Gilligan's Island (1964 – 1967) * * ½

In Hawaii, bumbling first mate Gilligan and the blustery Skipper give tours on their boat the S.S. Minnow. Five passengers board for a 3 hour tour: a movie star from Hollywood, a General Store sale's clerk in Kansas, a professor, and a millionaire couple. A storm comes in, the crew are unable to handle the boat, and the castaways wake up on a deserted Island. Despite their situation, they manage to survive on a diet of fish and coconut cream pie, live in huts made from sticks and leaves, and are aided by their transistor radio and a never-ending parade of guest stars who drop by their "deserted" island. Guests include a big game hunter, a movie producer, a mad scientist, a rock band, Russian cosmonauts, foreign spies and a jungle boy. But they never manage to rescue the castaways to safety.

GILLIGAN'S ISLAND was an American TV sitcom originally produced by United Artists Television. It aired for three seasons on the CBS network, from September 26, 1964 to September 4, 1967. The show follows the comic adventures of seven castaways as they attempt to survive and ultimately escape from a previously uninhabited island where they were shipwrecked.

Bob Denver plays Gilligan as a bumbling, dimwitted, accident-prone idiot. Denver previously played beatnik Maynard G. Krebs in the TV sitcom THE MANY LOVES OF DOBIE GILLIS. None of the show's episodes ever specified Gilligan's full name, nor clearly indicated whether "Gilligan" was the character's first name or his last. On the DVD collection, Sherwood Schwartz states that he preferred the full name of "Willie Gilligan" for the character. Denver himself, in various TV/radio interviews said that "Gil Eggan" was his choice. The actor reasoned that because everyone yelled at the first mate, it ran together as "Gilligan". In the (unaired) pilot episode, it has been debated whether Lovey Howell refers to Gilligan as "Stewart", or steward. On RESCUE FROM GILLIGAN'S ISLAND, the writers artfully dodge the recitation of Gilligan's full name, when the other names are announced.

Gilligan: Skipper, should I pick the yellow bananas or the red bananas, because the yellow bananas are green.
Skipper: Then pick the red ones.
Gilligan: But the red ones are pink.
Skipper: Gilligan, I don't care if you pick red white and blue bananas, just pick some bananas!
Gilligan: Okay, Skipper... Blue bananas?

Alan Hale, Jr. plays Jonas Grumby, the "Skipper". A longtime actor in B-westerns and the lookalike son of Alan Hale, Sr., a legendary movie character actor, Hale loved his role so much that, long after the show went off the air, he would still appear in character in his Los Angeles restaurant, Alan Hale's Lobster Barrel. Although the Skipper was a father figure to Gilligan, Hale was only 14 years older than Denver. It is alluded in one episode that Gilligan pushed the Skipper out of the way of a loose depth-charge when they were both serving in the United States Navy.

Jim Backus plays Thurston Howell III, the condescending millionaire. Backus was already a well-known actor when he took the part. He is perhaps best known as the voice of the cartoon character Mr. Magoo, and reused some of the voice inflections and mannerisms of Magoo in the role. He was well known for his ad-libs on the set. The origin of the uber-rich Howell character dates back to 1940's radio when Backus portrayed Hubert Updike III on "The Alan Young Show".

Thurston Howell III: I'd like to charge Mary Ann with murder.
Professor Roy Hinkley: Murder?
Thurston Howell III: Her testimony's killing me.

Natalie Schafer plays Eunice "Lovey" Wentworth Howell, Thurston's wife. Schafer had it written into her contract that there were to be no close-ups of her, perhaps due to her advanced age. Schafer was 63 when the pilot was shot although no one on the set or in the cast knew her real age, and she refused to divulge that information. Originally, she only accepted the role because the pilot was filmed on location in Hawaii. She looked at the job as nothing more than a free vacation, as she was convinced that a show this silly show would "never go".

