There can be no argument that Gilligan's Island was one of the most successful television series of all time. The show has been translated into over a dozen languages and aired in 74 countries. It even managed what seemed impossible, surpassing I Love Lucy in syndication. What might surprise many of the show's loyal viewers, at least those unaware of its history, is that Gilligan's Island only ran three seasons. Many might conclude that it was simply cancelled due to poor ratings. After all, this is why the vast majority of shows are cancelled. In truth, however, Gilligan's Island had respectable ratings until the very end. Its cancellation came about not due to low ratings, but the feelings at the upper reaches of CBS about the show and about another legendary show called Gunsmoke.
The seeds for Gilligan's Island were sown even as it debuted on CBS on September 24, 1964. Even today Gilligan's Island is sometimes cited as an example of bad television, but the reviews which came in from critics in the wake of its premiere were ever worse. Gilligan's Island was firmly trounced by critics at the time. Not only were the notices bad on the whole, but many critics cited it as one of the worst shows ever made.This did not sit well with the head of CBS William S. Paley, who always prided himself on the quality of programming on the network.
Unfortunately for Mr. Paley, Gilligan's Island proved to be a hit. Not only did it routinely win its time slot, but for the 1964-1965 season it ranked #18 in Nielsen's top twenty five shows. At the time CBS had a policy in scheduling to keep successful shows in the same time slot; however, an exception would be made for Gilligan's Island, which had proven to be an embarrassment to the network. The series was then moved from its 8:30 PM Eastern Saturday time slot to 8:00 PM Eastern Thursday for for the 1965-1966 season. The change in time slot hurt Gilligan's Island very little in the ratings. The show came in 22nd n Nielsen's top twenty five shows. For its third season Gilligan's Island was moved once more, this time to 7:30 PM Eastern Monday. While the show fell out of the top twenty five shows according to Nielsen for the season, its ratings were still respectable and it consistently won its time slot. CBS not only renewed Gilligan's Island, but decided to keep it in the same time slot. It would be followed by a new situation comedy entitled Doc, starring Eldon Quick as a young physician hired by an older physician played by John McIntire.
While Gilligan's Island was set to return in the same time slot for the 1967-1968 season, a television stalwart was set to go off the air. Gunsmoke was one of three Westerns to debut in the fall of 1955 (the others were The Life and Legend of Wyatt Earp and Cheyenne) and spurred the phenomenally huge cycle towards Westerns in the late Fifties. From 1957 to 1961 it was the number one show on television. Unfortunately, after Gunsmoke was expanded from a half hour to an hour, it experienced a catastrophic slide in the ratings. It was then in the 1966/1967 that the programmers at CBS decided to cancel Gunsmoke at the end of its twelfth season.
The outcry was immediate. Critics and viewers alike were outraged. Senate Robert Byrd even criticised the network's decision on the Senate floor. Even with such outcry, it is quite possible that CBS would not have given Gunsmoke a reprieve had it not been for one thing. Quite simply, Gunsmoke was among the favourite shows of both William S. Paley and his wife Babe. When he saw that Gunsmoke was not on the fall 1967-1968 schedule, he immediately called CBS vice president Mike Dann and demanded that the show be renewed. With visions of losing their jobs, CBS' programmers then rushed to find a solution to their scheduling dilemma. Unfortunately their solution would not be one that would be pleasing to the cast and crew of Gilligan's Island.
As mentioned above, Gilligan's Island had received atrocious notices upon its debut. This had won it no love from Wlliam S. Paley, who wanted programming on CBS to be high in quality. At the same time CBS' affiliates had shown an extreme dislike for the new sitcom Doc, which was set to follow Gilligan's Island. It was then decided that Gilligan's Island, which had always been a bit of an embarrassment to Mr. Paley, and Doc, which was not popular with the affiliates, would be cancelled and Gunsmoke would be return in the 7:30 PM Eastern Monday time slot.
The repercussions of the reprieve Gunsmoke was given would not end with the cancellation of Gilligan's Island. In its new time slot, Gunsmoke made a miraculous recovery. It jumped from the bottom of the ratings to the top ten for the 1967-1968 season. With such phenomenal ratings, the shows on NBC and ABC could not compete. On NBC The Monkees, which was directly against the first half hour of Gunsmoke, saw a drop in its ratings. The Man From U.N.C.L.E, whose first half hour aired against the second half hour of Gunsmoke, had already seen a drop in its ratings in its third season. In its fourth season its ratings dropped even more. As to the new series on ABC, Cowboy in Africa, it never had a chance. In the end, Gunsmoke would run another eight years. As to Gilligan's Island, it went onto become a sensation in syndication.
It was William S. Paley and his wife's love of Gunsmoke that would ultimately be the reason that Gilligan's Island ran only three seasons. What is more, the return of Gunsmoke would take down three other shows on the competing networks, two of which (The Monkees and The Man From U.N.C.L.E.) are counted as classics in many quarters. While no one can say how things would have unfolded had Gunsmoke not been renewed and moved to Monday night, one can probably guess that things would have unfolded very differently.
