April 12, 2013
Best remembered for his existential chase movie Vanishing Point (1971), Richard C. Sarafian remains one of the neglected figures of the New Hollywood era. Before he moved wholly into feature filmmaking in the late sixties, Sarafian spent eight years on the A-list of episodic television directors, starting with a brief stint at Warner Bros. A veteran of industrial filmmaking in the Midwest, Sarafian was thirty when he went to Los Angeles and directed his first television episode. He rotated through almost all of the Westerns and private eye shows that were the studio’s mainstay, but concentrated on Lawman, a half-hour horse opera starring John Russell and Peter Brown that still has a small cult following today. During his third year at Warners, The Gallant Men joined the studio’s roster; Sarafian directed nine of the twenty-six episodes. In a telephone interview last month, Sarafian shared his memories of working on the short-lived World War II drama.
How did you land on The Gallant Men?
I got a contract after having directed one episode of a Western called Bronco. They appreciated the fact that I was a first-time director and did well, and signed me to a seven-year contract. So I was a contract director at Warner Bros. at the time, and I did maybe sixty or seventy Westerns. Somewhere in the mix was The Gallant Men.
The pilot was directed by Robert Altman. I’m his brother-in-law, but that had nothing to do with it. I was just a good director. I mean, I considered myself a pretty hot TV director, and the network, ABC, really liked my work. And while I was doing Gallant Men, Robert Altman jumped onto Combat. Basically, I was in competition – it was unwritten, between Robert Altman and myself.
Who do you remember among the cast of The Gallant Men?
Richard Slattery was one. He was a hard-drinking Irishman. Bill Reynolds, he in every way I think fit the character in his personal life as well as in his role within the series. Robert McQueeney had the texture of someone that would fit that role. I can remember his face a little bit, in that he had acne.
What about Eddie Fontaine?
Eddie Fontaine fit the character, and he could sing. After work there was a place nearby where he would go and sing. He had a pretty good voice. But he was definitely “street,” and Italian, and had natural charm.
And Robert Ridgely?
Yeah …. He was a sycophant. He had his nose so far up Robert Altman’s ass that it was bleeding. So, naturally, after he did the pilot with Bob Altman, he remained loyal to him. None of that really meant anything to me, nor was I aware of – I knew that they maintained a relationship, and it wasn’t until [years later when] my sons were at a party where he was trying to undermine me to Bob, and because my children were there, Bob took offense at that and didn’t want to hear it and came and spent most of the time with my kids. Ridgely was a toady.
Did you have trouble working with him during the production of The Gallant Men though?
I never had trouble with anybody. Nobody ever gave me a hard time. I was too strong a director to be countermanded. I had earned the respect of all of them, because I credit myself as – I liked actors, and later on I acted myself, and I probably should have done it earlier on. But I was sensitive to their fears, their insecurities.
The Office of Army Information sent someone from the Pentagon to be an advisor, and I told my cast, I says, “Tell this guy that I was a Medal of Honor winner, that I killed thirty-four North Koreans with an entrenching tool after I lost my bayonet.” We were going to meet him in a local joint where we all gathered after a shoot. So he came down and I was introduced and he stood up erect and saluted me. Anyhow, he would put his hand over the lens if he didn’t think that the moment I was shooting was in the army rule book. Well, I stopped that very quickly. How dare he, you know, censor my work! That’s something you don’t do during a shoot. If you have the power, you might do it later, but not when I’m working.
Richard X. Slattery in “Signals For an End Run.”
Essentially you alternated episodes on The Gallant Men with another director, Charles Rondeau. What can you tell me about him?
He was a colorful, very competent director. He loved cars. I would see him with a new one every two or three months. Once I was sitting with him at a local bar where we went after work, and he said to me, “What is ‘debriss’?” I said, “What do you mean?” He said “Every time I read a script, it says, “The streets are covered with debriss.” I said, “Charlie. Debris! It means trash and broken buildings.”
Anyhow, Charlie was fun to be around, and actors felt comfortable with him. Charlie was a good director. He knew where to put the camera, and when to say cut. You had to know when you got it – when it was done, and you were able to yell out, “All right, let’s move the camera. That’s it. Print it.” He and I alternated, and competed in a way. I mean, we had no way of choosing the scripts. They were just handed to us.
In what way did the two of you compete?
I always wanted my shows to be the best, in terms of style and performance. But the cast carried it through. It was an interesting ensemble of people. One of the major contributors creatively was Bill D’Angelo. I think he helped orchestrated the quality of the scripts. He, and his superior was somebody by the name of Richard Bluel.
Bluel was the producer of The Gallant Men.
Bluel was the producer, but the real producer in terms of casting, and who had his thumb on the quality of the shows, was Bill D’Angelo.
That’s interesting, because William P. D’Angelo (later of Batman) wasn’t credited at all, except with a story credit on one episode.
He may have written some of them, but why he wasn’t credited was just the way things go. I don’t think he ever cared. But he was there, working with Richard Bluel, as his sort of sidekick and confidante and creative ally.
Were they good producers?
They were fun to be around. I liked anybody who liked me! That was the main qualification: if they liked me, they appreciated me, and they didn’t lean on me too hard, and I had gained their trust, that’s all I cared about.
There was always the pressure of not only making a good show, but bringing it in within the parameters of the amount of time and money. I remember asking Charlie Greenwell, the head of production at that time, “Charlie, if we took out all the special effects, if we took out all the extras, if we distilled the show down to its barest minimum, how much would it cost?” Because they complained that the budgets were too high.
He said, “$92,000 per episode.”
I said, “Well, strip it. Strip it of all the whipped cream.” Strip it of all the special effects, the construction, and whatever else goes into creating an episode. The basic cost would be $92,000. You couldn’t bring it in for any less than that. [Variety reported the show’s budget as $114,000 per episode – incidentally, $6,000 more than Combat, which arguably looked like the more expensive show.]
So I enjoyed the series, the cast, the production people, Hugh Benson, who worked as the associate with William Orr, who was the head of television production. Bill D’Angelo, I think, was my main ally and fan, and really appreciated my work. I was able to work on the show with the security of knowing that I was appreciated. I could pretty much resculpt the scripts if I felt there was the opportunity for further improvement.
Do you remember your directors of photography, Jack Marquette and Carl Guthrie?
Carl Guthrie sat in a chair and was able to instruct his electricians by hand motions. Never got up out of his chair. Never took out a meter. He was an old-timer.
How would you describe your visual style, early on, when you were doing the Warner Bros. shows?
Well … adding pace. I learned early on that I was a pretty good editor. When I was an embryo director, I was sitting in a bar, and there was a guy sitting next to me who had drank too much. His name was Bill Lyon. We got to talking. I told him I was a director and he said, “Oh, shit.” He said, “Let me give you a bit of advice, kid. When you cover a scene, move the camera. Move it a little bit. Change the angle.” That was, of course, good advice. And he said, “Second, let me tell you. Every time you make a cut, there’s got to be twelve reasons for making a cut. Either in terms of story, or nuance, or motion. But there should be more than just one reason, not just arbitrarily make the cut.” And this was advice given to me by an Academy Award winning editor [for From Here to Eternity and Picnic].
And one of my closest friends was Floyd Crosby. Floyd, early on in his career [shot] films for Murnau and was a cinematographer on a film called Tabu, and had worked also with Flaherty, the documentarian. He was the cinematographer on High Noon. I was able to get him to come to Kansas City and he guided me through my first effort in directing a movie that I wrote [Terror at Black Falls]. Floyd was my mentor and became like a father figure to me, guiding me if I had questions. The one main [piece of] advice, and the one thing that he hated was for me to shoot into the sun and flare the lens. Later on that seemed to be okay, and was a technique that some directors [used].
But everything had its own needs. What I liked to do was rehearse and then allow the actors to have a lot of leeway, and not have them worry about hitting their marks. I never restricted the actors to meeting chalk marks. So I gave my actors a lot of freedom, and I also was pretty adept at improvisation.
Did you have that luxury to rehearse even on the early Warner Bros. shows?
Yeah, pretty much, but not to the extent that I did later. Within every moment there’s an improvisational opportunity that comes up. I think back on Gallant Men when I didn’t take the advice of Richard Slattery, who had a thing that he wanted to do, and I said no. This was a moment where they were in some sort of tight situation with the Germans, and he ended up with the hat of one of the German officers, and as they marched away for the final moment, he says, “Can I throw the hat away?” And I said no. And to this day, I regret the fact that I didn’t allow him to do that, to let him throw the hat away and while it was still kind of shaking or wobbling on the dirt road, with the troops moving off into the distance, that the final moment was on the German hat. I mean, maybe it doesn’t sound like much, but it was a touch that I think would have been a much better denouement.
I remember the show and how much hard work I devoted to it to give it reality. I remember trying to get a child to cry, that Eddie Fontaine was holding in his arms, and telling the child not to cry, but to laugh. That was able to produce tears, because it unlocked him. That’s how I got lucky, in terms of finding the key to getting the emotion out of the child.
Eddie Fontaine and guest star Anna Bruno-Lena in “Retreat to Concord.”
Where was the show filmed?
It was all shot on the backlot. Some of them were shot in Thousand Oaks. We did some battle sequences there, where we needed more terrain. But as far as the “debriss,” all the debriss was on the backlot. There was one formation of rocks, part of it was called the B-52 rocks, and we were able to – we had a pretty good art director, I think his name was William Campbell – and he was able to create the illusion of being somewhere in the streets or in the trenches during that moment in history.
Were you able to get into the editing room?
There was nothing that could stop me! One of the editors that I remember was Stefan Arnsten. He had lost one leg in the Second World War. But I didn’t have the time, really, to spend as much time as I would [have liked with the editors]. You pretty much finished the show and jumped right on to another. You would look at the first cut, give some suggestions, and that’s it. But so much of the editing is driven by the way you shoot a scene and how it’s covered. It’s not like I gave the editor a lot of choices. You pretty much were locked in to my style.
Did you like The Gallant Men? Was it a good show?
Pretty much. Did I like it? Of course. I don’t see how I can say I didn’t like it. I thought that the show was pretty well-crafted, based on bringing reality to that period in time, in terms of the sets, the locations, and the details that we were able to bring to each episode. But in my early career, early on, I was scared to death most of the time. Not to the extreme that I just described, but scared that I could not deliver both quantitatively and qualitatively the show that I had envisioned. And bring life to the words.
So who won that rivalry with Altman?
I had to respect his style of shooting, and his cast. Vic Morrow was a friend of mine. Altman brought his gift to Combat, and I couldn’t compete with that. Altman knew how to shoot. Altman could should them himself – he could get behind that camera, and he could get into the editing room, and he had a free style of shooting. He was able to get the respect, the attention of all of his cast. So he did a hell of a good job. It was just two different types of shows. I think that Altman’s shows were better, more realistic, with a better cast.
And when The Gallant Men was cancelled after just one season, were you unhappy?
What I was unhappy [about] was that the whole studio was cancelled! It wasn’t just my show. It was The Roaring 20s, it was the Westerns. I had my ham hand in all of them. Jack Webb came in, and he was the broom. It was his job to cancel those shows. ABC was very unhappy with what Warner Bros. was doing. They had about eight to ten shows on the air but ABC didn’t like the quality, I guess, as a result of which the licensing fee for all of these shows was cancelled, and Jack Webb came in and took over. I was the last director to be fired. I was the last person under contract. I never had any physical contact with Jack Webb – never one word. Was I sad? Yeah, because it was work. Listen, I had three kids, then five, and I had to bring home the bacon. That was my home for so many years. It was my genesis. But as soon as I was let go, I went on to do Ben Casey and Kildare and Slattery’s People and some of the other episodic shows. I was in demand. Mainly because the networks felt, I think, from [what I heard], that my contribution as a director was a touch more than the others’, in terms of style and quality.
Another Sarafian composition from “Signals For an End Run,” with guest star Mala Powers at left.
January 26, 2012
“One of the problems for historians of most arts is the ‘transitional figure.’”
– Dennis Bingham, “Shot From the Sky: The Gypsy Moths and the End of Something,” collected in A Little Solitaire: John Frankenheimer and American Film
“[H]e spent the rest of his life trying to figure out what had gone wrong.”
– Bill Krohn, “Jonah,” collected in A Little Solitaire: John Frankenheimer and American Film
Brian Kellow’s new biography of Pauline Kael, one of my lifelong inspirations as a writer, has so many flaws that it would take a second book to enumerate them. Since Kael falls outside the purview of this blog – regrettably, “television” was something of a dirty word to her, a shorthand for commercial aspirations and diminished attention spans; although Kael may have had some enthusiasm for the made-for-television movies of the seventies, this is one of several points on which Kellow contradicts himself – I don’t have to do any enumerating. But I will point out one comparatively minor flaw in Kellow’s book that got under my skin: Kellow indulges in a few snotty asides against “academia,” a phrase he uses so generically that it’s hard to tell exactly who he’s trying to insult, or why. Like Bill Maher or Keith Olbermann, Kellow comes off as so obnoxious that we want to argue back, even when we agree with him. (The royal “we” is used in honor of La Pauline, although it’s one of her devices that makes me uneasy; I’m afraid to emulate it, although Kael often deploys it with great power.) I’ve staked out my own position as essentially anti-academic, but even I have to acknowledge that it’s absurd to suggest that no one on a tenure track is doing valuable writing or research on art and culture. The question is whether those scholars who are creating good work represent the rule or the exception.
Which brings us to the first item in today’s book report: a recent collection of scholarly essays that examine the work of the director John Frankenheimer. I picked up the book, which was compiled and edited by Murray Pomerance and R. Barton Palmer, in part because I discovered that its contributors cite my own work a few times (yes, it is possible to accidentally search your own name on Google Books; really, I swear that’s how it happened), and also because I remain obsessed with every outpost of Frankenheimeriana. As far as I can recall, I’ve only returned to the subject of Frankenheimer’s early television productions once since I wrote that Senses of Cinema essay, but I know I’ll go back again someday. As Frankenheimer’s work was in its time the most pyrotechnic, the most resistant to the technological limitations of early television, so it stands out today as the most durable, the most modern, the most cinematic, the most alive.