Tina Louise plays Ginger Grant, the beautiful curvaceous movie star. When regular shooting began, Louise clashed with producers, because she believed that she was to be the main focus of the show. Her character was originally written as a sarcastic and sharp-tongued temptress, but Louise argued that this was too extreme and refused to play it as written. A compromise was reached and Louise agreed to play her as a cross between Marilyn Monroe and Lucille Ball. The evening gowns and hair style used were designed to re-create the look of Myrna Loy. Louise continued to clash with producers and was the only cast member who refused to return for any of the TV movies that followed the series' cancellation, and the fourth season, which was later canceled to make room for GUNSMOKE, saying that the role had destroyed her career as a serious actress. However, she did appear in a reunion of the cast on a late night TV talk show in 1988 and on an episode of ROSEANNE in 1995. In the first season, Ginger often wore gowns that looked as if they were tailored from S.S. Minnow tarps or similar cloth. Later on, she wore regular evening gowns with high heels. However, there were episodes where Ginger wore an almost tropical sarong style outfit while wearing flip flops or going barefoot. It was never explained why she brought so many changes of clothing on a "three-hour tour," though many fans postulate the trunk of silent movie props that washed ashore in one episode provided much of the wardrobe. In the pilot episode the character of Ginger, a secretary, was played by actress Kit Smythe.

Ginger: Wahine wiki huki luki nu, and I mean that from the bottom of my heart.
Gilligan: That's beautiful. What's it mean?
Ginger: It means this bar is off-limits to all military personnel.

Russell Johnson plays Roy Hinkley, the Professor. John Gabriel was originally cast, but the network thought he looked too young to have all the degrees attributed to the Professor. Incongruously, "the Professor" was in fact a high school science teacher, not a university professor. In the first episode, the radio announcer describes him as a research scientist and well-known Scoutmaster. Johnson stated that he had some difficulty remembering his more technically-oriented lines.

Professor: Listen, Gilligan, how far down was she? How many feet?
Gilligan: Professor, in navy circles, we don't say "feet". We say "fathoms".
Professor: Alright, how many fathoms?
Gilligan: Oh I don't know, about 15 feet.

Dawn Wells plays Mary Ann Summers, a sexy farm girl. Wells was a former Miss Nevada when she auditioned for the role. Her competition included Raquel Welch and Pat Priest. The pilot episode has a different character, "Bunny", played by actress Nancy McCarthy. After it was shot, the network decided to recast the roles of the Professor and the two young women.

Charles Maxwell is the uncredited voice of the "Radio Announcer", whose plot-advancing radio bulletins are eagerly tuned in to by the castaways in many episodes, who often pause between blurbs long enough for the characters to speak while reacting to what is reported, sometimes even following with immediate coincidental responses to their comments.

GILLIGAN'S ISLAND ran for a total of 98 episodes. The first season (consisting of 36 episodes) was filmed in black and white, though they were colorized in later syndication. However, the next two seasons (62 episodes) and three TV movie sequels were filmed in color. With solid ratings during its original run, the show grew in popularity during decades of syndication. Today, the title character of Gilligan is widely recognized as a comedic American popular culture icon.

The pilot episode was not broadcast, because of casting changes and restructuring of characters. In the pilot, the part of the Professor is played by John Gabriel. Instead of the movie star and the Kansas farm girl, the pilot has two secretaries: Ginger, a practical redhead played by Kit Smythe, and Bunny, portrayed by Nancy McCarthy as a cheerful, stereotypical "dumb blonde". The pilot has a different theme song, by the young not-yet-famous John Williams, with a Calypso beat and singer and somewhat longer opening credits shots, including scenes of Gilligan carrying the Howells' luggage to the boat, and spilling coffee on the Skipper during the storm. The plot for the pilot episode was eventually recycled into that season's Christmas episode, "Birds Gotta Fly, Fish Gotta Talk", in which the story, concerning the practical problems on landing, is related via a series of flashbacks. Some of the scenes from the pilot episode were re-shot using the current actors, while other scenes with Denver, Hale, Backus, and Schafer were simply reused.

Executive producer Sherwood Schwartz believed in avoiding exposition, and so he composed the theme song, "The Ballad of Gilligan's Isle", as a summary of the castaways' predicament. This was done so that first time viewers would instantly understand the premise. The episode "The Pigeon" places the island approximately 300 miles (480 km) southeast of Hawaii, while the episode "X Marks the Spot" gives a location near 140° longitude, 10° latitude, which puts it about 1,200 miles (1,900 km) to the southeast. In the episode "Big man on a little stick", however, the Professor give the position as "approximately 110° longitude and 10° latitude".