(Credit Where Credit is Due Department: In addition to the usual news archives and IMDB, I relied a good deal on Inside Gilligan's Island by Sherwood Schwartz. This book is not only useful for anyone curious about the history of that series, but for anyone who wants an inside view on the inner workings of television series and broadcast networks in the Sixties).
Monday 28 November 2011
Sunday 27 November 2011
The Late Great Dick Giordano
Comic book artist and editor Dick Giordano passed today at the age of 77. The cause was complications from pneumonia.
Richard Giordano was born on July 10, 1932 in Manhattan. He was still very young when he was introduced to comic books by one of the first true comic books to exist: Famous Funnies. He would go onto become a huge fan of the character Batman. He was particularly impressed by Batman #1, spring 1940, which featured the first appearance of The Joker, a character who frightened the young Mr. Giordano. It also convinced him he want to work in the field of comic books. He also enjoyed the characters of Blackhawk and Captain America. He was an avid fan of radio shows, in particular The Lone Ranger, Inner Sanctum, and Jack Armstrong, the All American Boy. He started drawing while very young, encouraged a good deal by his parents. It was his eighth grade art teacher who advised he enrol at New York's School of Industrial Arts. He did so when he was fourteen.
Dick Giordano graduated from the School of Industrial Arts in 1950. He then looked for a job within the comic book industry. In 1951, after months of rejections, Mr. Giordano went to what he thought was the office of a comic book company, only to find out it had moved. Only one person remained, a man who claimed to be a comic book writer. He looked over Mr. Giordano's portfolio and told him he should visit comics packager Jerry Iger. The Iger Studio was a firm which was hired by comic book companies to letter and ink comic book panels. During the Golden Age they had worked for Quality Comics, Fox Comics, and others. By the Fifties they created content for Fiction House, the publisher of the popular Sheena, Queen of the Jungle (created by Will Eisner and Jerry Iger himself). Mr. Giordano started out more or less as an errand boy in the Iger Studio office, before finally graduating to inking. Among the comic books he inked was Sheena, Queen of the Jungle.
Dick Giordano's next job would come as the result of his father, a cab driver. One of his father's fellow cab drivers, Harold Philips, was brother in law to Charlton Comics editor Al Fago, creator of such funny animal characters as Atomic Mouse. Philips invited both Mr. Giordano and Fago to his New Year's Party, knowing Mr. Giordano was a comic book artist. Fago was impressed by Mr. Giordano's work and promised to start assigning him freelance work. He received enough work from Charlton Comics to quit his job at Iger Studio. At Charlton Mr. Giordano worked on such comic books as Racket Squad in Action, Space Adventures, and Hot Rods and Racing Cars. In 1955 Charlton Comics was restructured, at which point he ceased to be a freelancer and became one of Charlton's staff. During this period Mr. Giordano worked on such titles as Scotland Yard and Wyatt Earp, as well the company's brief 1955 revival of The Blue Beetle. After Al Fago left Charlton over a disagreement with management, Dick Giordano was made the assistant to new editor Pat Masulli. After a year in the position Mr. Giordano was unhappy, so Masulli offered him a deal whereby he could freelance for Charlton under various pseudonyms (this was done because Charlton's management would not have liked such an arrangement).
In the early Sixties, without Charlton's management knowing, Dick Giordano also accepted freelance work from Stan Lee of Atlas Comics (soon to be renamed Marvel Comics) and other companies. With his brother in law Sal Trapiani, Mr. Giordano did freelance work for Dell, DC, and the American Comics Group. He worked on such titles as Dr. Who, Hogan's Heroes, Get Smart, and the little known Beatles comic book published by Dell. He did his first work for DC at this time, on The Brave and the Bold #65, May 1965, which teamed up The Flash and The Doom Patrol. By 1965 Mr. Giordano was the managing editor at Charlton Comics. It while he was editor that he introduced Charlton Comics' "Action Hero" line, which included such characters as a new version of The Blue Beetle, Sarge Steel, The Question, Peacemaker, Judomaster, and Peter Cannon...Thunderbolt.
It was in 1968 that Mr. Giordano became part of DC Comics' staff. Initially he worked on such titles at DC as Aquaman, The Secret Six, The Creeper, The Teen Titans, and Young Love, among others. He would later ink a few issues of Denny O'Neil and Neal Adams' groundbreaking Green Lantern/Green Arrow. in 1971 Dick Giordano left DC Comics to found Continuity Associates with Neal Adams. Continuity Associates was a packager which provided storyboards for movies and advertising art, but also provided content for Charlton Comics and Marvel Comics. During this period Dick Giordano would work for DC on Batman and Wonder Woman. He also provided the Sons of the Tiger feature for Marvel's black and white magazine The Deadly Hands of Kung Fu.