The title of Pomerance and Palmer’s collection is a famous refrain from The Manchurian Candidate, and an odd choice, since (unless I dozed off for a minute) none of the writers in the book quote it. I would have liked to know why the editors felt that line had an overarching meaning within Frankenheimer’s oeuvre – a meaning even more potent than the trope of paranoia, a word that’s used in nearly every essay in the book. The title characterizes Frankenheimer as a maverick, a loner. But while the director may have thought of himself that way, one of the tragedies of the his career is that he was unable to function as a true independent. Not only did Frankenheimer’s vision require budgets of some size, but in interviews he made it clear that he was invested in the idea of a commercial cinema, of box office victory and mainstream recognition.
Within that context, the book’s key essay may be Jerry Mosher’s well-researched account of the making of Frankenheimer’s Impossible Object (1973), a film that self-consciously attempted a non-linear, ambiguous narrative in the style of Resnais or, in particular, Losey. Mosher carefully places the ideas behind Impossible Object (incidentally, the only theatrical Frankenheimer feature I have not seen), and its catastrophic post-production phase and consequent non-release, within the context of the personal and professional lives of the director and his collaborators (chiefly Nicholas Mosley, the original writer and later a memoirist who wrote insightfully about Frankenheimer). Impossible Object became a self-fulfilling prophecy (or Prophecy, as it turned out): Frankenheimer took the film’s failure as an affirmation that art cinema was not a viable path for him, and probably as an excuse to embrace a belief system to which he was he already bound.
Other writers who delve in detail into the production histories of individual films include Matthew R. Bernstein, who describes some of the fascinating real-life figures and incidents upon which The Train was based, and James Morrison, whose essay on The Iceman Cometh is a model diagram of how a film’s meaning emerges from its maker’s technical choices. Charles Ramírez Berg’s astute formal analysis of The Manchurian Candidate properly contextualizes the film’s imagery as an outgrowth of Frankenheimer’s live television technique. Berg includes a detailed consideration of “The Comedian” (a terrific Rod Serling-scripted Playhouse 90) as an exemplar of the director’s televisual style. And I was pleased to see my two favorite underdogs in the Frankenheimer filmography, The Gypsy Moths and I Walk the Line, become the subjects of thoughtful consideration, in pieces by Dennis Bingham and Linda Ruth Williams, respectively.
A Little Solitaire also offers ample coverage of Frankenheimer’s perhaps overstated “comeback” in cable television during the nineties. Most of these pieces are problematic, but Bill Krohn’s ambitious “Jonah,” fittingly the final chapter in the book, uses the late television productions and some of Frankenheimer’s worst theatrical features (as well as “Forbidden Area,” the premiere segment of Playhouse 90, which has only recently resurfaced in private collections), to stitch together the intriguing argument that, following the assassination of his friend Robert F. Kennedy, Frankenheimer became something of a covert, disillusioned radical/nihilist, who consistently charted “the decline and fall of American liberalism.” I wasn’t entirely persuaded (for one thing, “Jonah” offers without irony the phrase “a superb, understated performance by Ben Affleck”), but Krohn is the liveliest writer in this book, which counts for a lot.
“Coffee has yet another meaning. As Wolfgang Schivelbusch points out, while there is a connection between daze (the condition produced by the consumption of alcohol) and mystification, and more generally between the use of liquors and group feeling, the coffeehouse has throughout its history been dedicated to the support and preservation of the individual identity: ‘In coffeehouses the I is central.'”
– Murray Pomerance, “Ashes, Ashes: Structuring Emptiness in All Fall Down,” collected in A Little Solitaire: John Frankenheimer and American Film
About half of the essays in A Little Solitaire didn’t sell me on their theses; or, to be less charitable, they read as pointless exercises in publish-or-perish log-rolling. That may be a better-than-average success rate for this type of collection. It’s disappointing to see not even a single essay focused solely on Frankenheimer’s early television work (although the book’s invaluable appendix compiles a more complete Frankenheimer videography than I’ve seen before); but it’s also unsurprising, given that one would have to be a collector, or else log considerable archival hours in Los Angeles or New York, in order to see a large amount of that material.
What I find less easy to excuse is the narrowness of the methodologies on display in this collection. Only a few of the authors (Bernstein; Pomerance, writing about All Fall Down; and Morrison, who dredged up cinematographer Ralph Woolsey’s memories of filming The Iceman Cometh in an obscure AFI seminar) attempted any archival research, even though Frankenheimer’s tempting and extensive papers are available at the Academy of Motion Picture Arts and Sciences. And the only original oral history in evidence is in Pomerance’s introductory essay, which includes a few superficial quotes from the actress Evans Evans (the director’s widow), and Richard Dysart, who appeared in a single Frankenheimer film (Prophecy, perhaps his worst). I don’t understand why these approaches, which would yield more concrete insights and discoveries than the kind of tautological interdisciplinary lint-picking that is evident even in some of the better essays in this book (does Birdman of Alcatraz really benefit from being “read” “through” Foucault?), are undertaken so infrequently. Are they just out of fashion in academia? Is picking up the phone or getting on a plane somehow behaviorally (or, in the second case, financially) beyond the pale for a college professor? Or would the weight of actual history be too much of a reality check on a writer who prefers instead to mash an artist’s work into the mold of his or her own professional specialty, whether or not it fits?
“Didn’t enjoy working with Tony Franciosa, who kept abusing the stunt men. He purposely wasn’t pulling his punches in fight scenes, and he kept doing it despite my warnings to stop . . . so I had to pop him one.”
– James Garner, The Garner Files
The succinct sketch of John Frankenheimer that James Garner offers in his long-awaited memoir, The Garner Files, is probably as valuable an observation as any offered in A Little Solitaire. Garner, who starred in Frankenheimer’s Grand Prix, thought the director was something of a humorless control freak, who “didn’t want anyone with an opinion” in the cast. But Garner admired Frankenheimer’s encyclopedic attention to detail and his ability to command a production as huge and potentially dangerous as Grand Prix.
A number of my friends, of both the real and Facebook varieties, have been praising and quoting from The Garner Files. I assume that’s because Garner is one of the few living stars from whom many of us would really want to hear at some length, and also (more importantly) because Garner does not shy away from, and indeed even seems to relish, naming and shaming anyone who ever pissed him off. It’s a long and entertaining list, one that includes Charles Bronson (“a pain in the ass”), Glen A. Larson (a “thief”), and Lee Marvin (another “pain in the ass”), among others.
In The Garner Files, Garner comes across as a straight shooter, smarter and more introspective than the most of characters he played. He is, for instance, quite conscious of how the laid-back, “natural” quality that was his trademark was in fact carefully constructed. (Garner’s theory is that his studied casualness emerged out of a process of getting past his stage fright.) The book ends with a section of testimonials from Garner’s family and friends, which include major movie stars as well as racing pals and “below the line” crew members. That kind of victory roll would constitute an exhibition of appalling arrogance in almost anyone else’s memoirs, but Garner has allowed his friends to tell stories on him. Some of them are flattering, but others hint at Garner’s fallibility and his legendary temper. (The words of Rockford Files co-star Joe Santos, in their entirety: “Garner says he’s easygoing, but he’s lying. He’s angry and desperate, just like I am. That’s why Rockford has always worked so well, because Jim is coming from a very passionate, driven place.”)
Garner is so resolutely forthright that his book is worth reading, but it’s hardly one of the great or even very good autobiographies. Garner acknowledges his collaborator, Jon Winokur, with typical generosity, but that doesn’t prevent the book from coming to a dead stop whenever Winokur takes over to fill in the basic facts about Garner’s movies and television projects. The sections on the star’s two major TV series, Maverick and The Rockford Files, feel especially ghost-written, and add little or nothing to the stories told in Ed Robertson’s books on those shows. Garner comes to life a bit more when discussing his favorite films (The Great Escape, The Americanization of Emily, Grand Prix), but I sense that his real passions are for boring shit like golf, auto racing, making money, and (to use his oft-repeated term) “decking” people.
Garner presents himself as a defender of the little guy, and I don’t doubt the truth of that. But he also seems to have enjoyed maneuvering himself into situations in which he could punch out people and – because the punchee was behaving badly in some way – still hold onto his image as a good guy. One such person, a golf course heckler, turned out to be a Rockford fan with alcohol and drug problems, who cried after Garner knocked him down. (Again, full credit to Garner for leaving those details in, even if they are presented with a not-my-fault shrug.)
Garner’s particular ethics of violence may make him less of a bully than some of the bullies he criticizes (including Frankenheimer), but he strikes me as a bully nonetheless, a hothead who cultivated his temper and unloaded on people whenever he knew he could get away with it. Is a wealthy, powerful, and well-liked movie star ever likely to find himself in situations where he has to hit someone? Was socking Tony Franciosa really an act of standing up for defenseless stuntmen (note the oxymoronic aspect of that phrase) – many of whom probably later found themselves on sets where Franciosa had the power to fire them and Garner wasn’t around to intercede – or was it just an ostentatious display of machismo? I still love the television James Garner, the pragmatic, risk-averse “reluctant hero” (Garner’s own term) who made Maverick and Rockford so distinctive and down-to-earth and compulsively watchable. But after reading his book, I wonder whether I would like the real James Garner.
July 18, 2011
Although it’s been three months since his death, it’s the season of Sidney this summer in New York. On June 27, which would have been Lumet’s eighty-seventh birthday, a celebrity-packed memorial service at Lincoln Center’s Alice Tully Hall featured eulogies by Lauren Bacall, Gene Saks, Walter Bernstein, Marcia Jean Kurtz, Phyllis Newman, Christopher Walken, James Gandolfini, David Mamet, and others.
Starting tomorrow, the Film Society of Lincoln Center begins a week-long tribute to Lumet, with screenings of sixteen of his films. Among those being shown are his debut, the live television adaptation 12 Angry Men (1957), and Fail-Safe (1964), followed by a question-and-answer session with screenwriter Walter Bernstein. At ninety-one, Bernstein is perhaps the oldest living television dramatist of consequence, and of course he also scripted (anonymously, because he was blacklisted at the time) many live episodes of Danger and You Are There that Lumet directed during the early fifties.
After I wrote about Lumet’s directorial style in some of his live shows in April, I decided that it might be worthwhile to approach Lumet from another angle. Since then, I’ve been speaking and corresponding with some of the actors and craftspeople who worked with Lumet in the early years of his career. What follows, then, is a sort of oral history of Lumet as a live television director. Each of the speakers is identified below by their credits that were directed by Lumet, and their remarks are ordered in a loose chronology based on the sequence of their initial collaborations with him.
Actress, Danger (1951)
Married to Sidney Lumet, 1949-1955
His was a quintessentially American story. He was the ultimate self-made man. Sidney was always going forward. He had a tremendous positiveness about him, and a practicality. He was the most immediate person that ever lived. Everything had to be solved, could be solved, would be solved.
Sidney and I met when we were eighteen. He was a friend of my brother’s, and I was just starting out as an actress. Actually, we met in a play called A Flag Is Born, and I replaced my brother as Young King David. That was his last acting part. He replaced Marlon Brando.
He lived with his sister at the time. He had moved out of his house when he was about twelve, with his sister Fay. Fay brought him up. Sidney was not close to his father [Baruch Lumet]. But I liked his father. He was sweet, or seemed sweet, but tough. A 2nd Avenue Jewish actor, who lived in California by this time. He lived in a motel, and he always kept his door open so he would always have visitors come in whenever they wanted.
Sidney and I got an apartment together on Fifteenth Street. We still weren’t married. My parents were in shock, for this expensively educated girl to go off and live with an actor! I modeled, and that paid the rent. Sidney took job as a teacher at the High School For Performing Arts for $65 a week, and he adored it.
At about the same time, we had a workshop, an actors’ workshop. I said, “Sidney, there isn’t anyone to direct. Why don’t you be a director, too? I mean, you’re so good. You can do everything.” So he became a director. And we just had a jolly good time. We just loved theater, and never thought of the big picture. Making it wasn’t in our mind; in our mind was, what wonderful work can we do?
Sidney was kicked out of the Actors Studio, in the first round of dropouts, because they didn’t think he was going to be anything special. This was Bobby Lewis, who had been his mentor when he was a cute little child. Bobby, who was this nasty old queen, was disappointed that he grew up to be heterosexual and not beautiful.
His real break came once I was doing a commercial for Colgate Toothpaste. Our best friend at the time was another unemployed actor named Yul Brynner, who used to play guitar at parties. I was doing this commercial at CBS Studio, and suddenly Yul comes down on a break and sees me. He said, “Hey, Rita, how are you doing? How’s Sidney?” And, “How would he like to come in and be a director of television?” I said, “What a great idea. Call him tonight and ask him.” I went home and I said, “Yul’s going to call and ask you to come in as a director at CBS. It’s a new medium.” He said, “I’m not interested. I really like being a teacher.” I said, “I don’t think you’re right, Sidney. I think this is an opportunity.”
Anyway, Yul called, and Sidney said, “I’m not interested.” I stood behind him and I said, “I’m going to leave you if you don’t say yes!” It was a very funny conversation. He said, “All right, I’ll come down.” And he went down to 42nd Street the next day to see what it was all about, and just fell in love with it. He immediately came in as Yul’s assistant.
The intensity of the control room was just his tempo. The whole complication of having to direct the cameras and the actors all at the same time just appealed to him. He was very quick, very bright, very immediate, very tactile. He loved running between the control room and the floor and the actors. Within four months, Yul Brynner went off to be the king in The King and I, and Sidney went on to fill in for him as a director. Within eight months, he was one of the biggest directors at CBS.