The first episode actually broadcast, "Two on a Raft", is sometimes wrongly referred to as the series pilot. This episode begins with the same scene of Gilligan and the Skipper awakening on the boat (cut slightly differently to eliminate most shots of the departed actors), and continues with the characters on the boat, listening to a radio news report about their disappearance. This is the scene that reveals the names of the Skipper (Jonas Grumby) and the Professor (Roy Hinkley), which appear nowhere else in the series except for an episode in which the Maritime Board of Review blames the Skipper for the loss of the ship. There is no equivalent scene or background information in the pilot, except for the description of the passengers in the original theme song. Rather than re-shooting the rest of the pilot story for broadcast, the show just proceeded on. The plot skips over the topics of the pilot, and the bulk of the episode tells of Gilligan and the Skipper setting off on a raft to try to bring help, but unknowingly landing back on the same island, but on the other side.

The show ran on Saturdays in its debut season, before moving to Thursdays in season two. Though GILLIGAN'S ISLAND's ratings had slumped, the series was still profitable. Nevertheless, it was cancelled at the last minute. Some of the cast had bought houses based on Sherwood Schwartz's news of verbal confirmation that the series would be renewed for a fourth season.

There were 18 directors, most notably Jack Arnold, and 34 writers, most notably Sherwood Schwartz. Others who appear on the show include: Vito Scotti (Dr. Boris Balinkoff), Janos Prohaska (Ape), Eddie Little Sky (Native), Mel Blanc (Parrot voice), Hans Conried (Wrongway Feldman), Denny Miller (Duke Williams), Russ Grieve (Native), George N. Neise (NASA Official), James Spencer (Copilot), and Chick Hearn (Commentator). Original music was composed by: John Williams (20 episodes, 1962-1965), Gerald Fried (9 episodes, 1965), Frank Comstock (3 episodes, 1964), Herschel Burke Gilbert (unknown episodes), and Morton Stevens (unknown episodes).

In a 1978 made-for-TV movie, RESCUE FROM GILLIGAN'S ISLAND, the castaways successfully leave the island, but have difficulty reintegrating into society. During a reunion cruise on the first Christmas after their rescue, fate intervenes and they are marooned on the same island at the end of the film. It stars the original cast except for Tina Louise as Ginger, who refused to participate and was replaced by Judith Baldwin. The plot involves Soviet agents seeking a memory disc from a spy satellite that landed on the island and facilitated their rescue. Gilligan and the Skipper "rescue" Mary Ann right as she is to marry her long time fiance, which contradicts the series where it was established that Mary Ann had no boyfriend after having made up a story about a boyfriend to keep the others from feeling sorry for her.

In a 1979 sequel, THE CASTAWAYS ON GILLIGAN'S ISLAND, they are rescued once again, and the Howells convert the island into a getaway resort, with the other five castaways as "silent partners". Ginger is again played by Judith Baldwin. This sequel was intended as a pilot for a possible new series in which the castaways would host new groups of tourists each week, using the all-star cast anthology format made popular by FANTASY ISLAND and THE LOVE BOAT. The series never materialized, though the premise was the basis of a short-lived 1981 series titled ALOHA PARADISE.

In a second sequel, THE HARLEM GLOBETROTTERS ON GILLIGAN'S ISLAND (1981), villains played by Martin Landau and then-wife Barbara Bain try to take over the island to gain access to a vein of Supremium, a valuable but volatile element. This time, Ginger is played by Constance Forslund. They are thwarted by the timely intervention of the Harlem Globetrotters. Jim Backus, who was in poor health at the time, only appeared at the very end of the episode, arriving back on the island. David Ruprecht played the role of Thurston Howell IV, which is odd, since it was established in the series that the Howells were childless, though he may have been adopted.

Warner Home Video released all three seasons of Gilligan's Island on DVD in Region 1 for the very first time between 2004-2005. The releases feature commentary by creator Sherwood Schwartz and cast members as well as trivia and featurettes. Also included is the pilot episode with a different Professor, Ginger, Mary Ann, and different opening and closing music. The only negative thing is the flipper discs, which require careful handling. In my first season set, the discs are fastened down with a design that makes it extremely difficult to remove the discs. I damaged a disc trying to remove it. GILLIGAN'S ISLAND is virtually unknown in the United Kingdom--only thirteen episodes were ever shown there.