It was in 1980 that new publisher Jeanette Kahn brought Dick Giordano back to DC Comics. Initially he edited the Batman line of comic books. In 1981 he was made managing editor at DC and in 1983 Vice President/Executive Editor. With editor Paul Levitz and Jeanette Kahn, Giordano remade DC Comics by reenvigorating such features as Batman, Justice League of America, Superman, Teen Titans, and Wonder Woman. By 1993 Mr. Giordano, Levitz, and Kahn would launch the Vertigo imprint. Mr. Giordano continued to ink, including work on Crisis on Infinite Earths and The Man of Steel miniseries. By the mid-Eighties Mr. Giordano became a outspoken champion for creator's rights.
In 1993 Dick Giordano went into semi-retirement. He inked the Modesty Blaise graphic novel for DC in 1994, issues of Birds of Prey, Catwoman and Batman: Gotham Knights, and The Power of Shazam graphic novel. He drew several issues of The Phantom published in Europe and Austrailia, and helped Bob Layton launch Future Comics in 2002. He wrote the book Drawing Comics with Dick Giordano, outlining his artistic techniques.
Dick Giordano is rightfully called a comic book legend. As an editor he encouraged the careers of Denny O'Neil, Jim Aparo, John Byrne, Steve Skeates, and many others. As an inker he was among the best in the business. His style would influence such artists as Terry Austin, Bob Layton, Mike DeCarlo, Joe Rubenstein, and others. Mike Gold even referred to him as the "..the godfather of modern inking style." Dick Giordano also always maintained a strong connection with the fans, through the letters columns of the various comic books he edited over the years and his monthly "Meanwhile..." column in DC titles during his tenure as managing editor and later Executive Editor there. From the testimony of his fellow artists and writers in the comic book industry and fans alike, he was also one of the kindest, most considerate gentlemen one could ever hope to meet. Quite simply Dick Giordano was not just a great artist and great editor, he was also a great human being.
Richard Giordano was born on July 10, 1932 in Manhattan. He was still very young when he was introduced to comic books by one of the first true comic books to exist: Famous Funnies. He would go onto become a huge fan of the character Batman. He was particularly impressed by Batman #1, spring 1940, which featured the first appearance of The Joker, a character who frightened the young Mr. Giordano. It also convinced him he want to work in the field of comic books. He also enjoyed the characters of Blackhawk and Captain America. He was an avid fan of radio shows, in particular The Lone Ranger, Inner Sanctum, and Jack Armstrong, the All American Boy. He started drawing while very young, encouraged a good deal by his parents. It was his eighth grade art teacher who advised he enrol at New York's School of Industrial Arts. He did so when he was fourteen.
Dick Giordano graduated from the School of Industrial Arts in 1950. He then looked for a job within the comic book industry. In 1951, after months of rejections, Mr. Giordano went to what he thought was the office of a comic book company, only to find out it had moved. Only one person remained, a man who claimed to be a comic book writer. He looked over Mr. Giordano's portfolio and told him he should visit comics packager Jerry Iger. The Iger Studio was a firm which was hired by comic book companies to letter and ink comic book panels. During the Golden Age they had worked for Quality Comics, Fox Comics, and others. By the Fifties they created content for Fiction House, the publisher of the popular Sheena, Queen of the Jungle (created by Will Eisner and Jerry Iger himself). Mr. Giordano started out more or less as an errand boy in the Iger Studio office, before finally graduating to inking. Among the comic books he inked was Sheena, Queen of the Jungle.
Dick Giordano's next job would come as the result of his father, a cab driver. One of his father's fellow cab drivers, Harold Philips, was brother in law to Charlton Comics editor Al Fago, creator of such funny animal characters as Atomic Mouse. Philips invited both Mr. Giordano and Fago to his New Year's Party, knowing Mr. Giordano was a comic book artist. Fago was impressed by Mr. Giordano's work and promised to start assigning him freelance work. He received enough work from Charlton Comics to quit his job at Iger Studio. At Charlton Mr. Giordano worked on such comic books as Racket Squad in Action, Space Adventures, and Hot Rods and Racing Cars. In 1955 Charlton Comics was restructured, at which point he ceased to be a freelancer and became one of Charlton's staff. During this period Mr. Giordano worked on such titles as Scotland Yard and Wyatt Earp, as well the company's brief 1955 revival of The Blue Beetle. After Al Fago left Charlton over a disagreement with management, Dick Giordano was made the assistant to new editor Pat Masulli. After a year in the position Mr. Giordano was unhappy, so Masulli offered him a deal whereby he could freelance for Charlton under various pseudonyms (this was done because Charlton's management would not have liked such an arrangement).
In the early Sixties, without Charlton's management knowing, Dick Giordano also accepted freelance work from Stan Lee of Atlas Comics (soon to be renamed Marvel Comics) and other companies. With his brother in law Sal Trapiani, Mr. Giordano did freelance work for Dell, DC, and the American Comics Group. He worked on such titles as Dr. Who, Hogan's Heroes, Get Smart, and the little known Beatles comic book published by Dell. He did his first work for DC at this time, on The Brave and the Bold #65, May 1965, which teamed up The Flash and The Doom Patrol. By 1965 Mr. Giordano was the managing editor at Charlton Comics. It while he was editor that he introduced Charlton Comics' "Action Hero" line, which included such characters as a new version of The Blue Beetle, Sarge Steel, The Question, Peacemaker, Judomaster, and Peter Cannon...Thunderbolt.