I didn’t act much for Sidney, except at the workshop, and then on Danger a couple of times. One time I played a walk-on, and one time I played the lead. But I had my own career. There was a Life magazine article about six of us – the six leading television actresses. One of them was Grace Kelly, before she was a big star. I met her on the set of You Are There. That’s where I was introduced to her, on the floor, by Sidney. She was playing Dulcinea in Don Quixote.
I was at CBS all the time. I’d sit in the control room and just make fatuous notes. Sidney was in such total control of everything. He had a producer by the name of Charlie Russell. Charlie was a typical advertising agency, buttoned-up guy who adored Sidney. Anything Sidney said, went. We also became very good friends with Marlene Dietrich because Sidney sort of discovered Maria Riva, who was Marlene’s daughter. Very nice girl, and he would use her a lot. Marlene would cook us Sunday night supper all the time, and Marlene just adored Sidney. She thought the world began and ended with him, and she flattered him into thinking he was a great director.
Sidney had a main chance aspect to his personality. Sidney had the kind of personality that attracted people and then formed a little clique, a little coterie, around him. He used the same cameramen all the time, and his ADs. He had that “love me, I’m a talented child actor” [quality]. Sidney was very stubborn. Sidney always had to win his points. He never compromised himself, or he never compromised to make the circumstances easier for himself. He was a tough little fighter. That’s what was interesting about him – he was a really strong person who was also very anxious to please, and make other people happy.
We decided to get married because we got tired of living in one room with a bathroom in the hall. We both figured out that my parents, who were good middle-class parents, would furnish an apartment for us. Maybe we’d lift ourselves up if we had a little bit more security, because we had a decent place to live! So we got married. It was a lovely wedding, actually. It was at my mom and dad’s house. Yul Brynner was there, and [his wife] Virginia Gilmore, and our other close theater friends. Sidney finally bought a blue suit for the wedding, a navy blue suit, three-button. That’s the first suit I think he’d ever owned. His typical look was a sweater and sneakers and dungarees.
Then we moved up to 110th Street after we got married. It was only a studio apartment, just a little bandbox apartment, but really it was home. He was a lousy cook, but I was worse. Once we got married, I think he gave me The Gourmet Cookbook as a Christmas present. I started digging in and doing all those things. It was a young, fun marriage. We didn’t break apart until the world became serious, and Hollywood money and all that stuff became involved.
Production Designer, Danger (1951-1953); You Are There (1953-1955); 12 Angry Men (1957); Studio One: “The Rice Sprout Song” (1957); Play of the Week: “The Iceman Cometh” (1960); Associate Producer, Playhouse 90: “The Hiding Place” (1960)
Sidney and I first met on Danger. First of all, he was my age. We were exactly the same age. He had this amazing background in theatre which I envied, with the Group Theatre. His father was a great actor in the Jewish theatre, and he [Sidney] was an incredibly fine actor.
On Danger, I was the set designer and he was the assistant director. The director was Yul Brynner and the producer was Marty Ritt. And John Frankenheimer was the commercial director! Sidney was a wonderful assistant director. He loved Yul, and I think it was reciprocated. He was right on time. I think, in his head, he was able to conceive and anticipate –a live television room was the equivalent of everything you do in film post-production. You were editing, bringing effects in, bringing sound in, bringing music in, all simultaneously. So the director, literally, had to say “Take one” or “take two” or “take three,” take whichever camera, plus when the effects went in and the sound effects went in. And the assistant director had to anticipate this, and Sidney was awfully good at it.
What happened was this: Yul and Marty had some kind of fight with either the agency or the sponsor, I don’t know which. I have in my mind an image of a photograph they sent me of both of them throwing the Danger card into a trash can and holding their noses as they both quit. I’m not sure why. The position of the director was open. Sidney did not get it automatically. It was given to Ted Post and Curt Conway, and they did it for a while. And Sidney was, I guess, looking for it or trying to get it, although these two guys were relatively well-known directors. And sooner or later, he got the show, as a director.
Rita Gam and my wife were close, and Sidney would come up to the house. We would go over my floor plans and he would figure his shots out. I remember him in my kitchen one day when Curt Conway and Teddy left and he was going to start directing. He wanted to really be sure he knew what he was doing, and so he came here. But otherwise we didn’t really socialize. We just were different people.
I knew, when I did something with Sid, it was experimental. We did a lot of experimenting in those days. Generally on Danger, but especially on You Are There, in terms of visual effects. I had to create with rear screen and other effects all kinds of things that they do with computer generated scenery now. If the director didn’t use it correctly, it would get all screwed up. I always knew I could depend on Sidney. He would keep the perspective correct, he would keep the people in proportion to the picture in back.
Danger was a regular weekly detective show, but You Are There I had to create everything from the Oklahoma land run to Genghis Khan and the burning of Saint Joan. We did a show called “Mallory on Mount Everest,” and he and I guess Charlie Russell got some stock footage of the real Mallory on Mount Everest. The rule in those days was you could never use white. Blue was the equivalent of white on television. Nobody was ever allowed to wear a white shirt or anything like that. I had a wonderful lighting director at the time working with us, Bob Barry. I said to Bob, “You know, we can’t paint the snowflakes blue. Let’s just see what happens if we put everything white.” Now, I needed the cooperation of the director and the technical director and everybody else to do that, because they had all the dials and tools at their disposal to change the intensity of the light and stuff like that. Sidney didn’t fight me. He said, “Let’s give it a go. Let’s try the white.” I mean, another director would say, “You’re not supposed to do that. It’ll give us a lot of trouble.” So we did the scene white, literally white. What happened was because it was so hard for the TV cameras, because it was so bright, it suddenly became the same as the stock footage they had from these old movies. It integrated beautifully. And I got my first Emmy in 1954 for “Mount Everest.”
I’d go to a rehearsal with Sidney and the production assistant would have taped out on the floor my entire floor plan. They would block the show, and Sidney would indeed be the camera. One time I think it was either Jack Klugman or Jack Warden, where Sidney would go right up to his nose, nose to nose, for the famous close-up. And I remember Klugman or Warden saying, “Sidney, what lens are you on?” They were good days.
Associate Director, Studio One (1957-1958)
Sidney was wonderful. He’d get very intense, but never lost his temper. First of all, he was very good with the way he dealt with people. But more than that, he was never at a loss. In live television, there were so many things that always went wrong. Once I remember him climbing up a ladder to fix something, and the stagehands would let him do that. He deserved it, and they gave it to him.
But you knew he was an actor’s director. They all loved working with him. Because Sid was spontaneous. Some directors would map it all out at home over a week, and they wouldn’t budge. That’s the way they were going to do it. Sid would block well, but he was ready to make a change whenever he had to. He wasn’t locked into it.
Actor, Danger; You Are There; The Alcoa Hour: “The Sentry” (1956); Studio One: “The Deaf Heart” (1957); Fail-Safe (1964); Family Business (1989)
He was a guest in our home, with George C. Scott and his wife [Colleen Dewhurst], and Sidney and his wife, at an event that we had in our Forest Hills home. We were dear, close friends for many years.
I don’t know how many people did this with him, but I rehearsed two of his scripts in the same week. One in the afternoon and one in the evening. You Are There was shown on Sunday, and then Danger, which was the other one, was shown during the week, and the rehearsal periods were the morning for one and the afternoon for the other. Isn’t that amazing? I worked with him at least eight times in live television, and another couple of movies, including Fail-Safe, where I played the radio operator in that bomber that bombed Moscow.
He was an actor himself before he started directing, and he brought all that experience to his television work. It was always personal, always just the two of you. He would give you a hint of what was in his mind, and see what you did, and adjust that if he felt he had to.
Van Dyke Parks
Actor, The Elgin Hour: “Crime in the Streets” (1955); The Alcoa Hour: “Man on Fire” (1956)
The reason that I ended up in live television was to pay for my board and rooms at the Columbus Boychoir School. I had no ambition to be an actor. My parents were quite dubious about it, my father especially. There was no show biz mom or so forth. A tutor would go up with me to New York City when I had a show. But it paid for my tuition. I was probably getting about $450 a week for participation in a show by the time I met Mr. Lumet.
On the show “Crime in the Streets,” which was directed by Sidney, my elder brother was being played by John Cassavetes, and I said something to him that was confrontational or accusatory. It was then his job to slap me on the face, and then I was to start crying and say, “But, Frankie, you’re my brother.” I learned to jerk my head to the left, because of course he would pull his punch and not hit me. Well, it came to the show, the live show, and he landed one across my nose and I started to bleed. Cut to commercial. The blood is gushing from my nose, and I cannot remember the specifics of what was done to staunch that flow, but it did not stop. And of course when we came back from commercial, [the setting] was the next day! I was doing everything I could to keep from bleeding. Cassavetes felt awful, but not as bad as I did.
Sidney was tremendously invitational. Bob Altman is so famous for his what seems like laissez-faire attitude toward actors. Sidney Lumet was equally empowering, drawing on his subjects’ invention and contributions. He was not disciplinary in any way.
Writer, Studio One: “The Rice Sprout Song” (1957)
I met Sidney Lumet at the first day of rehearsal for a Studio One play, “The Rice Sprout Song.” We rehearsed, in those days, in Central Plaza, formerly and later to be reborn as a concert hall on 2nd Avenue in the fabled Lower East Side of Manhattan. But in 1957, it was – floor by floor – a ladder of rehearsal halls served by a large, creaky elevator. Food service was from Ratner’s Kosher restaurant on the main floor. Studio One seemed to have dibs on the 4th.
While a production assistant taped the outlines of the sets on the floor, the cast sat around a large table, Sidney at the head. He was very energized, and obviously enjoyed the opportunity to engage his actors, almost all of whom were only recently freed from the blacklist. The first two days of rehearsal never moved from the table to actual blocking of scenes. Of the leading actors, only John Colicos, a Canadian, was not ethnically at home on 2nd Avenue. And Sidney, who began as a child actor in the Yiddish Theater, was more at home than any of them.
He took pleasure in telling of his European trips and great meals with his wife, Gloria Vanderbilt, as if to underscore what a great distance this little Jew had traveled. And yet he reveled in the Lower East Side. He took us to Moskowitz and Lupowitz, to Sam’s Roumanian Restaurant, a vivid and informative guide. But most of all, he loved telling stories of the Yiddish theater.
On the third day, he began the more serious business of directing the play. There were strange overtones: after all, these actors had all suffered for their political leanings toward the Left, and the play itself was a bitter diatribe against the Chinese Communist government.
Plagued by technical problems that in turn disrupted the actors’ performances, “The Rice Sprout Song” became one of the legendarily disastrous live television broadcasts. Mandel related that story in my video interview with him for the Archive of American Television, and also wrote about the incident for Television Quarterly.
I showed Sidney the article before I sent it in for publication. I asked him to tell me if he felt anything was unfair or untrue. He told me he didn’t have exactly the same feelings as I did about the resultant show, but he had no problem with what I’d written.
Sidney negotiated himself the opportunity to direct the film 12 Angry Men. I heard about this both from my friend Frank Schaffner, who had directed that property for Studio One, and from Jerome Hellman, Frank’s agent and mine. Frank very much wanted to direct the film, and felt he had some claim to do so. Sidney (according to Hellman) was reaching the end of his commitment to his agent, and said that if the agent got him the assignment, he would stay with that agency. And so he got the job, pretty much devastating Frank and, I think, rupturing Frank’s relationship with Reginald Rose. I have to say, for myself, I think the film was pretty much a duplication of Frank’s direction of the television version.
The last time I saw Sidney was at an Motion Picture Academy function in 2002 or 2003. We had a brief conversation about my HBO film Conspiracy. He said he had voted for it in every catagory for which it was nominated (for the Emmy). Which, you will have no problem understanding, thoroughly endeared him to me. He had become a prodigious worker, a man who sought the substance beneath the surface of each film he led. I would have preferred that he not write what he directed, when he reached that stage in his life where he wanted to do both. But my admiration for him is immense.
Bob Markell (continued)
Production Designer, Danger (1951-1953); You Are There (1953-1955); 12 Angry Men (1957); Studio One: “The Rice Sprout Song” (1957); Play of the Week: “The Iceman Cometh” (1960); Associate Producer, Playhouse 90: “The Hiding Place” (1960)
We both learned about film because You Are There went to film for thirteen shows. We went to the old Edison Studios, in the Bronx, and we shot these final thirteen shows, before it was taken away from us and sent to Hollywood. The first one we did was the Hindenburg disaster. Sid had never done a film prior to You Are There, and he was fabulous with the film camera.
12 Angry Men was my first feature, and it was Sid’s first feature. I went and took pictures of the exterior of the courthouse [as the basis for the backdrop behind the jury room windows]. The drop came in from Hollywood and it was a translucency, not a transparency, so that they could drop it in and the lights could go on and stuff like that. When it showed up, everybody who was from Hollywood was very upset. They said, “Gee, that’s not good. In Hollywood, the lines are sharper, the details are stronger.” They may well have been correct, but it had to be used anyway, because we had it up.
I was hoping that Sidney would recognize that it was okay, and would back me up more than he did. Henry Fonda was also the producer, and it was his money, and he was getting antsy once in a while. Boris Kaufman was a very famous photographer. He’d just come off of Kazan’s movies. He even got the [Academy] Award for On the Waterfront. And so I was left hanging. I was the guy who was kind of blamed if anything went wrong and they had to go into overtime. If I put myself in Sid’s position, he couldn’t back me up the way he should have, or that I felt he should have. And I understood. But I was hoping for more than that.
In [television] or stage, you’d get together and try to fix it. I suddenly realized that in film, you looked for a fall guy. And I was the fall guy. [Associate producer] George Justin kept saying to me, “Fight back. Tell him.” I said, “I can’t. I don’t know what to say.”