Auntie Mame (1958) * * *

Mame Dennis (Rosalind Russell ) is an unconventional individualist socialite from the roaring 1920's. When her brother dies, she is forced to raise her 10 year-old nephew Patrick (Jan Handzlik). However, Patrick's father has designated social-climbing executor Dwight Babcock (Fred Clark) to his will to protect the boy from from the perspectives of Mame, who quickly introduces him to her free-spirited, flamboyant and eccentric lifestyle. Patrick and Mame fall in love with each other, and she spends the rest of the movie trying to rescue him from the stuffy, conventional people he's used to. Together they journey through Patrick's childhood and the great depression, and experience many adventures.

Determined to "open doors" for her nephew, Mame exposes to him everything from bootleg gin to oddball characters--all the while doing battle with her nephew's ultra-conservative trustee, who is equally determined that the boy's life remain free of "certain influences." He is raised in a world filled with acceptance and Mame's unconventional literati friends. Nothing is too bohemian. This unfolds in colorful episodic segments that allow us to watch Patrick grow as Mame oversees his unusual upbringing while she juggles a few spouses and an extended household. Most of the film is a succession of virtual skits, strung together in a loose chronological order that extends from the Prohibition era until the present. Anachronisms abound. But for all its exaggerations and inconsistencies, this picture of a tireless party-giver is a highly entertaining. And because of the gags that gush from it, it is constantly amusing.

Patrick Dennis: Libido, inferiority complex, stinko, blotto, free love, bathtub gin, monkey glands, Karl Marx... is he one of the Marx Brothers?
(Patrick reads a list of words he doesn't understand)
Patrick Dennis: ...Neurotic, heterosexual...
Mame Dennis: Oh, my my my my, what an eager little mind.
(takes the list)
Mame Dennis: You won't need some of these words for months and months.
Auntie Mame: Run along to Ito and tell him to bring me a light breakfast--black coffee and a side car. Oh, oh. And a cold towel for your Auntie Vera.
Patrick Dennis: Is she in the guest room again?
Auntie Mame: Since Sunday, dear. Now run along to Ito and hurry my tray, darling. Your Auntie needs fuel.

There are parties in Auntie Mame's duplex, the tryout of her one play in New Haven, and the foxhunt on the South Carolina estate where Mame snags herself wealthy husband Beauregard Jackson Pickett Burnside (Forrest Tucker). Tucker was one of the most well endowed actors in Hollywood, second only to Milton Berle. Many viewers watch this film mainly to see his impressive "crotch shots" in the South Carolina scenes. As the Southern gentleman who becomes Mame's knight in shining honor, Tucker is extremely charming in this, possibly his best film role. Unfortunately, he falls off the Matterhorn on their honeymoon.

The lavish décor of Mame's apartment is changed almost as frequently as her flashy costumes, and all of them are dazzling. Russell as the fluid and spirited sybarite who gives her orphaned nephew an abundance of attention and love, succeeds in creating a woman who is as comically engrossing as a clown and yet possesses tenderness that every now and then she suddenly reveals. It is this tenderness in Miss Russell that makes Auntie Mame endearing. Closest to reality are nephew Patrick (Roger Smith), who is quite appealing, Mr. Burnside, broadly humorous as the rich Southerner whom Mame weds, and Dwight Babcock as the banker who tries to make a prig of the boy.

Auntie Mame: What an honor it is to have you in our little home... though I wonder if it does make the best first impression on a sensitive young mind to see you drinking during business hours.
Dwight Babcock: I dropped by the Bixby School. And what do I find? I find he isn't even registered there, he never has been. So I've been hunting through every low, crockpot school in this town, and I finally found him in the lowest of them all.
Auntie Mame: Mr. Page is a progressive educator...
Dwight Babcock: There they were, a schoolroom full of them: boys, girls, teachers, romping around stark naked, bare as the day they were born.
Auntie Mame: I assure you that the children under Mr. Page's care were engaged in normal, healthful, broadening procedures.
Dwight Babcock: Broadening? You show them what you were doing when I broke into that place. Go ahead, show them.
Patrick Dennis: We just playing Fish Family.
Dwight Babcock: Fish Family.
Patrick Dennis: It's a sort of constructive play.
Dwight Babcock: Now, listen to this.
Auntie Mame: Show me now darling, show me.
Patrick Dennis: Well, we do it right after yogurt time. Mrs. Page and all the girls crouch down on the floor under the sun lamps. And they pretend to be lady fishes, depositing their eggs in the sand. Then Mr. Page and all the boys do what gentlemen fish do.
Auntie Mame: What could be more wholesome or natural?