It was in 1968 that Mr. Giordano became part of DC Comics' staff. Initially he worked on such titles at DC as Aquaman, The Secret Six, The Creeper, The Teen Titans, and Young Love, among others. He would later ink a few issues of Denny O'Neil and Neal Adams' groundbreaking Green Lantern/Green Arrow. in 1971 Dick Giordano left DC Comics to found Continuity Associates with Neal Adams. Continuity Associates was a packager which provided storyboards for movies and advertising art, but also provided content for Charlton Comics and Marvel Comics. During this period Dick Giordano would work for DC on Batman and Wonder Woman. He also provided the Sons of the Tiger feature for Marvel's black and white magazine The Deadly Hands of Kung Fu.
It was in 1980 that new publisher Jeanette Kahn brought Dick Giordano back to DC Comics. Initially he edited the Batman line of comic books. In 1981 he was made managing editor at DC and in 1983 Vice President/Executive Editor. With editor Paul Levitz and Jeanette Kahn, Giordano remade DC Comics by reenvigorating such features as Batman, Justice League of America, Superman, Teen Titans, and Wonder Woman. By 1993 Mr. Giordano, Levitz, and Kahn would launch the Vertigo imprint. Mr. Giordano continued to ink, including work on Crisis on Infinite Earths and The Man of Steel miniseries. By the mid-Eighties Mr. Giordano became a outspoken champion for creator's rights.
In 1993 Dick Giordano went into semi-retirement. He inked the Modesty Blaise graphic novel for DC in 1994, issues of Birds of Prey, Catwoman and Batman: Gotham Knights, and The Power of Shazam graphic novel. He drew several issues of The Phantom published in Europe and Austrailia, and helped Bob Layton launch Future Comics in 2002. He wrote the book Drawing Comics with Dick Giordano, outlining his artistic techniques.
Dick Giordano is rightfully called a comic book legend. As an editor he encouraged the careers of Denny O'Neil, Jim Aparo, John Byrne, Steve Skeates, and many others. As an inker he was among the best in the business. His style would influence such artists as Terry Austin, Bob Layton, Mike DeCarlo, Joe Rubenstein, and others. Mike Gold even referred to him as the "..the godfather of modern inking style." Dick Giordano also always maintained a strong connection with the fans, through the letters columns of the various comic books he edited over the years and his monthly "Meanwhile..." column in DC titles during his tenure as managing editor and later Executive Editor there. From the testimony of his fellow artists and writers in the comic book industry and fans alike, he was also one of the kindest, most considerate gentlemen one could ever hope to meet. Quite simply Dick Giordano was not just a great artist and great editor, he was also a great human being.
Actor James Mitchell R.I.P.
Actor James Mitchell, a star of Broadway and a regular on All My Children, passed on Januaary 22 at the age of 89. The cause was chronic obstructive pulmonary disease complicated by pneumonia.
James Mitchell was born on 29 February, 1920 in Sacramento, Washington to English immigrants. His mother returned to England in 1923 with his brother and sister, and Mitchell had no further contact with her. Having difficulty making ends meet, his father fostered him to vaudevillians Gene and Katherine King. He returned to his father after he remarried. When he was 17 he moved to Los Angeles, where he resumed contact with the Kings. It was while at Los Angeles College that he took an interest in dance, and enrolled at the school of choreographer Lester Horton. After receiving his associates degree, he joined Horton's company, where he remained for four years.
It was in 1944 that Horton went to New York with the intention of founding a new dance company, taking James Mitchell with him. Unfortunately, the company soon collapsed. Mitchell would not remain out of work long, as he successfully auditioned for choreographer Agnes de Mille. de Mille offered Mitchell the positions of principal dancer and assistant choreographer. It was then in 1944 that James Mitchell made his debut on Broadway in the musical Bloomer Girl. Mitchell then embarked on a successful Broadway career, often collaborating with de Mille. He appeared in Billion Dollar Baby (1945), Brigadoon (1947), Paint Your Wagon (1951), Livin' the Life (1957), a revival of Carousel (1957), and First Impressions (1959).
While Mitchell was appearing on Broadway, he also had a career on film. He made his debut as one of the dancers in Moonlight in Havana in 1942. For many years Mitchell appeared in movies as a dancer or in bit parts. His first significant role in a movie was in the Western Colorado Territory in 1949. The Fifties saw Mitchell appear in such films as The Toast of New Orleans, The Band Wagon (in which he played Paul Byrd), Oklahoma, and The Peacemaker. He made his television debut on an episode of Gruen Guild Playhouse in 1952. Throughout the Fifties he appeared on such shows as Producer's Showcase, Casablanca, and Decoy.
