation) in the second feature he directed, Too Late Blues.  And Edwards was in The Killing (1956), and always spoke proudly of having working with Stanley Kubrick.  A smart observer – and Edwards, whatever his other flaws, was anything but dumb – couldn’t help but absorb some of the creativity and enthusiasm of these men.

Edwards shot home movies and other films with a personal eight-millimeter camera, and became an avid shutterbug; according to his second wife, the actress Linda Foster, Edwards’s still photographs displayed an excellent eye for composition.  (Notwithstanding that a sneering TV Guide article suggested that Edwards mostly enjoyed photographing the pretty nurses on the set of Ben Casey.)  Foster and others suggested that Edwards’s interest in directing was not an indulgence but, in fact, a remedy for some of his diva behavior on the Ben Casey set.  The more cerebral task of directing diverted his attention from the excesses of stardom and other personal problems and refocused it on the work.  “Vince was volatile but when it came directing he quieted right down and got to work.  And he worked hard at it,” said actress Kathy Kersh, who was briefly married to Edwards during Ben Casey and appears in “Three Li’l Lambs.”

Asked if Edwards was a cinephile, Foster said no, but noted that his filmgoing was highly focused.  “He’d say we’ve got to go this or we’ve got to go see that.  It was quite specific.  He was never a ‘let’s go to the movies’ type of person.  The only movie I remember he liked [in the seventies], he was crazy about Stallone and Rocky.”  Earlier, in a 1966 interview, the actor cited at least one influence that suggested he’d been paying attention to new developments in the cinema: Richard Lester’s peppy mod comedy The Knack … And How to Get It, which opened in Los Angeles in July 1965.  Given the chronology, The Knack almost certainly explains the left turn in Edwards’s style between “Dr. Galanos” and “If You Play Your Cards Right.”  In that interview, Edwards complained about “old-school” (his words) directors who “are so determined to keep the picture in frame that everything becomes ‘static’” (the reporter’s paraphrase, apart from the last word).  Lester seems to have liberated Edwards as a visual stylist.

Unfortunately, at the same time, ABC liberated the actor in a different way: they cancelled his show at the end of the 1966 TV season.

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“[Directing] brings a different sort of adulation.  Kazan isn’t mobbed by teen-agers.”

– Vince Edwards

However much Edwards might have enjoyed his work on the back end of the camera, becoming the next Elia Kazan wasn’t on his mind when Ben Casey went off the air in 1966.  His priorities, according to a 1965 TV Guide interview, were marriage, kids, and a movie career.  Edwards left Ben Casey with a three-picture deal at Columbia and a successful nightclub act that he’d originated during his summer vacations.

Edwards also had a crippling addiction to gambling – specifically, horse racing – one that had been amply covered in the press and that earned him a reputation around town for epic unprofessionalism.  He regularly bolted from the set during the middle of the day to go to the racetrack, and even though he’d made millions off of Ben Casey, he was always putting the touch on friends and co-workers for a loan.  His lazy attitude towards acting didn’t help, either.  While rival TV doctor Richard Chamberlain, also a wooden unknown when Dr. Kildare made him a star, studied the craft and grew into an acclaimed performer, Edwards clung to the snarl and the somewhat smarmy charm that landed him the Ben Casey role.  His one-expression-fits-all acting was fodder for nightclubs’ and columnists’ wit.  After the three films he top-lined flopped, Edwards had nowhere to go but back to television.  If you play the ponies wrong, you too can be a loser.

In 1971, Edwards starred as a psychiatrist in Matt Lincoln, a clear attempt to recreate the magic of Ben Casey; it failed after one abbreviated season.  In the meantime Edwards had married (twice) and fathered three kids; with movie and now even TV stardom eluding him, he’d tried all of those goals he enumerated in 1965.  Directing worked its way back to the top of the list.  One of the last Matt Lincoln episodes was his first directing credit in five years, and his deal with Universal (which produced the series) extended to the closest thing to an auteur effort in Edwards’s videography.  Maneater (1973), starring Ben Gazzara and Sheree North, was the first project that Edwards directed without also acting in.  He originated the telefilm himself.  The story idea about tigers on the loose came from a crony and former stand-in, George Frazier, who had been an animal trainer, and Edwards wrote the teleplay with another member of his entourage, an occasional Ben Casey writer named Marcus Demian.  (Horror master Jimmy Sangster did a credited rewrite.)  Cecil Smith, TV critic for The Los Angeles Times, wrote that Edwards “builds a fine sense of tension” in his direction, but Maneater earned little attention and mixed reviews.

According to Foster, Edwards expressed a preference for directing over acting more than once, and “tried to develop a couple of things,” but Maneater became the only film or television project that he would originate.  During the seventies, Edwards’s always precarious personal life took a nose-dive.  He’d been to several psychiatrists to try to control his gambling, but always ended up ditching the sessions and heading to the track.  Foster divorced him after nearly a decade of marriage, because of the gambling, and in 1976 he filed for bankruptcy.