Farcical and funny among the others are Agnes Gooch (Peggy Cass) as a frumpy myopic secretary who makes a mistake of a delicate biological nature, Vera Charles (Coral Browne) as an acid-tongued actress who drinks, and Doris Upson (Lee Patrick) and Claude Upson (Willard Waterman) as a Connecticut couple who raise provincialism and bias to a high level. Ito (Yuki Shimoda) as a houseboy, Norah Muldoon (Connie Gilchrist) as a maid, and Gloria Upson (Joanna Barnes) as a finishing-school's end product and Patrick's unbearable shallow fiance, perform lively caricatures. AUNTIE MAME is an unrestrained wild and innocent spoof, but it has a heart and it is in the right place.

Patrick Dennis' 1955 humorous, bittersweet novel was a runaway bestseller--and it was soon followed by the 1956 stage version starring Rosalind Russell, who created the title role she was born to play as the madcap Mame. The stage play as adapted by Jerome Lawrence and Robert E. Lee from the novel was more like a movie script in its pile-up of pictorial business and its multitude of scenes. The invitation to expansion was hand-engraved in the play. Everything is expanded, especially Miss Russell, who lets herself go with even more gushiness and grandeur of gesture than she did on the stage. She is bright and brassy, but never goes too far over the top. Rosalind Russell delivers a knockout performance--easily her finest comedy performance since THE WOMEN (1939). From Mame's efforts to be a salesgirl at Macy's during the Christmas season, to her gentle put-down of an anti-semite, Russell is glorious as Mame--big-hearted, big-humored, and wonderfully off-center.

Do not confuse AUNTIE MAME with the lackluster musical version starring Lucille Ball, simply entitled MAME (1974). The Lucille Ball version, in which she looks as if she was filmed through Vaseline-covered cheesecloth is quite bad, going for cheap laughs. But there is nothing cheap about AUNTIE MAME. Production values are rich, the score is memorable, and everything about the show is a tremendous amount of fun. The infamous "production code" was still somewhat in force when AUNTIE MAME was filmed, and consequently several of the play's most famous lines had to be re-written--but this scarcely gets in the way of Russell and the others.

The cast also includes: Patric Knowles (Lindsay Woolsey), Pippa Scott (Pegeen Ryan), Robin Hughes (Brian O'Bannion), Brook Byron (Sally Cato MacDougall), Carol Veazie (Mrs. Burnside), Henry Brandon (Acacius Page), Cris Alexander (Mr. Loomis), Olive Blakeney (Dowager), Lela Bliss (Party Guest), Peter Bourne (Party Guest), John Caler (College boy), Evelyn Ceder Woman in White), Royden E. Clark (Stable Boy), Booth Colman (Alan a Party Guest), Max Cutler (Gangster), Jack Daly (Workman), Mark Dana (Reginald), Paul Davis (Stage Manager), Margaret Dumont (Noblewoman in Play), Saundra Edwards (Party Guest), Robert Gates (Actor as "Lord Dudley"), Gregory Gaye (Vladimir Klinkoff), Rand Harper (Pianist), Michael Harris (Party Guest), Sam Harris (Mr. Jackson), Charles Heard (Dr. Feuchtwanger), Butch Hengen (Emory MacDougall), Gloria Holden (Guest at garden party), Dick Hudkins (Stable Boy), Terry Kelman (Michael Dennis), Fred Kelsey (Front Row Audience at Play), Doye O'Dell (Cousin Jeff), Barbara Pepper (Mrs. Krantz), Richard Reeves (Mr. Krantz), Gladys Roach (Mrs. Klinkoff), Hazel Shermet (Macy's customer), Smokey (Mame's Horse), Dub Taylor (County Veterinarian), and Ruth Warren (Mrs. Jennings). Bronislau Kaper composed the original music. Betty Comden and Adolph Green wrote the screenplay derived from the novel by Patrick Dennis. Morton DaCosta directed.