The Sixties saw James Mitchell appear on Broadway again, in the plays Carnival and The Deputy. On television he appeared in the shows The Edge of Night, Blue Light, and Hawk. He was a regular on the series Where the Heart Is. He appeared in the film A Touch of Magic. From 1967 to 1969 he was part of Jerome Robbins' American Theatre Laboratory. The Seventies saw James Mitchell appear on Broadway in Mack & Mabel. He appeared in the film The Turning Point. On television he appeared on Charlie's Angels and Lou Grant, as well as the TV movies The Silence and Women at West Point. It was in 1979 that he joined the cast of All My Children, as Palmer Cortlandt Sr. He remained with the show until 2008.
Although best known for his role in All My Children, James Mitchell should perhaps be best known as a song and dance man. He was possessed of a great and a natural talent for dance that showed every time he performed. He was also a very good actor. He more than held his own as choreographer Paul Byrd alongside such talents as Fred Astaire, Cyd Charisse, and Oscar Levant. Although many might remember him as Palmer Cortlandt Sr., he should perhaps best be remembered as the talented singer and dancer he was.
James Mitchell was born on 29 February, 1920 in Sacramento, Washington to English immigrants. His mother returned to England in 1923 with his brother and sister, and Mitchell had no further contact with her. Having difficulty making ends meet, his father fostered him to vaudevillians Gene and Katherine King. He returned to his father after he remarried. When he was 17 he moved to Los Angeles, where he resumed contact with the Kings. It was while at Los Angeles College that he took an interest in dance, and enrolled at the school of choreographer Lester Horton. After receiving his associates degree, he joined Horton's company, where he remained for four years.
It was in 1944 that Horton went to New York with the intention of founding a new dance company, taking James Mitchell with him. Unfortunately, the company soon collapsed. Mitchell would not remain out of work long, as he successfully auditioned for choreographer Agnes de Mille. de Mille offered Mitchell the positions of principal dancer and assistant choreographer. It was then in 1944 that James Mitchell made his debut on Broadway in the musical Bloomer Girl. Mitchell then embarked on a successful Broadway career, often collaborating with de Mille. He appeared in Billion Dollar Baby (1945), Brigadoon (1947), Paint Your Wagon (1951), Livin' the Life (1957), a revival of Carousel (1957), and First Impressions (1959).
While Mitchell was appearing on Broadway, he also had a career on film. He made his debut as one of the dancers in Moonlight in Havana in 1942. For many years Mitchell appeared in movies as a dancer or in bit parts. His first significant role in a movie was in the Western Colorado Territory in 1949. The Fifties saw Mitchell appear in such films as The Toast of New Orleans, The Band Wagon (in which he played Paul Byrd), Oklahoma, and The Peacemaker. He made his television debut on an episode of Gruen Guild Playhouse in 1952. Throughout the Fifties he appeared on such shows as Producer's Showcase, Casablanca, and Decoy.
The Sixties saw James Mitchell appear on Broadway again, in the plays Carnival and The Deputy. On television he appeared in the shows The Edge of Night, Blue Light, and Hawk. He was a regular on the series Where the Heart Is. He appeared in the film A Touch of Magic. From 1967 to 1969 he was part of Jerome Robbins' American Theatre Laboratory. The Seventies saw James Mitchell appear on Broadway in Mack & Mabel. He appeared in the film The Turning Point. On television he appeared on Charlie's Angels and Lou Grant, as well as the TV movies The Silence and Women at West Point. It was in 1979 that he joined the cast of All My Children, as Palmer Cortlandt Sr. He remained with the show until 2008.
Although best known for his role in All My Children, James Mitchell should perhaps be best known as a song and dance man. He was possessed of a great and a natural talent for dance that showed every time he performed. He was also a very good actor. He more than held his own as choreographer Paul Byrd alongside such talents as Fred Astaire, Cyd Charisse, and Oscar Levant. Although many might remember him as Palmer Cortlandt Sr., he should perhaps best be remembered as the talented singer and dancer he was.
Joan Bennett's 100th Birthday
Perhaps no actor ever had as diverse a career as Joan Bennett. It was not simply that she saw success on stage, in movies, and on television, although she did. It was more a case that she played a large variety of roles, often very different from each other, and did so very well. She started out playing blonde ing�nues (blonde being her natural colour) before playing brunette femme fatales. Towards the end of her career she often played the mother figure. In between she played an enormous array of different parts, everything from a naive blonde to a dangerous seductress to a caring mother to the head of a witch's coven. And in every case she did so with a sincerity and conviction of which only few actors are capable.Joan Bennett was born 100 years ago today, on February 27, 1910. It could literally be said that she had acting in her blood. Her father was Richard Bennett, star of the stage and a matinee idol of the early Silent Era. Her mother was Adrienne Morrison, an actress on stage and in early silents. Her maternal grandfather was stage actor Lewis Morrison. Her maternal grandmother was actress Rose Wood, whose lineage in acting reached all the way back to 18th century England. Before her, her older sisters also became actresses. Constance starred in such films as Topper and Two Faced Woman. Barbara met with less success, appearing in a few silents. Miss Bennett attended St. Margaret's, a private school in Waterbury, Connecticut and later L'Hermitage in Versailles, France. She married for the first time when she was only sixteen. She divorced her husband, John Marion Fox, later saying that he was a drunkard and a playboy, when she was only 18.