My problem with Sidney actually was that he gave me a second show [Lumet’s next film, Stage Struck, which he filmed in color in 1958] to do after 12 Angry Men, and I started working on it. Meanwhile, Fonda was giving him a hard time, and blaming me. I got a call from George Justin, who was also on the show, saying, “You know, of course, that you’re not on that second show, that it’s being taken away from you.”
I said to George, “Who is going to be the designer? Who is taking my job?” He said they’d gone to [another designer with experience in live television]. Well, it was his first movie, and I knew that he had trouble with color recognition. But I found that I couldn’t say to George, “George, he’s the wrong guy,” because it would sound like I was being ugly.
Later, I’m designing “The Rice Sprout Song,” and I’m going in for my first meeting with Sidney. I hadn’t seen him for a while since he dumped me. I walk in. I say, “Hi, Sidney.” Sidney looks up and he says, “How come you never told me he was colorblind?” I said, “Oh, Sidney. I knew you’d get me one way or the other.” Then he and I laughed. I said, “I was trying to figure out what you’d end up saying to me when I walked in.”
But that’s show business, and I was really not angry at Sidney at all. We worked together a lot, even after the movie. We did a Studio One, a Playhouse 90, and “The Iceman Cometh.” The sad thing was that we totally lost touch with each other. He never really went back to his live television people, because he was on a course himself, meeting new people, new wives, new this, new that.
Fred J. Scollay
Actor, Danger; You Are There; Kraft Theatre: “Fifty Grand” (1958); Kraft Theatre: “All the King’s Men” (1958); Playhouse 90: “John Brown’s Body” (1960); A View From the Bridge (1962)
He was a little crazy, but very nice. He was an ex-actor himself. He acted when he was younger, and he really had great empathy for actors. He knew the pressure that we were under. Everything was live then. You didn’t get a break.
One thing actors loved about the guy is he let you do stuff. He’d see something in what you were doing in a scene and he’d say, “Oh, boy, let’s elaborate on that.”
He was, not loose, completely, but he’d say, “What do you want to do in that scene?” And then he’d look at it and say, “That’s good. Let’s use it.” Or, “Let’s try something else.” Like in one show, I got some bad news, and I got a little woozy. He said, “Let’s have you faint.”
So it was creative fun in working with him, because you contributed something. There were some directors who said, “In the book it says, ‘Turn left,’ so you’d better turn left.” I don’t mean to denigrate anybody, but some directors had a very standard, by-the-book [approach] – they really didn’t have the creative [impulse].
[On Danger] he hired a young, real fighter, a professional fighter, and Jack Warden played the fighter, and fought with this guy. Sidney said to Jack, “The kid’s a little nervous, so when we start doing the show, give him a little belt.” So Jack gave him a little belt and the guy went crazy, almost killed Jack.
He was a lot of fun. A situation on the set, because of the tension, would make things a little more tense, and he’d throw a donut at you or something like that, or trip you, something to break the tension. I did A View From the Bridge. He directed that. One of the actors was told to go down the street – Sidney said, “Go down there” – and at the end of the scene the guy never came back. So Sidney would break up. He’d never get mad at anybody.
He gave me my first big break. He cast me in something, a leading role before I was getting leading roles, and I really appreciated that. The name of the show was “Fifty Grand,” with Ralph Meeker. That was my first big part. I walked on the set and we started reading the script, and I kept saying, “They made a mistake. This is one of the lead roles. When are they going to find out they got the wrong guy?” I did a lot of extra work. I was a very busy extra. And out of the blue he called and said, “I’ve got a part I want you to do.” No audition or anything. He said, “I want you to do it. Now here’s a rehearsal schedule.”
When we did “All the King’s Men,” I had the third part. He gave a big shot in that. There was Neville Brand who played the lead, and Maureen Stapleton, and I had the third role. But in the credits, Bill Prince got third billing and I had fourth or or fifth or something. So he got a very nice review for me doing my part! He got my review. They thought, well, he got the third credit, he must have been the actor that played that part. That was kind of heartbreaking.
[Technically] he was perfect. He’d say, “Cut two seconds.” Or, “We’ve got to cut four seconds out of this scene.” He had a mind like a clock.
Associate Producer, Kraft Theatre (1958)
David Susskind was in charge of Kraft Theatre. He was executive producer, and Herridge was producer, under him. Susskind had his own outfit, and Herridge was like a lone hippie. Susskind was the suit and the tie and Mister Executive, and Herridge was the creative artist, almost a Greenwich Village type. The two were just real opposites. I think Susskind brought him in because he respected the work that Herridge had done, and I don’t think he knew much about him. Sidney got along well with [both of them]. He knew how to handle people.
Sidney was extremely short, and the first day when the cast was assembled and waiting for him on the floor, Sidney came down and he had taken a newspaper and folded it into a little Napoleon-like hat and put it on his head. He was wearing this ridiculous little Napoleonic hat, and he put his hand in his shirt like Napoleon, and he walked on and he said, “Okay, I hope you all know who’s boss.” It was just hysterical. People just screamed with laughter, and Sidney laughed. Everyone loved Sidney.
When he was working, he was just the opposite. He was intense. He was super-serious. Technically brilliant. He would check every shot with the camera person during rehearsal, and in the control room he was like a hawk watching that everything was right. He knew his lighting, he knew his camera, he knew his lenses, and he certainly knew performance. I don’t know anyone who could get better performances out of anyone. Franklin Schaffner was a brilliant director, but very remote from his cast. He really kept an arm’s length. But Sidney was a hugger, an embracer. He kissed everybody. Sidney combined everything good.
“All the King’s Men” was a very intense shoot, because it was a two-parter. Neville Brand had done features, and was the second most decorated hero to come out of World War II, and a really rough [type]. I liked Neville a lot. Sidney had to work with him and really got an extraordinary performance out of him.
Then when we finally finished the whole thing, Herridge invited everyone up to my apartment for a wrap party. Herridge never wanted anyone to go to his place. I worked with Herridge for years and I never even knew where he lived. I had this really seedy apartment four flights up on West 56th Street. It had a convertible couch with a spring sticking out, and my coffee table was a mirror over four sewer pipes. Everybody came. Susskind came. Sidney brought Gloria Vanderbilt, who was then his wife. The apartment was just jammed. People were having a good time. Music was playing. Maureen Stapleton passed out onto Gloria Vanderbilt’s lap. I remember that because Maureen was fairly large at the time, and she was just out. Vanderbilt was sort of very sweet but also you could see she was like, oh my god, how do I get out of this?
Then a friend of mine whom I had invited, a young actress, Georgine Hall, was dancing with the production designer, and he tripped and she fell backwards onto the coffee table, and he on top of her. All the shards went up into her back. We got her up and she went into the bathroom and said, “Let me check how I am.” I went in to see how she was. When I opened the door, she was just kind of soaked in blood. So I gave her some towels and I said, “Wrap up. I’m going to get you to Roosevelt Hospital right away.” I came out and I said, “I’ve got to take Georgine to the hospital. We’ll be back as soon as we can.” It was about midnight, or maybe eleven o’clock. I ran out of the apartment with Georgine, got a cab, went to Roosevelt Hospital, and stayed with her until they had stitched her up, and never gave a thought about the party. All I cared about was Georgine.
Georgine lived in Princeton. I said, “You’ve got to stay over here. You can’t go back to Princeton.” We went up to the apartment and the door was locked, so I opened it. And everyone was there! It was three in the morning, and Neville was standing by the door. He said, “You know what, Chiz? All these sons of bitches, the minute you left with her, wanted to run. They were scared. And I told them they stayed until we found out how she was.” Neville had stood in front of the door and kept everyone in until three o’clock in the morning. I’ll never forget that as long as I live. People were just – I mean, Sidney and you can imagine Gloria Vanderbilt were just so kind of pissed off, but in a way I guess sort of respected what Neville had done, maybe, to say, “We’ve got to make sure that woman’s okay. Don’t run from this.” That was his code. I think it came right out of the war, out of battle. You don’t leave unless all your buddies are accounted for. I can’t imagine what went on while we were gone, during those three hours.
Actor, You Are There; The Doctor’s Dilemma (Off-Broadway, 1955); Studio One: “The Deaf Heart” (1957); The DuPont Show of the Week: “Beyond This Place” (1957); Fail-Safe (1964); Power (1986)
There was a play called “The Deaf Heart,” with Piper Laurie, which I did for Studio One. My son was about to be born at that time. We reached the dress rehearsal. My wife had gone to the hospital, and was ready to give birth. But it was a dress rehearsal, and I didn’t see any easy way out. Sidney came over to me on the set and said, “What are you doing here? You belong with your wife. Get out of here.” I remember thinking, “Well, yes, of course, that’s exactly how I feel.” But, you know, the pressures you were under with live television in those days. It was like going over Niagara Falls in a barrel. The rules got suspended somehow. But not him. He just excused me from the dress rehearsal, had the dress rehearsal with an understudy, and I came in for the live television presentation. I mean, that was taking a huge chance on his part. But he was a gambler.
I was always aware, even as a young, inexperienced actor, that he was on my side. He once said to me, “If I can’t get it with love, I don’t want it.” I was a complete partisan of Sidney Lumet because I just wasn’t used to that. I wasn’t used to directors who thought of themselves as cooperating in a creative process with the actor, and loving what he was getting from the actor. He would say, “Keep that in.”
In Fail-Safe, I finished a take and he said, in a very quiet voice, “I don’t want a better one than that.” I was walking on air after that one.
We were a company. We were rehearsing for two weeks in a warehouse on the West Side, and we got to know each other as actors and as people. We were playing frisbee out on the floor, and everybody became quite friendly, and quite helpful to other actors. I was still relatively young when I did Fail-Safe, but I can remember the encouragement I got from people like Walter Matthau.
Sidney did an interesting thing. He offered me several parts in it, and I understand he did it to other actors in the company, too. He said, “Which one would you like to play?” He let us have some choice in the matter, which was unusual, to say the least. And I chose a different part. I wasn’t particularly close to Colonel Cascio. Then, after thinking it over, he said, “I’ve decided for the balance of the company that you should play Colonel Cascio.” And he said it in such a gentle, persuasive way that of course I accepted with enthusiasm. I wanted to play Walter Matthau’s part. It was very similar to a part I had just played on Broadway, and I thought, “I know how to do that one. That’s easy for me. I know how to have fun with that.” I was wrong. If you see the finished film and you see what Walter did with the role, you’ll know that I was too young for that part.
We were having problems with how [Colonel Cascio] breaks down. The character breaks down at one point and actually attacks his commanding offer, because there was a violent diagreement about the choices that have to be made. He’s in favor of being tough on the Russians and even dropping the bomb, and when he is overruled, he goes crazy. Authentically crazy. And I had trouble with that one. So Sidney and I got together and we tried several things. One thing we came up with – and it was kind of a mutual thing, but I suspect that I got most of it from him – was just a violent physical convulsion. Locking of the jaw, trembling, to the point where I was out of control physically before actually doing the deed. I don’t know if it worked or not. But it was a physical solution to a mental problem, and it seemed to work for me.
He directed me on stage, too. He directed Doctor’s Dilemma, the Bernard Shaw play, at the old Phoenix Theater. I played a very small part in it; it was my first part with him. There again, I was in his rooting camp forever from that production, because of the care he took with the young actors. Because I had done that with him, and I had done some Shakespeare at the Shakespeare Festival, Sidney used to say that Beatrice Straight and I were his “classical actors.” He had another category called his “New York actors.” And we tried very hard, Beatrice and I both, to break out of that category! We wanted to be among these “New York actors” as well, because he was famous for his New York movies, and his understanding of New York. I would have been thought of [by Lumet] as the senator, or perhaps some extreme right-wing character or someone who had some familiarity with language. I always wanted to be among the “New York actors” as well, because I thought I could do it. I couldn’t change his point of view. But I saw his point.
Actor, Danger; Kraft Theatre: “Three Plays by Tennessee Williams” (1958)
Sidney was always intense, and charming, and somehow that made for a very good working combination. I worked with him on a show called Danger, and he had this great brilliance and intensity. He was all over the place. He knew everything. He enjoyed it like a Baryshnikov. He fiddled. Physically, he flew, and in his mind flew. He thought at twice the intensity of anybody else. Keeping the house in order, and keeping this actor here and that actor there, and enjoying the unexpected that came from his actors. But always at an intense, high decibel.
I joined a group that he and Ted Post were the head of, when at a certain point Bobby Lewis threw his class out of the Actors Studio. Eli [Wallach] and a bunch of people went to work in a separate group, and Sidney was the head of it. We did all kinds of exercises and all kinds of scenes, and he directed me in a lot of them. It was a very important experience for me, a big growth experience.
He was a Method director, of course. All of us were part of that – Stella, Lee Strasberg, Sandy Meisner – we all came out of that new acting. What I remember is you doing it, not that he talked to you beforehand. The comments he would make would be small pushes in one direction or another, but never anything he sat down and talked to you about. That’s not the way he worked.
[“Three Plays by Tennessee Williams” was] deep in the blacklist, and I wasn’t working on television at all. I don’t know how Sidney pulled strings, or David Susskind, the producer, but it was like a miracle that they managed to get me on. Then I did it, and I didn’t like myself in it at all. I had done that play on stage, and I’d done it brilliantly. It had come out of the group that Sidney and I were in, with Sidney directing. A lot of times when you do something for the second time, you lean on what you’ve done before, and so it wasn’t fresh.
When I went into directing myself, and I hit a problem, we were both doing post work at the same studio, I would run into him there, and anything I had a problem with I knew I could ask him about it. He was, as he always was, generous, open, interested in any problem. He was that kind of friend, that’s all.
Looking back, I had no idea how privileged I was to be working with young people who were all so energized and gifted and talented, and who had no barriers in front of them. Sidney kind of exemplified the “no barriers.” He exemplified leaping first before anyone, and taking all kinds of chances. He maintained that all of his life, that almost childhood thing of leap before you look. There was an excitement and a courage about him that nobody else had.