This classic film was nominated for Academy Awards for Best Actress in a Leading Role (Rosalind Russell), Best Actress in a Supporting Role (Peggy Cass), Best Art Direction-Set Decoration, Black-and-White or Color (Malcolm Bert, George James Hopkins), Best Cinematography, Color, Best Film Editing and Best Picture. It was also nominated for three Golden Globes and won two. The DVD offers a visually stunning print of the film in its original ratio, and the sound is quite good as well. The few extras are nothing to speak of, but it hardly matters because this is a movie you can turn to if you need a good laugh, especially one with a slightly satirical edge from start to finish.

The Ed Sullivan Show (1948 - 1971)

The ED SULLIVAN SHOW is an American TV variety show that ran from June 20, 1948 to June 6, 1971, and was hosted by entertainment columnist Ed Sullivan. It ran on CBS every Sunday night at 8 p.m., and is one of the few shows to have been run in the same time slot, weekly on the same network, for more than two decades. Virtually every type of entertainment appeared on the show: opera singers, rock stars, songwriters, comedians, ballet dancers, circus acts, Broadway showgirls, and recitations from dramatic writings--usually juxtaposed on a single telecast. The format was essentially the same as vaudeville, and although vaudeville had died a generation earlier, Sullivan presented many ex-vaudevillians on his show. THE ED SULLIVAN SHOW is longest-running variety show in television history.

Sullivan began his career as a sportswriter, and then he took over Walter Winchell’s syndicated column. He hosted Broadway specials, charity events, and through the 1940’s various war relief efforts and his own radio show. In 1948 CBS hired him to host its first variety show endeavor, a new format that combined vaudeville and television and was nicknamed “vaudeo" The show was originally titled "Toast of the Town", but was widely referred to as THE ED SULLIVAN SHOW for years before September 25, 1955, when that became its official name. In the show's June 20, 1948 debut, Dean Martin and Jerry Lewis performed along with Broadway composers Richard Rodgers and Oscar Hammerstein II previewing the score to SOUTH PACIFIC. His inaugural program also included pianist Eugene List, ballerina Kathryn Lee, a troupe of crooning firemen, a boxing referee whose next gig was the Joe Louis-Jersey Joe Wolcott match, and six of the original June Taylor Dancers, called the "Toastettes."

It became the definitive, the best, and longest running variety series on TV. The awkward, wooden, stone-faced, and fumbling former newspaperman was the improbable host for the Sunday night institution on CBS. For twenty-three years the Sullivan show fulfilled the democratic mandate of the variety genre: to entertain all of the audience at least some of the time. Many comic impersonators parodied his wooden stage presence and malapropisms, and a few actually performed their Ed Sullivan impressions on his "really big shew".

Alan King: "Ed does nothing, but he does it better that anyone else on television"

In 1965 CBS started televising the programs in color, as all three major networks began to switch to color in prime time schedules. The show was broadcast live from CBS-TV Studio 50 in New York City, which is now named The Ed Sullivan Theater and is the home of The Late Show with David Letterman. Although called "the great stone face" on screen, Sullivan was a man of intense passion off camera. He feuded with Walter Winchell, Jack Paar, and Frank Sinatra over his booking practices. He wrangled with conservative sponsors over his fondness for African American culture and openly embraced black performers throughout his career, including Bill "Bojangles" Robinson, Ethel Waters, Louis Armstrong, and Diana Ross. Unfortunately, he also capitulated to the blacklisting pressures of Red Channels and denounced performers for pro-Communist sympathies.