Joan Bennett made her film debut when she was only six, alongside her parents in the film Valley of Decision, released in 1916. She also appeared in a small part in The Eternal City when she was only 13. Despite this, she had no intention of going into the family business. At age 18, however, she found herself divorced with an infant daughter. In need of work, she accepted a role in her father's play Jarnegan, making her Broadway debut in the process. The novice actress received good notices and Miss Bennett's acting career officially began. She played small parts in Power (1928) and The Divnie Lady (1929) before being cast as the female lead in Bulldog Drummond. Under contract to Fox, Miss Bennett generally played blonde ing�nues, such as the love interest in the 1930 version of Moby Dick, although there were exceptions. In The Trial of Vivienee Ware she played the acccused murderer of the title. In Me and My Gal she gave one of the best perfromances of her early career, as a wisecracking waitress. A shift in her career would occur when she made Little Women at RKO, released in 1933. Miss Bennett's performance in the film attracted the attention of independent filmmaker William Wanger. Wanger not only signed her to a contract, but also acted as her manager as well.
Under contract to Wanger, Miss Bennett no longer played blonde ing�nues, but more substantial roles. In 1935 she played a psychiatrist's young wife who was experiencing a psychotic break in Private Worlds. In Big Brown Eyes, released in 1936, she played a reporter helping her police officer boyfriend (Cary Grant) on a case involving jewel thieves. Joan Bennett was one of the actresses in the running for the role of Scarlet O'Hara. For a short time she was one of the front runners for the part, but lost it in favour of Paulette Goddard and Vivien Leigh (who was ultimately cast in the role).
It would be in 1938 that Miss Bennett's career would take a major change. It was that year that Walter Wagner had a hit with Algiers, which introducing the United States to dark haired beauty Hedy Lamarr. Thinking to capitalised on Miss Lamarr's mystique, Wanger and director Tay Garnett convinced the naturally blonde Miss Bennett to go brunette for the part of Kay Kerrigan. in Trade Winds. With her newly dark locks, Joan Bennett soon found herself cast in new roles. She appeared in the crime drama The House Across the Bay in 1940 and the political melodrama The Man I Married in 1940. It would be 1941 that would establish Joan Bennett in the sort of roles for which she is now best known, as a film noir femme fatale.
It was in 1941 that Miss Bennett played Cockney prostitute Jerry Stokes in Fritz Lang's Man Hunt. She nad Lang would work together again in 1944's The Woman in the Window, playing mystery woman Alice Reed. They worked together in arguably their best film, 1945's Scarlet Street, in which she played blackmailer Kitty March. Joan Bennett also appeared in Lang's 1948 film noir fairtyale Secret Beyond the Door. She appeared in films noir directed by other directors as well, including Jean Renoir's The Woman on the Beach (1947) and Max Oph�ls' The Reckless Moment (1949). In between these films Miss Bennett appeared in such movies as Nob Hill and Colonel Effingham's Raid. In 1950 Joan Bennett's career would change again, as she played the mother in the films Father of the Bride (1950) and Father's Little Dividend (1951).
Sadly, just as William Wanger had helped spur Joan Bennett's career, he would also bring it nearly to a halt. The two had married in 1940. It was in 1950 that Wanger shot her agent of twelve years, Jennings Lang, claiming that the two were having an affair. Both Lang and Miss Bennett strenuously denied that they had an affair and stated that their relationship was only one of business. Miss Bennett blamed Wanger's actions on stress brought on by their financial woes. Wanger's attorney pleaded temporary insanity and he served a three month sentence at a minimum security prison farm. Unfortunately, the damage was done and Miss Bennett's career would never be the same.
Increasingly, Joan Bennett's appearances were on television. She made her television debut on Nash Airflyte Theatre in 1951. Throughout the decade of the Fifties, she appeared on such shows as General Electric Theatre, Climax, Playhouse 90, and Pursuit. In 1959 she played the mother in the short lived series Too Young to Go Steady. She also appeared often on stage, and toured in such plays as Susan and God, Bell, Book and Candle, Once More With Feeling, The Pleasure of His Company, and Never Too Late.Sadly, her movie career was nearly at non-existent. From 1951 to 1960 she appeared only in Highway Dragnet, We're No Angels, There's Always Tomorrow, and Desire in the Dust.
The Sixties saw Joan Bennett appear both on television and the stage, but in only one film (and that one was linked to a television series). She guest starred on an episode of Mr. Broadeway in 1964 and on Burke's Law in 1965. In 1966 she was cast as matriarch Elizabeth Collins Stoddard on the Gothic soap opera Dark Shadows. In the course of the series she not only played Elizabeth, but three other members of the Collins clan in the show's various time travel story arcs. In the end she was only one of three actors who appeared in the series from its beginning to the end. She also appeared in the feature film aon the series, House of Dark Shadows, released in 1970.