All of the interviews above were conducted between May and July 2011, by the author and by telephone, except in the cases of Rita Gam (in person, in New York City) and Loring Mandel (by e-mail).
May 31, 2011
“This hamburger is like leather,” Harry Landers growls. “Leather.” Even after the waitress removes the offending sandwich, he mutters it a few more times. “Leather!”
Landers is best known for his five-year run on Ben Casey as Dr. Ted Hoffman, sidekick to the brooding brain surgeon of the show’s stitle. Diminutive and eminently reasonable, Hoffman often acted as a calming influence on the towering volcano that was Dr. Casey. Landers’s other claim to fame, as a coffee pitchman in a series of commercials for Taster’s Choice, also made good use of his mumbly bedroom voice and his air of approachable warmth.
All of that just shows what a good actor Landers could be. In life, Landers was a bantamweight tyro, a heavy drinker who spent more than a few nights in jail. Many of his stories revolve around his sudden flashes of anger, and the consequences of on-set outbursts. He has mellowed somewhat with age, but even in his final year as an octogenarian, Landers seems capable of scary explosions of temper. During the hamburger incident – and in fairness, that patty did appear scorched to excess – I was sure that we narrowly avoided one.
(And yes, Landers is 89, not 90. All the reference books give his date of birth as April 3, 1921, but in fact it is September 3. At some point, someone’s handwritten 9 must have resembled a 4.)
As he talked about working for Hitchcock and DeMille, Landers was expansive, but also genuinely modest. “Why do you want to know all this crap?” he asked more than once. A moment of honesty finally won his respect. “Why did you decide to interview me?” he wanted to know.
There were several possible answers, but I went with the most accurate. “Because you’re the last surviving regular cast member of Ben Casey,” I replied.
“That’s a good reason,” Harry agreed instantly. But when I asked him to comment on some of the widely publicized conflicts among the show’s stars, he would only go so far. “No, it’s no good,” he said after interrupting himself in the middle of an anecdote and casting a wary eye in my direction. “You’re too smooth!”
Retired now, Landers lives with his son in the San Fernando Valley. He misses his old house in Sherman Oaks and, even more, the vibrant street life of Manhattan. Until recently, he visited New York City several times a year. So many of hangouts closed and so many of his East Coast friends passed away, though, that after a time Landers found himself seeing shows, dining alone, and going back to his hotel to watch television. He stopped going back. But he’s still active, and still pugnacious: his residuals are so “pathetic” that he doesn’t cash some of the checks, “just to drive the accounting offices crazy.”
As we wrapped up, he insisted on picking up the check. “I’m a gentleman of quality,” said Landers. “You can’t bribe me, kid.”
How did you get started as an actor?
I was working at Warner Bros. as a laborer. There was an article in the Warner Bros. newspaper that they distributed throughout the studio, and they mentioned my name. In World War II, I did what I think any other kid my age would have done. I was a little heroic on a ship that was torpedoed, and I saved some lives. It was no big deal.
How did you save them?
Well, this torpedo was hanging by the fantail. Some kid was trying to get out through a porthole. One kid was frozen on the ladder. I just moved ahead with a flashlight, and had people grab hold and go towards the lifeboat. Just a little immediate reaction. I think if you’re a kid, you don’t realize what you do. You just do it.
So anyway, one day I was out in the back of the studio, where the big water tower is, and I’m pounding nails, and a limousine drove up and a man got out. His name was Snuffy Smith. He asked for me, and somebody indicated where I was pounding nails. He said, “Bette Davis wants to see you.”
I said, “What?” I was scroungy, stripped to the waist, matted hair, sweaty, angry.
He said, “Yes, she wants to see you.”
So I grabbed a t-shirt and put it on, and got into the limo. Now I was fear-ridden. On the ship, I wasn’t. How old was I? I was in my early twenties, I guess. I remembered Bette Davis as a kid, watching her movies. To this day, I think she’s still the motion picture actress in American cinema. She’s incredible.
So they asked me onto the stage, to Bette Davis’s dressing room. They were shooting. There was a camera and all the sets. The man went up and said, “Miss Davis, I have the young man.” So she said, “Come in, come in.” I walked in and there she was, seated in front of the mirror. She looked at me and shook my hand. She asked me a few questions. She said, “What can I do for you?”
Maybe when I was a kid in New York City, in Brooklyn, I always realized I’d wind up in Hollywood someday. I never knew why or what, but it was a magnet. Motion pictures is better than sex! And she said, “What can I do for you?”
I used to watch the extras. Beautiful little girls walking around, and they were always rather well-dressed and doing nothing, and I’m sweating and pounding nails. And they were making more money. I think I was making like nine or ten dollars a day. I said, “I’d like to do what they’re doing.”
She said, “You want to be an extra?”
I said, “Yes, ma’am.”
Then she picked up the phone and she spoke to Pat Somerset at the Screen Actors Guild. Put the phone down. A few seconds later the phone rang. She said, “Yes, Pat. Bette here. I have a young man here, and I will pay his initiation.” That was the end of it. She told me where to go. She wrote it down: The Screen Actors Guild union on Hollywood and La Brea. We talked for maybe three more sentences, said goodbye and shook hands.
The next time I ran across Bette Davis was at a party at Greer Garson’s house. By that time many years had passed; in fact, I was in Ben Casey. I was with Sam Jaffe and Bettye Ackerman. They knew Greer – Miss Garson – very well. There was Bette Davis, and she didn’t remember me. I [reminded her and] a little thing flicked in her mind. It was just a very brief kind of a [memory]. That was the last time I ever saw her.
That was before the strict union rules. Now you give an [extra] special business or a line, they automatically have to become a member of the Screen Actors Guild. Every now and then they would say, “Hey, you. Can you say this and this?” They’d give me one or two short lines. So I’d be in a short, fast, little scene. But I always knew this was going to happen. It was just a progression. I met a young man who was going to an acting class, Mark Daly, who’s dead, many years ago. He always had books under his arm. I said, “What are you reading?”
He said, “Plays.”
I never read a play in my life. I said, “Oh.”
Then he said, “Harry, what are you doing tonight?”
I said, “Nothing.”
He said, “I’m going to an acting class. Come on down, you might like it.”
I went down there and I met the person who ran the studio. It was an incredible place, called the Actors Lab.
That was the left-wing theater group, many of whose members got blacklisted during the McCarthy era.
Yes. Most of them did. It was a residual effect out of the Group Theatre. That’s where I met some of the people who became fast friends of mine. The one woman I met was Mary Tarsai, who was sort of the administrator. She wouldn’t say no to me. She was afraid I was going to kill her. I was interviewed to become a member. You had to audition and all that stuff. So it was like, okay, come to class next Thursday. Then I met people like Lloyd Bridges, and an incredible actor and an incredible man who was an associate producer on Alfred Hitchcock Presents, Norman Lloyd. What an amazing man. Beautiful voice.
Stella Adler taught me, and threw me out of her class. She called me a gangster, and she was right.
Why did she call you a gangster?
I don’t know.
Then why do you say she was right?
Well, I was rebellious.
Many of the Actors Lab members were later blacklisted because of their political views. Were you?
No. No, because I was not that prominent. They were after the big names, like J. Edward Bromberg, Morris Carnovsky, who were – I’m not going to go into whether they were communists or not. Hume Cronyn. But it was immaterial to me. See, I knew what they wanted. The desire to overthrow the government was the least motive in their minds. They were political activists who wanted a better life for the people. No discrimination. So I was very sympathetic to what they had to do and say.
Once there were a bunch of us picketing Warner Bros. studio, from the Lab, and we were rounded up and taken over to the Burbank jail. They put like seven, eight of us in a holding cell. The door was unlocked. I walked out. My mother lived in Van Nuys, and I got to my mom’s house in a cab or whatever, had some lunch, spoke to her, and I went back to the jail. Opened the door and went back in. People said, “Hi, Harry.” They never knew I was gone.
The Actors Lab was in Los Angeles, but you went back to New York at some point. Why?
I missed New York. By that time I was out of New York City for quite some time, but I just wanted to go for the adventure. I drove to New York with two guys. One became a very famous actor, Gene Barry. Marvelous man. And a guy named Harry something – Harry Berman, I think. Big, tall, huge heavy guy.
This would have been the late forties, early fifties. Tell me about some of the young actors you got to know in New York during that time.
Ralph Meeker. Good friend. Very tough man. Great fighter, wrestler. Robert Strauss. Harvey Lembeck. I was in a play with Marlon Brando that I walked out of, stupidly. Luther Adler was directing. Adler begged me not to. It was dumb. There was a hotel in New York called the Park Central Hotel, on 55th and Broadway. There was a gym, and I used to worked out there, and Brando used to work out there. We became friendly, and we liked each other immediately. We knew all the same people. Robert Condon, Wally Cox, an incredible man called Red Kullers [whom Cassavetes enthusiasts will remember as the man in Husbands who sings “Brother, Can You Spare a Dime?”]. Brando and I got along very well. We double-dated a few times, and I did a movie with him, The Wild One.
Murray Hamilton was the most talented. He was an amazing actor. There was never a finer southern gentleman who ever lived. And very liberal politically. Married one of the DeMarco sisters. Murray got married in my old house up in Sherman Oaks. When Murray would come in to L.A. – he hated Los Angeles – he, after working, would go back to New York. We all had to stuff him into a plane. Fear of flying. He would have to be stoned before he would get on the plane.
One day he came up from downstairs and opened the door. He used to call me Hesh, and I used to call him Hambone. He said, “Harry – Hesh – you have to do me a favor.”
I said, “What?”
“You have to keep me off the sauce.” Now, Murray was an alcoholic. I was. Strauss, Lembeck, Meeker, all very heavy drinkers.
I said, “Okay.” He was doing The Graduate. Remember The Graduate? He played that beautiful girl’s father. He said, “Now, the director [Mike Nichols], he said ‘Murray, you have to stop drinking. We can’t see your eyes any more.’”
How did you stop drinking?
I didn’t. I think just, as the years went on, these people went out of my life. I just slowly but surely stopped [carousing].
Tell me about doing live television.
Some were small parts, some I was a star. One with James Dean, I was the lead, opposite Hume Cronyn. Cronyn was my teacher at the Actors Lab, the best teacher I ever had. He was the star, he and Jessica Tandy. I was in love with Jessica.
What did you learn from him?
I learned you cannot get on stage without knowing your lines. There was a time when I was able to do an improvisation on anything, and I thought that I was a very good actor, or a great actor. I hit my marks and people hired me all the time, so I must have been pretty good. I never felt that I had the freedom, the confidence, to really have the opportunities to let go and do it.
What live shows do you remember?
I did so many live TV shows. One of my best moments on live TV was a very famous show called “The Battleship Bismarck,” on Studio One. I played a fanatical nazi on the battleship. There’s the set, the battleship, and I was here saying everything like “Sieg heil!” and “Achtung!” I’m on the set, talking, during a rehearsal break or something, and I looked over and said, “Oh, my god.” I flipped. Over there was Eleanor Roosevelt. I didn’t ask permission, although I’m a very polite man, respectful of my peers, superiors. I just said, “Excuse me,” and walked up to her. I’m not very tall, and she was, and I’m in my nazi uniform. I said, “Mrs. Roosevelt – ” She grabbed my wrist and said, “Dear boy, what are you doing?!” The uniform I had on.
Ernie Borgnine and I were cast in Captain Video. We got paid $25 an episode, and we shot it in New York City. We had to learn a whole script a day, for $25. We did it for two weeks. We would write the cues on our cuffs. It was impossible. We worked so well together. A very sweet guy. The last time I saw him, Ernie knew the dates, and he said, “Who cast us in the show?” I said, “Uh….” and he said, “Elizabeth Mears!”
You were in the classic Playhouse 90, “Requiem For a Heavyweight.”
I replaced Murray Hamilton in that show; I don’t remember why. The only thing I really remember about the show was that [Jack] Palance was not very friendly.
The famous story about that show is that Ed Wynn couldn’t remember his lines, and right up to the last minute they were going to replace him with another actor.
I never knew Ed Wynn prior to that, but his son I’d worked with quite a few times in the movies. Keenan Wynn would beg him: “Come on, Dad, you can do it, come on, you can do it!” And the old man did it, and it was a marvelous performance.
Do you remember any incidents where something went wrong on the air?
I remember I was supposed to be on the set of Tales of Tomorrow, and I was in jail.
What happened? Did you make it on the air?
Yes! Bob Condon, the brother of Richard Condon, who wrote The Manchurian Candidate, bailed me out of jail.
And why were you there in the first place?
I destroyed an apartment house. The night before I had a date with a beautiful girl from Westchester County, the daughter of an actor and a crazy girl, just a nut. I went down to her apartment on 37th Street or 38th Street, and I took Bobby Condon with me. He and I were good friends. I spoke to her – I think her name was Betty – and I said, “I’m bringing a friend. Get a girl. The four of us will go out.”
Well, we went down there and she was pissed at me. I knocked on her apartment door, and she wouldn’t let me in. I said, “Will you open the door?” Blah, blah, blah, blah. “Come on, open the door.” And I became angry and I kicked the door in. Dumb. I was a kid. I kicked the door in, and that was it. But as I walked out of the apartment house, I wrecked the entire apartment house. Like three, four banisters on the stairs, I kicked the spokes out, [pulled down] the chandeliers. Went home. About five o’clock in the morning, six in the morning, the cops grabbed me and threw me in jail, and they threw Bobby Condon in jail. They let him out immediately, but they kept me in just because of my attitude.
So one of the cops called over and said, “Yeah, he’s in jail.” So they had a standby actor walking [in my place] all camera rehearsal. Meanwhile the jailers were cueing me for my lines. They loved it! I had grabbed my script and my glasses [when the police arrived]. But they bailed me out just in time to get me to the set. I got there just in time. I needed a shave. I had scrubby clothes. Gene Raymond was the star of that show. He looked at me like, “Oh, wow, who are you?”