It’s likely that most of Edwards’s directing credits after Maneater were undertaken primarily out of financial necessity.  He enjoyed a parallel career going back and forth between acting and directing, but most of the directing gigs came from producer friends; Edwards never established himself as a sought-after director.  Nearly all of his episodic directing during the seventies and eighties traces back to either David Gerber, Aaron Spelling (a pal since the sixties who called Edwards his “itty-bitty buddy,” and with whom Edwards shared a business manager), or Glen A. Larson (at whose Hawaii estate Edwards married his third wife in 1980).

Most of those shows, with the exception of Gerber’s Police Story, can be charitably called junk, and Edwards was no longer the biggest wheel on the set but, now, just another down-on-his-luck journeyman director.  Ten years after the impossible object that is “If You Play Your Cards Right, You Too Can Be a Loser,” do we find anything of the old exuberant Vince Edwards, cineaste, in the likes of Larson’s pablum?  Surprisingly, yes – if only a glimmer.

It’s harder to analyze performance in the likes of BJ and the Bear and The Fall Guy than in Ben Casey.  Most of the shows Edwards directed in the seventies emphasize action and spectacle over character-driven drama.  Of the seven Edwards-directed segments I was able to view, the most accomplished performance came from a young actress: Anne Lockhart (below), playing the guilt-ridden girlfriend of a villain in a two-part Hardy Boys.

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Lockhart also turns up in Edwards’s Battlestar: Galactica two-parter, “The Living Legend” (which inspired perhaps the high point of Ronald D. Moore’s remake of that series, making it, in hindsight, the most significant of Edwards’s later directing efforts), giving a less polished performance but still a striking, sexy one.  Lloyd Bridges, the primary guest star in “The Living Legend,” does all the things you’ve seen Bridges do a hundred times before, but Edwards assists him with a shadowy entrance that foreshadows the direction his character will turn:

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Edwards’s other excursion into the Battlestar empire was a single episode of Galactica 1980, “The Super Scouts Part 1.”  In one shot Edwards revives the familiar right-angle positioning of actors that he used repeatedly in Ben Casey:

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“Super Scouts” also brings back another favorite Casey tic, the slow circling pan, which is why this child actor ends up addressing Lorne Greene over his shoulder in their scenes together:

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Greene and the boy have scenes together on the same set in the second half of this two-parter, which was directed not by Edwards but by Sigmund Neufeld, Jr.  While the gauzy fog filter is used there, too, the camera remains static in Neufeld’s scenes.  Thus Galactica serves as a rare petri dish in which elements of house style (the filter) can be distinguished from choices made by individual directors (the camera movement).

There are new techniques, not evident during Ben Casey, that Edwards favors in the seventies shows.  Here’s a close-up of Lorne Greene from “The Living Legend” in which the actor is positioned toward one side of the frame while others bustle out-of-focus in the background in the other half of the image:

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A nearly identical set-up occurs at least three times in Edwards’s episode of BJ and the Bear, “Silent Night, Unholy Night.”  Edwards also displays a facility for staging action in real locations, something that Ben Casey – which very rarely left the soundstage – afforded little opportunity to do.  Scenes shot in a bank and a department store in “The Super Scouts Part 1” and on the USC campus in Edwards’s episode of David Cassidy – Man Undercover capture more of the flavor of those locations than one typically observes in television location shoots.  The “Super Scouts” sequence in which Barry Van Dyke “accidentally” robs a bank builds a unexpected amount of tension as it progresses.  As a standalone sequence, it’s more effective than the banal story into which it’s integrated.

Edwards’s rebirth as a TV director fizzled out in the early eighties.  There was one outlier, an In the Heat of the Night episode in 1990, and then nothing.  According to Linda Foster, he never defeated his addiction to gambling.  “He never was going to be a serious filmmaker, because he was too interested in the sixth race at Santa Anita,” said Mark Rydell, who noticed Edwards’s divided focus even as he began preparing for his first turn as a director.  “He was a little bit like a rabbit running around rabbit holes.  I don’t think he had the patience and discipline to see things through half the time.  And he’d get frustrated and take himself off to the racetrack,” said Foster.

“The ultimate satisfaction in film is the director’s.  I love it,” said Edwards in 1973, in what may have been his final recorded statement on the subject.  “But it’s two months’ work for two weeks’ pay.  As an actor, you come in to do an 11-day TV movie, take the money and run.  You can’t do that as a director.  At least I can’t.  I have to be involved every step of the way through post-production up until it’s on the air.”

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Sources (in addition to linked text above): Dwight Whitney, “Anybody Know What Kind of Mood Vince-Baby Is in Today?” TV Guide, April 4, 1964; Whitney, “Vince Baby Plays It Cool,” TV Guide, February 18, 1967; Cecil Smith, “Will Ben Casey Make a Comeback?” Los Angeles Times, December 6, 1973; Kathy Kersh interview in Tom Lisanti and Louis Paul, Film Fatales: Women in Espionage Films and Television, 1962-1973 (McFarland, 2002); John Meredyth Lucas, Eighty Odd Years in Hollywood: Memoir of a Career in Film and Television (McFarland, 2004); and July 2013 telephone interviews with Patricia Hyland Tackett, Mark Rydell, and Linda Foster Winter.

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