Following Dark Shadows Miss Bennett appeared in the telefilms Gidget Gets Married (1972), The Eyes of Charlie Sand (1972), Suddenly Love (1978), This House Possessed (1981), and Divorce Wars: A Love Story. She guest starred in an episode of the short lived show Dr. Simon Locke. Her last big screen appearance was in the cult horror film Suspira, released in 1977. She died on December 7, 1990.
Joan Bennett was one of those few classic actors I first encountered not in their movies, but on a television series. That series was Dark Shadows, the Gothic serial that was a phenomenon for a time and the only soap opera I ever loyally watched. Miss Bennett's talents as a dramatic chameleon were put to good use on the show, as she not only played the matriarch of the Collins clan in the Sixties and early Seventies, but other members of the Collins family throughout the ages. Perhaps no other actress could have accomplished this with such finesse. Later I discovered her classic films, Scarlet Street, Man Hunt, Father of the Bride, Little Women, and so on. If I had not known better, it would have been hard to believe that it was the same actress playing those various roles. Indeed, while Joan Bennett's transformation from ing�nue to femme fatale to a change in hair colour, I think she could have accomplished it with her natural blonde locks. After all, Miss Bennett was of such talent that she could easily play an innocent one film and a seductress in the next. Few other actresses in the history of film were ever that versatile.
Saturday 26 November 2011
Johnny Maestro R.I.P.
Johnny Maestro, the lead vocalist of The Crests and later The Brooklyn Bridge, passed on March 24 at the age of 70. The cause was cancer.
Johnny Maestro was born on May 7, 1939 in Brooklyn. He grew up on the lower east side of Manhattan. In 1956 The Crests, founded by J. T. Carter, chose Maestro as their lead vocalist. The Crest would sign with Joyce and had a minor hit with "Sweetest One" in 1957. The Crests later moved to the Coed label, where they achieved their biggest hit, "Sixteen Candles," in 1958. The Crests would have further hits with "A Year Ago Tonight," "Trouble in Paradise," "Six Nights a Week," "Step By Step," and "The Angels Listened In."
It was in 1960 that Johnny Maestro went go solo, adopting the name "Johnny Maestro." He had a few hits such as "Model Girl" and "What a Surprise." In 1967 Johnny Maestro joined The Del-Satins as their new lead vocalist. It was in 1968 that The Del-Satins met a seven piece brass ensemble called The Rhythm Method. The two groups decided to merge. The group then became known as The Brooklyn Bridge.
The Brooklyn Bridge would have a hit with "The Worst That Could Happen," which went to #3 on the Billboard Hot 100 in 1968. Unfortunately, they never repeated the success of their debut single. They released six more singles, among them "Blessed Is The Rain," "Welcome My Love," and "Your Husband, My Wife." The Brooklyn Bridge released four albums before being dropped by the Buddha label. Although the group no longer had a recording contract, they continued to perform. In 1989 they released a holiday album entitled Christmas Is... From 1993 to 2007 they released five more albums.
I always enjoyed The Crests' songs with Johnny Maestro as their lead vocalist. And while I have never heard very many of The Brooklyn Bridge's songs, I always liked "The Worst That Could Happen." Johnny Maestro was a very good singer, with a remarkable range. More importantly, he was capable of endowing songs with emotion in a way only a few singers can. By way of example, "The Worst That Could Happen" was originally recorded by The Fifth Dimension, but their version is inferior to the one recorded by The Brooklyn Bridge, precisely because it lacks the feeling Johnny Maestro put into the song. When it came to doo wop, he was one of the best.
Johnny Maestro was born on May 7, 1939 in Brooklyn. He grew up on the lower east side of Manhattan. In 1956 The Crests, founded by J. T. Carter, chose Maestro as their lead vocalist. The Crest would sign with Joyce and had a minor hit with "Sweetest One" in 1957. The Crests later moved to the Coed label, where they achieved their biggest hit, "Sixteen Candles," in 1958. The Crests would have further hits with "A Year Ago Tonight," "Trouble in Paradise," "Six Nights a Week," "Step By Step," and "The Angels Listened In."
It was in 1960 that Johnny Maestro went go solo, adopting the name "Johnny Maestro." He had a few hits such as "Model Girl" and "What a Surprise." In 1967 Johnny Maestro joined The Del-Satins as their new lead vocalist. It was in 1968 that The Del-Satins met a seven piece brass ensemble called The Rhythm Method. The two groups decided to merge. The group then became known as The Brooklyn Bridge.
The Brooklyn Bridge would have a hit with "The Worst That Could Happen," which went to #3 on the Billboard Hot 100 in 1968. Unfortunately, they never repeated the success of their debut single. They released six more singles, among them "Blessed Is The Rain," "Welcome My Love," and "Your Husband, My Wife." The Brooklyn Bridge released four albums before being dropped by the Buddha label. Although the group no longer had a recording contract, they continued to perform. In 1989 they released a holiday album entitled Christmas Is... From 1993 to 2007 they released five more albums.