The producer never forgave me, but the show was marvelous! One of my better performances.
Above: Landers and Gene Raymond on Tales of Tomorrow (“Plague From Space,” April 25, 1952)
You were in Rear Window. Tell me about Alfred Hitchcock.
I was prepared to dislike him. I don’t know why; I was a great fan of his. When we got on the stage, he said, “All right, kiddies, show me what you’d like to do.” That was all improvised: we’re in a club, she picks me up in a club coming out of a movie. We get through doing it and he says, “Oh, that’s marvelous.” He says, “Harry, come here. Look through the camera.” I didn’t know what the hell I was looking at. But he was gentle, and sweet, and so nice to work with. Which surprised me.
You were also in The Ten Commandments, Cecil B. DeMille’s last film.
I played three different parts. I was the first guy in America in fifty years who screamed at Cecil B. DeMille on the set, in front of God and everyone. Everybody’s dead silent. DeMille’s blue eyes went [looking around in search of the culprit]. The assistant director goes, “Harry, get back where you belong.” I said to myself, “I’m fired. That’s it.”
Why did you yell at him?
By that time, I’d watched DeMille scream at actors, and he could be very, very cruel. He did not know how to direct actors. He directed donkeys and elephants and mass crowds. With actors, he didn’t know. When I got on the stage first time, one of the actors said, “With Cecil B. DeMille, raise your hands all the time. ‘Yes!’ ‘Yes!’” I said, “Oh, okay.”
Anyway, in the scene, I’m on a parallel. I’m an Egyptian architect, and I’m surveying. I look up this way, and I’ve got a flag, and I look this way, and this way. A good-looking guy, John Derek, played Joshua, and he breaks loose from his Egyptian captors. So I jump off the parallel – the only reason I got the job is because I was always very well-built – and I grab him, hit him, knock him on the floor, and jump on him. Then some other people grab him. DeMille is sitting with his binder. Looking through his viewfinder, he says, “You! Move three inches to your left.” So I knew he meant me. I moved three inches, maybe five, maybe six.
Now when DeMille spoke, he had somebody put a mike in front of him. When he sat, somebody put a stool under his ass. So he’d never look [at anything].
That legend is really true?
Absolutely! I was there. So the mike is in front of him, and he said, “I said three inches, not three feet!”
I went insane. I picked up John Derek, I pushed him like this. I walked up to DeMille, I got very close to him. I cupped my hands. I said [loudly], “Mr. DeMille!” Now this is a huge stage of donkeys and hundreds of people. “Mr. DeMille! Would you like to go over there and measure me?”
He was flabbergasted. Prime ministers would come to see this man. He was Mister Paramount. And, anyway, I thought I was fired. I came back the next day. Next day, nobody spoke to me. Not one actor. Two days later, I’m walking on set. DeMille looked at me and said, “Good morning, young man.” Turned away and walked straight ahead. I’m saying, “Wow, what goes with this?” Nobody knew why I was still on the set, why I was still working.
Now, every actor in Hollywood worked on The Ten Commandments, and a lot of them weren’t even given screen credit. I got paid $200 a day, six days a week, plus we always went overtime – $250 a day. And I worked on it for three months. I was making more money than John Carradine, who was an old friend of mine, more than Vincent Price. I was papering my walls with checks from Paramount. One day, the assistant director, a great guy, says, “Harry, I gotta let you go. The front office is screaming about it.” He’d told me this once before, about a month before. He said, “Harry, we’ve got to let you go.” Because they’d never put me on a weekly [deal]. They said, “Get rid of him, or he’s going to make [a fortune off of us].”
When I was fired by the assistant director, I climbed up to tell DeMille. He was always up on a parallel. By this time I’d grew to love the old man. I really did. I realized how incompetent he was! I walked up and he waited, and then he looked and said, “Yes . . . young man?” He always wanted to call me by name, but he could not remember my name.
I said, “Mr. DeMille, I just wanted to say goodbye and I wanted to thank you very much for just a great time.” And I really meant it, in my heart. I said, “It was a great experience. I appreciate it so much.”
The assistant director was waiting at the bottom of the parallel. He climbs up the ladder. DeMille said, “Where is this young man going?” And the assistant director looked at me, and looked at DeMille, and said, “Nowhere, sir.”
I stayed on the picture for another full month, at $250 a day overtime.
Here’s the end of the story. Months later I’m walking through Paramount, on an interview for something, and as I’m walking out, walking towards me is Cecil B. DeMille and his film editor and somebody else. He stopped, and he went like this [beckons]. I walked towards him. He extended his hand and said, “Hello. How are you?” And then he looked very deeply into my eyes and said, “Is there anything I can do for you?”
I’m not very smart when it comes to that. I said, “No, sir, but I thank you very much for the offer.” He said okay.
As I walked away, I realized the whole thing. DeMille, in those days, was probably in his sixties. I was in my thirties. I must’ve reminded him of someone he knew as a kid, who was a very good friend of his, or a relative. I took DeMille out of the twentieth century and took him back to when he was a child, or a youngster. We saw each other and he would sense-memory back to somebody in another life. That’s the only reason he tolerated me, I suppose.
What made you think that?
Every time we spoke, he turned to his left, like there was a name on the tip of his tongue. Like he wanted to call me John or Bill or something.
I see – that’s why he was always blocked on your name.
Yeah. He was always busy, people talking to him, and when I spoke to him, all of a sudden everything evaporated and he just zeroed in on me for a moment. And then he was back to [what he was doing]. So that’s the only logical conclusion I could come to. Or maybe it was because I screamed at him. I felt so secure, I got my own dressing room, and I changed a whole huge scene in the movie by telling the assistant director the dialogue was incorrect grammatically. I brought my little immigrant mother on the stage and introduced my mom to Cecil B. DeMille. “Madame, it’s such a pleasure meeting you.” I felt very confident with the old man.
How did you get the part on Ben Casey?
There was a show called Medic, with Richard Boone. I did one of the episodes. It was a great show. One of my better moments. [A few years later] I was walking down the streets of MGM to go to my barber. I had a barber there who used to cut my hair. As I’m walking down the studio street, my agent walked up. He said, “Hey, Harry, what are you doing?” I told him [nothing]. He said, “Do you know Jim Moser?” I said, “Yes.” He produced and wrote Medic, and he produced Ben Casey and did the pilot.
Anyway, he arranged an interview for me. It was on a Friday. I’ll never forget this. I went there and read for him and Matt Rapf and I forget the studio executive’s name. I did four or five pilots prior to that, and you could almost tell when you had something. When I got home I called my agent and I said, “I think we have a series.”
Monday, he called me and said, “They want you back for another reading.”
So I went back to the studio. There was Vince Edwards, who I knew in New York City. Knew him quite well. They handed us each a script and we started reading. And Jim Moser got out of the chair, he grabbed the scripts, threw them up in the air, and said, “That’s it. You guys are the parts.” That’s how I got it.
Landers and perpetually scowling Vince Edwards (right) on Ben Casey.
What was Vince Edwards like?
Amazing man. One of the smartest, stupidest men I’ve ever known in my life. Complete contradiction. It’s too long to go into. He was abusive to many people. He was petty in many ways. He was far more talented than he gave people a chance to realize.
He had a photographic memory. Every now and then we’d have time to rehearse. We’d sit around the table and read our scenes. Vince would read a script once and he knew every line. Every dot, every comma. He knew everything. Sam Jaffe and I had difficulty, especially with the latin terms. Vince would just glance down and he’d get every paragraph, like that. Jaffe and I used to look at each other and go, “Wow.”
It was also his downfall, because he never bothered to study, to learn his lines. He was a much better actor than he gave himself a chance to be. He had charm. He had a great voice. He sang very well. He had an incredible sense of humor. He was quick as a cat. Very witty.
I’ve heard a couple of things about Edwards during the production of Ben Casey. One was that he spent all his time at the racetrack.
Sure. I’m directing one of the episodes, okay? Now, Vince is an old friend of mine. I knew him in New York City. When he first came out here, he stayed at my house. When he had an appendicitis attack, I got him to a doctor. My mother used to feed him chicken soup.
Vince, lunchtime: “I’ll be back.” He didn’t care who [was directing]. He was ruthless. He’d go, and [after] the hour for lunch, “Where’s Vince?” We had to shoot around him. He’d show up around three, four o’clock.
We haven’t gotten in Franchot Tone. What a man, what a man. He was brilliant. Do you know who he is?
He replaced Sam Jaffe as the senior doctor for the last season of the show.
Yeah. Sam Jaffe left for two reasons. It’s a sordid story. But Franchot Tone was amazing. He was the son of a doctor. Very rich. Responsible for the Group Theatre. When they ran out of money, when they were doing Odets plays and all that, he would [write a check].
Now, I’ll tell you a story about him. He would talk to no one. It took months before he would relate to anyone in the cast. On any level. I became his buddy. The reason? Right before we’re shooting, he came out and said, “Harry, I understand you have a dressing room upstairs?” I did. I had three dressing rooms, one upstairs – the editors had their own private dressing room there – one on the stage, and one downstairs with Vince. He said, “Can I have the key?” He looked over, and there was a pretty little extra in the doorway. So I slipped him the key.
After that we became very, very good friends, and he turned out to be a marvelous source of information about all the Group Theatre actors. Tone was a total alcoholic. He was a marvelous, compassionate, bright guy. But when he came to the studio, the minute he passed the guard, the phone on the set would ring: “Watch out, Franchot’s on the way over.” Franchot had a rented Chevrolet. The sides were bent like an accordion. He would hit the sides of the building: boom, boom, boom. He’d get out, staggering. He and his companion, carrying two big paper bags loaded with ice and whatever they were drinking. Scotch. Clink, clink, clink, went the bags. They’d go into the room, and that was it.
One day, when I was directing the show, he looked at me and said, “Harry, you know, you do something that the other directors don’t do.”
I said, “What’s that, Franchot?”
He said, “You always have me seated when we’re in a scene. Why do you do that?”
Well, I didn’t want to tell him that he was swaying in and out of focus all the time. I said, “Well, Franchot, you’re the boss of the hospital and this guy is your subordinate, so it’s just proper etiquette.”
He said, “Oh, yes, dear boy, thank you, I see.” With a little smirk on his face.
Franchot Tone as Dr. Freeland on Ben Casey.
I want to go back to Sam Jaffe. I heard that he left Ben Casey because of conflicts with Vince Edwards. Is that accurate?
Partially. Yeah, I’d say it was accurate. If Vince was in a bad mood – if you’re the star of the show, you’re a total, total dictator. The atmosphere on a set is dictated by the star. Vince was the boss. And Vince usually was in a pretty good mood, but he had an assistant who worked for him, an ex-prizefighter. What I’m going to tell you is too sordid, it’s such a cheap kind of a . . . oh, why not? They would do thievery. Christmastime, they would collect money to buy gifts for everyone. They kept half the money.
But Edwards was making a fortune as the star of the show, right?
Yes. He blew it all. He owned an apartment house with Carol Burnett out in Santa Monica – they were business partners together. Vince sold out his rights to get some more money to go to the track. I’m at Santa Anita one day with Jack Klugman, and I go to the men’s room. I look out and I see Vince walking towards the men’s room. I don’t want to bump into him, so I made a sharp left back into the bathroom, got into a stall, locked the stall. I was waiting for Vince’s feet to go out so I could leave, because he invariably hit you up for money. If you were at the track, and you saw Vince coming towards you, you immediately pulled out like two twenty dollar bills and put it on the table. Because he’d hit you up for money. “See, Vince, that’s it. That’s what’s left of my stake. I came in with three hundred dollars,” and whatever. Some bullshit. And he knew it. He owed me a lot of money. I’m a schmuck.
So he really stole the Christmas gift money from the cast and crew of Ben Casey?
Yeah. They would give people extra business. You know what that is, an actor gets extra business? He gets an increase in his pay. It makes him eligible to become a member of the Guild. So they would create extra business for extras, and if you did extra business you would pick up an extra hundred dollars. So Benny Goldberg, his little thuggy partner, would collect the money. It was petty. I remember once – I don’t know why I’m telling you all this shit. I can’t do it. It’s too demeaning. You’re too smooth. No, it’s no good.
Well, it sounds as if Edwards had a very serious addiction.
Oh, enormous. He had a huge problem gambling.
Do you think he liked doing Ben Casey? Did he like acting, like being a star?
I don’t know. Did he like doing it? Sure. He was making a lot of money. There was an episode where – I’ll tell you this, I don’t care – Jerry Lewis was directing one of the episodes of Ben Casey. He and Vince got into it. Bing Crosby got on the phone – he was the boss, you know that, he owned the show – and Vince disappeared. All of Vince’s lines went to me and Jaffe. And Jerry Lewis directed the show without any problems. We were all pros. But he was a difficult guy in many ways, yes. In many ways, no. Instead of focusing on his acting, his focus was get it done and go to the track.
Did your earlier friendship mean that you were on better terms with Vince than the rest of the cast was?
Yeah. By far. Absolutely. I could get away with murder with Vince. He was afraid of me.
He was bigger than you, though.
Ah, he was full of shit. He was blown up with drugs, but he had the wrists of a fifteen year-old girl.
What kind of drugs was he on?
I don’t know. I think, in those days, enhancement drugs.
Yeah, steroids. Oh, yeah, he was a two hundred-and-ten pound phony baloney. But it was all right. He was very smart. Big ideas. But a dumbbell. Didn’t know how to treat people. He believed that they tolerated and hated him.
But there was only one Ben Casey, and it was him. Nobody could take that show over. Nobody. He was it.
I think that surly quality of his made the character, and the show, unique. He wasn’t a wimp like Dr. Kildare.
Yeah. I knew actors who were up for the role. Russell Johnson, from Gilligan’s Island, was up for it, and two or three other actors. But Vince got it, and was marvelous in it.