I always enjoyed The Crests' songs with Johnny Maestro as their lead vocalist. And while I have never heard very many of The Brooklyn Bridge's songs, I always liked "The Worst That Could Happen." Johnny Maestro was a very good singer, with a remarkable range. More importantly, he was capable of endowing songs with emotion in a way only a few singers can. By way of example, "The Worst That Could Happen" was originally recorded by The Fifth Dimension, but their version is inferior to the one recorded by The Brooklyn Bridge, precisely because it lacks the feeling Johnny Maestro put into the song. When it came to doo wop, he was one of the best.
Actor Pernell Roberts Passes On
Pernell Roberts, the actor best known for playing introspective, eldest son Adam Cartwright on the TV series Bonanza, passed Sunday at the age of 81. The cause was pancreatic cancer.Pernell Roberts was born on May 18, 1928 in Waycross, Georgia. He attended Georgia Tech for a short time, before he joined the Marines. He was assigned to the Marine Corps Band due to his ability to play baritone horn, sousaphone, tuba and percussion. Following his service in the Marines, Roberts attended the University of Maryland for a time. It was there that he developed an interest in acting. He left school to work at the brand new Arena Stage in Washington, D.C.
It was in 1952 that Pernell Roberts moved to New York City to pursue acting. He appeared in various off Broadway plays before making his debut on Broadway in Tonight in Samarkand in 1955. Over the next few years he appeared in several Broadway plays, including The Lovers (1956), A Clearing in the Woods (1957), a revival of The Taming of the Shrew, and The Duchess of Malfi (1957). He won a Drama Desk award for his performance in an off-Broadway revival of Macbeth in 1958.
In 1957 Pernell Roberts made his television debut in a guest appearance on Sugarfoot. The next few years he would guest star on Whirlybirds, Trackdown, Have Gun Will Travel, Northwest Passage, and General Electric Theatre. He his film debut in Desire Under the Elms in 1958. He also appeared in the films The Sheepman and Ride Lonesome (directed by Budd Boetticher).
It was in 1959 that Pernell Roberts was cast as Adam, Ben Cartwright's eldest son, on Bonanza. While the series would become one of the most successful shows of all time, Robert's tenure on Bonanza did not always run smoothly. He fought with producers to include more minority actors on the show and more minorities in the crew as well. He also complained about the quality of the scripts on the show, even referring to the show as "Junk TV." After six years with Bonanza, Roberts left the show. Adam was written out of the show as having left the Ponderosa. While the door was always left open for Adam's return, Pernell Roberts never returned to the show.
While Bonanza was still on the air, Pernell Roberts continued to appear elsewhere. He guest starred on The Detectives Starring Robert Taylor and appeared as himself in the movie The Errand Boy. After he have left the show, Roberts made several guest appearances, on such shows as The Girl From U.N.C.L.E., The Wild Wild West, Gunsmoke, The Big Valley, The Name of the Game, Hawaii Five-O, The Virginian, Alias Smith and Jones, Night Gallery, The Odd Couple, Mission: Impossible, The Odd Couple, Ironside, Baretta, The Rockford Files, The Man From Atlantis, and The Paper Chase. He also returned to the stage. He appeared on Broadway in the play Captain Brassbound's Conversion in 1972, Rhett Butler in a Los Angeles stage production of Scarlett, and in Welcome Home in Chicago. It was in 1979 that Pernell Roberts was cast in the title role in the M*A*S*H spinoff Trapper John M.D. The series proved to be a hit, running seven years.
Following Trapper John M.D., Pernell Roberts appeared in the mini-series Around the World in 80 Days. He guest starred in the shows The Young Riders and Diagnosis Murder. He also appeared in the television movies Desperado, Perry Mason: The Case of the All-Star Assassin, Night Train to Kathmandu, and Donor. He appeared in the film Checkered Flag.
Pernell Roberts was well known for his activism. Not only did he pressure the producers of Bonanza to hire more minorities, he also participated in the civil rights marches in both Selma and Montgomery.
Growing up I regularly watched Bonanza and it remains one of my favourite shows to this day. I must say that is much of the reason that Pernell Roberts' passing pains me so. Not only did he play Adam on the show, but he was the very last member of the cast to die. Not only are the actors who played the Cartwrights all gone now, but so are Hop Sing (Victor Sen Yung), Sheriff Roy Coffee (Ray Teal), and Deputy Clem Foster (Bing Russell, Kurt Russell's father). While I obviously disagree with Pernell Roberts' assessment of Bonanza, I still had enormous respect for the man. Although best known as Adam Cartwright, he was capable of playing a wide variety of roles. He was convincing as shady gunman Sam Boone in Ride Lonesome, and did very well playing a heavy in many Westerns. Pernell Roberts was also a man who believed in his convictions. He fought with the producers of Bonanza over the lack of minorities in that show's cast and crew, and participated in civil rights marches. Pernell Roberts was not simply a remarkable actor, he was also a remarkable man.
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