Did Jim Moser have a lot of involvement in Ben Casey?
No, outside of writing. He was the producer, but he was never on the stage. Matt Rapf was one of the producers. They rarely came on the stage. I think it was part of the caste system in Hollywood. When you reach a certain level, you don’t go back.
Tell me about Sam Jaffe and Bettye Ackerman, who played Ben Casey’s leading lady. Were they together before the show began?
Already married. She was his student. After Sam died, she moved to South Carolina. She would come out here and she would call me and I would have lunch with her, maybe once or twice a year. She became a Tennessee Williams type of lady. She developed a slight little Southern accent. She reverted back to her youth. She was a marvelous lady. Her brother was a doctor. She was very well-schooled.
I became Sam Jaffe’s son in some ways. Just chemistry, mutual likes, politics. People we knew. He’d always call me up: “Heshel, how are you?” When he died, the whole town came out.
If people called you Hesh or Heshel, that makes me wonder: Is Harry Landers your real name?
No. Harry Sorokin. Landers is my mother’s maiden name. It’s an old Russian name. Seven children. We all took my mother’s maiden name but one brother and the girls, because my father walked out on seven kids. I, and my brothers, out of outrage and heartbreak about my father deserting us, disassociated ourselves from him. A dreadful man, really, a very bad man. But I loved him, in retrospect.
Let me try this one more time though: You said there were two reasons why Sam Jaffe left Ben Casey. What was the other one?
It was Vince’s gofer, who was a rated prizefighter, one of the top fifteen, twenty, I think a lightweight. Not a very nice man. Jaffe, I realized, had developed an intense dislike for him. And his dislike for Vince, as the years went on, increased, because Vince would do things that were not very nice. Scream at a makeup man, just stuff that no gentleman of quality would do.
I haven’t ask you much about your character on Ben Casey, or what you did with it.
I don’t know, what’s your question? How did I interpret the part? I didn’t. Well, I was the second-in-command. Vince was the chief resident and I was the second in command of whatever the unit was, and I was just playing footsies to Vince. He was the big wheel. That’s all it was.
The classic “best friend” role?
Yes. I was just his best friend on the series, and Jaffe’s good friend, but I didn’t have any – my part was indistinguishable. Anybody could have phoned it in. It was not a challenge.
Were you content to be in that kind of secondary role?
Sure! They paid me very well. I became very well-known, and if you’re rather well-known, you’re treated with a – it’s a great lifestyle.
The show was very popular.
Huge! For two years we were number one, number two. I remember once in Louisiana, visiting my ex-wife in Baton Rouge, walking down the street and people screamed. They would tear the clothes off you. You’d walk into a restaurant here, you couldn’t pay the tab: “Please come back.” You go to a movie, you never wait in line. You’re ushered right in. I was a half-assed movie star for a while. I was halfway up the ladder. I like that title. I’ll write a book: Halfway Up the Ladder.
Do you remember any other Ben Casey episodes that used you prominently?
“Minus That Rusty Old Hacksaw.” Gloria Swanson played my mother. First time I came on the set, I probably had an eight o’clock call, and she was probably there since five in the morning, being made up. When people introduced themselves, she would extend her hand. People would kiss her hand. I never kissed anybody’s hand. So she extended her hand and I took it and said, “How do you do?” I shook it.
Slowly but surely, and I say this without any reservations, she fell madly in love with me. Everybody in the studio thought I was having sex with Gloria Swanson. Totally impossible. She was old enough to be my grandmother. Last time I saw Gloria Swanson, she gave me a big hug and a kiss on the cheek, and she took my hand and squeezed it. I opened it and in it was a piece of paper, and she said, “I suppose you can’t be reached?” And I said no. She said, “Here’s my phone number. Call me. Please call me, Harry.” That was the end of Gloria Swanson. I wasn’t very bright about those things.
In one of the episodes, I’m dying of some sort of unknown disease, and they have a big microscope and they look at my body for what was making me sick, a pinprick or whatever. There were a couple of other episodes [in which Ted Hoffman figured prominently], where Vince was ill or he didn’t show up or whatever. But Vince was very zealous about his position in the show and who he was. There was a while – I don’t mind saying this – where you could not hire an actor as tall as Vince, or taller. They once hired an actor who was taller, and when they were in a scene together, Vince sat or the other actor sat. It was never eyeball to eyeball, because Vince would not put up with any kind of competition.
Gloria Swanson and Harry Landers on Ben Casey (“Minus That Rusty Old Hacksaw,” March 15, 1965).
You and Vince both directed episodes of Ben Casey.
He was a very good director. He was a better director than I was. For one reason: Vince had a photographic mind, as I told you. He was mechanical. All of the actors who I ever directed loved me. I’m the best acting teacher, best acting director in the world, including Elia Kazan. I’m brilliant at it. But I never really mastered the camera. I should have gotten the cameraman aside, but I did not; I winged it with the camera, and it showed. But, you know, they hired me. I did three shows, so they must have saw something they liked. I was adequate. Out of Ben Casey, I got a Death Valley Days to direct.
Did you do any more directing after that?
No. I’m the second laziest man in America, and probably the most undisciplined person that ever lived. If I had disciplined myself, I would have had a very large career.
Here’s a TV Guide profile of you from the Ben Casey era. I’m curious as to how much they got right. Were you in fact an unofficial technical advisor on Action in the North Atlantic (1943)?
And your wife was Miss Louisiana of 1951, 1952, and 1953?
Yes. But I’ve been divorced for years. If I had a brain in my head I would have stayed married. I would’ve been the governor of Louisiana years ago.
Is it true that you got the audition for Ben Casey because you saw Jim Moser stranded on the side of the road after his car broke down, and stopped to help him?
That was made up by the publicity guy.
Do you remember doing Star Trek?
Yeah. I was a guest star, and it was a dreadful experience for me. I had just got out of the hospital. I’d had a lung removed, and I was not steady on my feet. Usually I was one take, two takes, print. I was always great with dialogue. This time I was not good. The producer, who produced Ben Casey, insisted I do the job. He said, “Oh, Harry, you can do it.”
Oh, right, Fred Freiberger produced the final season of Star Trek.
Yeah. What a guy! He was a member of the Actors Lab. But I was not happy with that show. It was not one of my better [performances].
Why did you have a lung removed?
I was on location doing a movie with Elvis Presley. Charro, I think it was. I was working in Death Valley. I was a gym rat, and I came back and I felt a pull in my right lung, and I had it x-rayed and I had a growth. It was not a good moment for the doctors or Harry. They could have treated me medicinally, but in order to play it safe, they decided to remove the upper right lung. This involved a lot of money. Maybe they were right, but I don’t think so. An incredible, painful nuisance. They cracked every rib in my body.
Landers with William Shatner (left) on Star Trek (“Turnabout Intruder,” the final episode, June 3, 1969)
Is that why you didn’t act much in the years immediately following the Star Trek episode? You kind of disappeared for a long time.
I just didn’t want to work. I don’t know why. I had a lot of money. In fact, I even turned down a lead opposite Shelley Winters in some movie she was doing. I always felt that once you reach a certain plateau, which I did, people always want you. What I didn’t realize was: out of sight, out of mind. All of a sudden it was like, who? what? So I just sort of disappeared. It was a period of eight, ten years where I didn’t work. I didn’t care. I don’t think I had an agent. I didn’t bother.
What were you doing during that period?
Collecting art, and selling art, which I do today. I’m a huge art collector.
What kind of art?
All kinds. I’m very good with antique art, old art. I know the Picasso, Chagall, Miro, Calder and all that stuff, but I’m partially colorblind, so I stay away from that. I buy antique art.
You mentioned that Jack Klugman was a friend. Is that why you appeared several times on Quincy?
Yes. I didn’t want to do them. Walking by Universal, going in and out, Jack saw me and he stopped. “Harry, get in here!” He said, “Please do one of the shows.” They were minor parts. I just did them to please him, and I enjoyed every moment of it.
Finally, I guess we should talk about Taster’s Choice.
Out of the blue my agent called me: “They want you to do a commercial.” I said, “Okay, I’ve done a few commercials. Quite a few, in fact. What is it?” One of the sponsors’ wives saw me in one of the episodes of Ben Casey. I did the video version here, on tape: “Hi, my name is Harry Landers, and I drink Taster’s Choice coffee because it gives me diarrhea. Taster’s Choice coffee comes in small packets. It’s instant brewed coffee. It’s fucking delicious!” I do a lot of improvising. So, I did it, and then they flew me to Chicago to do the audio version. It was on the air so often, it got to the point where the disc jockeys would say, “Who the hell is Harry Landers?”
This interview was conducted in Sherman Oaks, California, on April 30, 2010. The image at the top is from The Untouchables (“Portrait of a Thief,” April 7, 1960). I’m not entirely clear on what this is, but it features Harry in a recent acting role.
May 21, 2011
Charles F. Haas, a prolific television and film director, died on May 12 at the age of 97.
Haas began his career at Universal in 1935, through nepotism; his stepfather was a friend of studio chief Carl Laemmle. He rose from the production office and the cutting room to become, after the war, a producer and a screenwriter. Haas directed ten B-movies in the late fifties, some of which – Girls Town, The Beat Generation, Platinum High School – are now remembered as minor camp classics. But if Haas, whom Mamie Van Doren once proclaimed the best director she ever had, has any standing among cinephiles, it probably resides on Moonrise, the one feature he wrote (and also produced). A dangerous, dreamy melodrama, Moonrise was directed by the presently fashionable auteur Frank Borzage, after Haas’s original choice, William Wellman, dropped out.
After Moonrise, Haas found himself eminently employable as a screenwriter, work that he hated, and insisted on making a transition into directing (for which there was far less demand). The night before he was to throw in the towel and accept a writing job, following a six-month drought, his agent came up with a debut directing job in industrial films. Haas moved quickly into television and directed much of Big Town, a newspaper drama produced by the low-budget indie outfit Gross-Krasne.
Crossing over to the majors, Haas worked regularly for Warner Bros. (on their carbon-copied westerns and detective shows) and Disney (on Disneyland and The Mickey Mouse Club, among others). Haas moved up to direct for a number of A-list dramatic series, including Route 66, The Dick Powell Show, and The Man From U.N.C.L.E., but on all of them he tended to move on after one or two episodes. That peripatetic pattern led me to wonder if he had trouble delivering an above-par product. But Haas claimed that he didn’t like to stay in one place for too long, and also blamed his unwillingness to court the friendship of production managers (especially at Revue, but also on Bonanza and other shows) as a reason why he sometimes wasn’t hired back. In any case, it remains difficult to discern an authorial style in most of Haas’s television work, although there are high points. In The American Vein, Christopher Wicking and Tise Vahimagi describe Haas’s “Forecast: Low Clouds and Coastal Fog” as “one of the moodiest Hitchcock segments” I’m partial to “Cry of Silence,” the underrated “killer tumbleweed” episode of The Outer Limits, in which Haas conjured more tension and atmosphere than one would think possible on a soundstage facsimile of the nighttime desert.
When I interviewed Haas in 2007, he was 93 and retained a detailed memory. He told me wonderful stories about Borzage, John Ford, William Wyler, and other Hollywood giants, and discussed own his directing career. Never one to engage his actors in discussions of motivation and the like, Haas explained this theory of non-involvement with an example involving David Janssen, whose gifts he recognized:
In a picture at Universal [Showdown at Abilene], I had David Janssen. I had him with [Jock Mahoney], who . . . was basically a stuntman. Stunts were easy for him, but as an actor he lacked a certain energy. So I couldn’t afford to have David Janssen as his assistant, but he was under contract at Universal, and I had to [use] him. So I had him leaning against a door in every scene. He never understood why. The reason was, if I hadn’t had him leaning against a door in every scene that he was in, he would’ve outdone [Mahoney], who was the star. So it was a very indirect kind of thing. You have to keep in mind that these are all talented people, and what you want to do is furnish them with energy, not with your idea.
On The General Electric Theatre, Haas directed Ronald Reagan, and thought him rather strange:
It’s pretty hard to characterize Ron so that anybody can understand. He was very easy to work with. He was interesting and cooperative. We didn’t agree about anything, but we never fought about it. He was perfectly reasonable, but he was a total nut. Really. One time while they were lighting the set, he said to me, “Chuck, what do you think is the worst thing that ever happened to the United States?”
So I’m thinking and pondering, and I said, “Well, the Civil War.” He said no. “World War I?” No. I said, “Ronald, what?”
He said, “The graduated income tax.”
(Haas had another funny Reagan story, but I’m holding that one back until I have a place to publish the whole interview.)
Haas retired from directing in 1967, when he was only in his mid-fifties, and devoted much of his later life to overseeing the Oakwood School, a private school in the San Fernando Valley that he had co-founded when his children were young.
March 4, 2011
Prolific television writer Donald S. Sanford died on February 8. Sanford, who was born March 17, 1918, had lived in Atlanta in recent years.
Sanford rated an obituary in Variety but, as far as I can tell, his death provoked little reaction in the fandom blogosphere. That’s surprising because, among his varied and voluminous episodic credits, Sanford is best known for his work in the horror/fantasy genre. He penned one weird, underrated Outer Limits episode (“The Guests”) and was, between 1960 and 1962, the busiest writer working on Thriller, the anthology that yielded some of the scariest outings in sixties television.
Although Sanford’s touch leaned towards the anonymous, he could deliver solid work. On a show where producer Joseph Stefano tended to rewrite other contributors heavily, he approved Sanford’s final draft of “The Guests” with barely any changes. And on Thriller, Sanford’s contract called for him to write the episodes which would star the show’s host, horror icon Boris Karloff.
Sanford is quoted extensively in, and wrote a foreword for, Alan Warren’s 1996 book This Is a Thriller: An Episode Guide. I had intended to quote a few of Sanford’s most incisive comments about the making of Thriller, but as I reread the book, I realized that all of Sanford’s best stories were about money. He fired his agent in the early sixties because he realized he was getting most of his writing gigs through his own connections, and thus squandering the agent’s ten percent commission. He chipped the studio’s “top of show” price for an original Thriller story and teleplay from $3500 up to $4000.
And when Thriller was cancelled, Universal owed Sanford two scripts on a twelve-script, pay-or-play contract the writer had signed after the producers of Thriller realized that his work was a good fit for the series. Sanford insisted that the studio honor the contract – a bold response that not every writer would have issued, as it could have backfired and endangered further employment at that studio – and Universal countered by transferring the remaining assignments to Laramie, a western entering its final season. As Sanford told it, the producer of Laramie, John C. Champion, was incensed at having a writer forced on him, but in the end admired the quality of Sanford’s work enough to hire for a feature a few years later.
On the subjects that are likely of more interest to Thriller fans – the process of imagination that generated all of those scares, for instance – Sanford had less to say, at least under Warren’s questioning.
I’ve interviewed a few writers whose memories work like that. They can tell you how much they earned for every one of their scripts, but little about the characters or the stories. “It was just a job,” becomes the craftsman’s refrain – sometimes apologetic, sometimes defiant – when questioned about one television segment after another.
The historian’s tendency, or at least mine, is to pass a kind of judgment here. The writer was a hack, a guy who was doing it just for the money. Of course, that’s unfair. Although it paid reasonably well, episodic television was a volume business. A writer with a family and a mortgage had to complete ten or twelve scripts a year, at least, in order to maintain his lifestyle. It’s only natural with a freelancer, with no guarantee of income beyond the next assignment, to focus on the pragmatic. The problem becomes one of communication between the historian and the subject: For us, the questions are about the art; for them, the answers are about the economics. It is perhaps easier to connect with a Serling or a Chayefsky, someone who was conversant in the idea of the medium as an art form, than with a writer who viewed television as his business.
On Thriller, at least, Sanford deserves a good deal of credit. His best episodes tend to be the ones derived from the best source material – the Cornell Woolrich nail-biter (“Late Date”), the pulpy, plotty Weird Tales piece (Robert Bloch’s “The Cheaters”), the bizarre black comedy (Henry Kuttner’s “Masquerade”). Converting those stories into shootable teleplays while retaining some of the authors’ distinct voices (particularly Kuttner’s oddball sense of humor) required an uncommon level of skill – and, perhaps, a writer without an overly bold voice of his own.
Sanford also wrote multiple episodes of Martin Kane Private Eye, Man Against Crime, M Squad, Perry Mason, Bonanza, 12 O’Clock High, and Felony Squad. Four of his five produced screenplays were for war movies – three forgettable mid-budget actioners for the Mirisch Brothers, all released in 1969, and Midway (1976), a star-driven epic which posited that the most important naval battle of World War II consisted mainly of middle-aged guys standing around and talking. Voluntarily or not, Sanford seems to have retired in 1979, following the release of his final film, the obscure Ravagers. Leonard Maltin says it’s a “BOMB” but it at least sounds pretty interesting. Like most of Sanford’s Thrillers, it’s an adaptation of a pulp source, a post-apocalyptic sci-fi book by cult novelist Robert Edmond Alter. How bad could it be?
July 30, 2010
Alvin Boretz, a prolific dramatist of early television, died on July 22 at the age of 91. Boretz claimed to have written over 1,000 radio and television plays. “From the very beginning I had a good reputation,” he said, “I was always getting work. I never had to look for it.”
After working his way through school (seven years of nights at Brookyn College) and serving in the Army Air Corps during World War II, Boretz got his first writing job in 1945 after he answered an ad in the paper. It was a radio gig, and for the rest of the decade Boretz penned scripts for Five Treasury Salute, Big Town, Front Page Farrell, Big Story, and (for producer Steve Carlin, later a figure in the quiz show scandals) Five Minute Mysteries. His first paycheck, for $60, was signed by radio pioneer Himan Brown, who preceded him in death by just over a month.
“Radio was great because you went in and you created a whole world,” Boretz said.
Big Town and Big Story transitioned successfully into live television, and they took Boretz with them. Both were newspaper dramas, Story an anthology and Town a crime drama that starred Patrick McVey as a racket-busting editor. Boretz expanded his catalog to include Treasury Men in Action, which like Big Story was produced by the brothers-in-law Bernard Prockter and Everett Rosenthal. Appointment With Adventure, Justice, and another Prockter production, The Man Behind the Badge, followed. In 1952, Boretz watched an unknown actor named James Dean audition for one of his scripts for Martin Kane, Private Eye. Dean was fired by the director after two days of rehearsal, but he later starred in “The Rex Newman Story,” one of Boretz’s Big Storys.
Though Boretz never joined the first rank of the live TV playwrights, he logged hours on some of the most prestigious anthologies, including Philco Television Playhouse, Kraft Theatre, and The Alcoa Hour.
“Alvin was a professional, no-nonsense writer,” said producer Bob Markell. “He knew the problems of making TV, and he accomodated the problems, not worrying about whether it was great art or not. He had no pretensions. More often than not, the shows were good shows.”
In the early days of live television, the writer was a welcome presence at the table reading and the rehearsals of a script. Boretz took full advantage of his access. “I used to sneak an actor away from the producer and say, ‘Listen, do me a favor. When you play this part, do this, do that, do that,’” Boretz recalled. “If the producer knew I was doing it, they’d kill me. But I couldn’t help it, because I wanted to protect my work.”
Boretz spoke with a loud Brooklyn accent; he sounded like the actor Joseph Campanella. The writer Harold Gast remembered Boretz as “a smartass.” He described an obnoxious gag Boretz would use at parties: He would grab someone by the arm and give it a vigorous shake. The greeting was a pretext to cause the other man to spill his drink.
But Boretz’s aggressive personality was a key to his writing. He told me that
I’m a big talker, so when I meet guys, I’ll take a guy to lunch and tell him this idea that I have. What do you think of it? “That’s not a bad idea.” I’d say, Well, how would you go about doing this or go about doing that? I would bleed them a little for ideas. Then I would take them to lunch. I belonged to the Princeton Club. Not that I went to Princeton; I went to Brooklyn College at night for seven years. But the guys at the Princeton Club invited me to join because I was a good squash player.
Boretz got the idea for one of his Armstrong Circle Theaters, about a banker who was “a crook, a thief,” from a Princeton Club acquaintance. (This was 1963’s “The Embezzler,” starring Gene Saks.) Armstrong was Boretz’s most important early credit. When David Susskind took over production of the show in 1955, he gave the anthology a distinctive identity by turning it into a showcase for ripped-from-the-headlines, current-events stories. The scripts utilized dramatic devices borrowed from newsreels and documentaries, something Boretz had already been doing on Big Story. These were “strong, honest stories,” in Boretz’s view. Between 1958 and 1961, he penned nearly every third Armstrong segment.
For Armstrong, Boretz wrote about con men, prison reform, highway safety, compulsive gambling, and single parenting. The Cold War was Armstrong’s bread and butter, and Boretz’s scripts on that subject included “The Trial of Poznan,” about the 1956 uprising in Poland. Jack Gould, the television critic for the New York Times, wrote that
The best part of his play . . . was its depiction of the contagion of freedom. The two defense attorneys, who had expected to follow orders as usual, one after the other became interested in putting up a genuine defense. Next it is the judge who, having granted some freedom, cannot be sure when to stop and finally exercises his own authority. Finally it is the prosecuting attorney who realizes too late that freedom cannot be turned on and off at will.
Boretz won a Harcourt Brace Award for “The Trial of Poznan,” which cashed in on the anti-communist hysteria of the late fifties and also subverted it to deliver a progressive message. It’s a good example of how Armstrong (and David Susskind) navigated the crazed political atmosphere of the times.
Boretz claimed that he was “never stupid enough to join the Party.” But his politics tilted leftward and he believed he had a “narrow escape” from the blacklist. A sword hung over his head that had nothing to do with his politics. His cousin, Allen Boretz, a famous playwright and screenwriter, was blacklisted. Alvin was twenty years younger and barely knew Allen, but he spent the McCarthy era fearing that someone would mix up their names and blacklist him too. At one point his friend Abram S. Ginnes, another Armstrong writer who was graylisted, asked Alvin to put his name on one of Ginnes’s scripts so that it could be sold. Boretz refused. “Fronts” sometimes followed the men they stood in for onto the blacklist.
Of all his work, Boretz was proudest of his association with Playhouse 90, even though he wrote only one script for it. “It was a classy show,” Boretz said. His episode, “The Blue Men,” was a police procedural that the producer, Herbert Brodkin, spun off into a half-hour series called Brenner. Boretz served briefly as Brenner’s story editor (Earl Booth replaced him), and went on to write for Brodkin’s next two series, The Defenders and The Nurses.
One of Boretz’s closest friends in the business was a writer named Allan E. Sloane. Similar in background and temperament, they both commuted to work from Long Island and for a time shared a pied-à-terre in Manhattan. Boretz and Sloane had something else in common, too: Each of them had an autistic child, and each dramatized aspects of that experience in his television writing.
When The Defenders debuted in 1961, Boretz was deeply offended by the premiere episode, “The Quality of Mercy.” Written by Reginald Rose, the series’ creator, this infamous “mongoloid idiot baby” show concerned an obstetrician (Philip Abbott) who euthanizes a mentally retarded newborn. In examining the issue from all sides, Rose declined to condemn the doctor’s action. Boretz crafted a response of sorts in the form of “The Forever Child,” a segment of Brodkin’s medical drama The Nurses. Earnest and compassionate, “The Forever Child” debated the merits of home schooling versus public education for mentally challenged children. Boretz’s script emphasized the crushing fatigue experienced by the parents of such children.
“The Forever Child” drew upon research Boretz had done for “The Hidden World,” a 1959 Armstrong show about Iowa’s Glenwood State School for the mentally retarded. It wasn’t the only time he returned to his Armstrong work for inspiration. One of his three Dr. Kildares, “Witch Doctor,” resembled “The Medicine Man,” an Armstrong exposé on quack doctors. Another, “A Place Among the Monuments,” depicted a duel of wills between Kildare and a suicidal young woman (Zohra Lampert) who resists his efforts to counsel her. It was a reworking of “The Desperate Season,” an Armstrong about a suicidal college professor (Alexander Scourby) who receives successful treatment for his depression.
Dr. Kildare, one of Boretz’s first Hollywood credits, led to work on other West Coast doctor shows: The Eleventh Hour, Breaking Point, Medical Center. Boretz ended up using his pseudonym (“Roy Baldwin”) on all three. “I carefully documented the case histories of my fictional patients, but the story editors put up an argument,” Boretz told a reporter in 1965. “My name, to me, has value. It’s all I’ve got.”
Like a lot of New York-based writers, Boretz struggled against the more commercial and less collegial circumstances of television production on the Left Coast. Never willing to relocate, Boretz slowed his output somewhat as he wrote for Laredo, Mod Squad, Ironside, The Rookies, and Kojak from afar. He had a role in developing The Amazing Spider-Man for television in 1977, and wrote a pair of exploitation films (including Brass Target, for his old friend Arthur Lewis, the first producer of The Nurses). One of his final credits – or, rather, Roy Baldwin’s – was the TV movie and hopeful pilot Brass, starring Carroll O’Connor as a New York City police commissioner.
Brass was shot on location in Manhattan, but Boretz’s real New York swan song may have been his five (out of forty-nine) episodes of N.Y.P.D., the gritty half-hour cop show that ran from 1967 to 1969. Bob Markell, the show’s producer, remembered that
when I was doing N.Y.P.D., I convinced Susskind and Melnick [the executive producers] to let me go out and shoot what I called stock footage, so that I could use that any time I wanted to. Fire trucks, ambulances, things like that that you could cut in. One day, Susskind, or Danny [Melnick], said to me, “What are you going to do with all this stock footage you got?” I said, “I don’t know.” I called Alvin up and said, “Alvin, I shot all this stock footage. You want to write a script around it?” He wrote a hell of a script. I loved Alvin.
All five of his scripts are winners; Boretz had a real feel for the sleazy two-bit criminals on whom the show focused. “Case of the Shady Lady” had the cops untangling a knot of suicide, murder, and extortion among a rich playboy (Robert Alda), an wide-eyed B-girl (Gretchen Corbett), and an obnoxious club owner-cum-pimp (Harvey Keitel). “Private Eye Puzzle” gave Murray Hamilton an amusing star turn as an oily P.I. “Who’s Got the Bundle?” was a cat-and-mouse game between cops and crooks searching for a missing $150,000. The money ends up with a pudgy cab driver who crumples as soon as Lt. Haines (Jack Warden) questions him. M. Emmet Walsh, new on the acting scene but already middle-aged, hits the right wistful note as he delivers Boretz’s monologue explaining why the cabbie kept the loot:
Twenty-two years. That’s how long for me, twenty-two years. Cab driver. You know, I listen to the radio: Fly here, fly there. Fancy millionaire stiffs me out of a tip. Then a guy puts a knife in your neck and he takes it all. Then yesterday morning, suddenly, like from heaven, a gift. I opened it in my apartment. I s’pose I knew all the time I wasn’t going to have it. I mean, after twenty-two years . . . .
In March of 2003, I visited Alvin Boretz in Woodmere, a town on Long Island where he had lived since at least the early sixties. What ensued was a very uncomfortable conversation. Boretz was suffering from symptoms of Alzheimer’s or dementia, and he could recall his career in only the most general terms. Alvin would try to cover the gaps by changing the subject or repeating something he’d just told me, and I did the best I could not to let on that I noticed any problem. The quotations above represent almost all of what I could salvage.
“He wasn’t like this six months ago,” his wife, Lucille, told me as she drove me back to the train station. Rarely have I been made so aware that my work is a race against time. Lucille and Alvin Boretz were married for 68 years.
Thanks to Jonathan Ward for his assistance with some of the research.