Countless stars appeared on his show, including: Diahann Carroll, Dionne Warwick, Sammy Davis Jr., Nat King Cole, Bo Diddley, The Fifth Dimension, James Brown, Aretha Franklin, Mahalia Jackson, The Supremes, The Four Tops, The Miracles, Little Anthony & The Imperials, The Jackson 5, Jackie Wilson, Nina Simone, Gladys Knight & The Pips, The Temptations, Alan King, Myron Cohen, Jack Carter, Mort Sahl, Woody Allen, Richard Pryor, George Carlin, Johnny Wayne and Frank Shuster, Monica Lewis, Dean Martin, Jerry Lewis, Peggy Lee, Irving Berlin, Bob Hope, Julie Andrews, Richard Burton, Robert Goulet, Nanette Fabray, Hope Emerson, Rudy Vallee, Luise Rainer, Jule Styne, Forrest Tucker, Skitch Henderson, Lon McCallister, Tony Martin, The Animals, Bobby Vinton, Connie Francis, The Dave Clark 5, The Everly Brothers, The Fifth Dimension, Frankie Laine, Gary Lewis and the Playboys, Gary Puckett and the Union Gap, Gerry and the Pacemakers, Gladys Knight and the Pips, Guy Mitchell, Jackie Wilson, Mamas and the Papas, Paul Anka, The Platters, The Rolling Stones, The Temptations, Teresa Brewer, Humphrey Bogart, Lena Horne, Dinah Shore, Albert Schweitzer, Irving Berlin, Fred Astaire, Jane Powell, Eddie Fisher, The Doors, Janis Joplin, Marvin Gaye and Bob Dylan.

The Ed Sullivan Show is especially famous for airing breakthrough performances by Elvis Presley and The Beatles.

"I wouldn't have Presley on my show at any time"--Ed Sullivan, early 1956

"And now, here is Elvis Presley!"--Ed Sullivan, October 28, 1956

After Elvis sings, Sullivan addresses the audience as he stands beside Elvis, who begins shaking his legs, eliciting screams from the audience. By the time Sullivan turns his head, Elvis is standing motionless. After Presley leaves the stage, Sullivan says, "I can’t figure this darn thing out. You know. He just does this and everybody yells." For the third and final appearance on January 6, 1957, Sullivan praised Elvis at the end of the show by saying, "This is a real decent, fine boy. We've never had a pleasanter experience on our show with a big name than we've had with you.... You're thoroughly all right."

Most of the episodes aired live from New York City, although the show also aired live on occasion from other nations, such as the United Kingdom, Australia, Canada, and Japan. For many years, Ed Sullivan was a national event each Sunday evening, and was the first exposure for foreign performers to the American public. Sullivan was always on the lookout for novelty acts, especially for children. His interplay with the Italian mouse Topo Gigio his "Little Italian Mouse" puppet sidekick debuted April 14, 1963 with ventriloquist Señor Wences.

(Frank Sinatra and Bing Crosby are singing "Road to Morocco", when Frank spots Bob Hope walking down the stairs at the back of the Ed Sullivan stage)
Frank: Run for the hills.
(Bob Hope walks in on Frank Sinatra and Bing Crosby singing "Road to Morocco")
Bing: What's the problem?
Bob: (pointing at Frank) You're singing our song with him.
Frank: I said I was sorry.
Bob: After all, Dean wouldn't do this to Jerry.
Bing: Bob, I'll tell you what happened. I didn't know you were in town. I heard, or I figured at least, that you'd gone for a ride on the Russian moon.
Frank: (indicating Bob) Ladies and Gentlemen, here's the first man to entertain the troops in Outer Space.
Bing: You certainly get around.
Bob: I have to, with my kind of act.

In the late 1960s, Sullivan noticed that his program was waning as the decade went on. He realized that to keep viewers, the best and brightest in entertainment had to be seen, or else the viewers were going to keep on changing the channel. Along with declining viewership, Ed Sullivan attracted a higher median age for the average viewer as the seasons went on. These two factors were the reason the show was canceled by CBS after the end of the 1970-1971 season. THE ED SULLIVAN SHOW was the longest-running variety show in TV history, and an undisputed institution. However, time slot rivals The WALT DISNEY SHOW and THE F.B.I. were gaining momentum, and CBS, eager for youth-oriented programming and fearful that Sullivan was a vestige of older generations, canceled the show. Because there was no notice, Sullivan's landmark program ended without a series finale. The last ED SULLIVAN SHOW was episode # 1071, aired on March 28, 1971. Ed Sullivan continued to produce one-off specials for CBS until his death in 1974.

Many DVDs are now available including: "The Very Best of the Ed Sullivan Show" (volumes 1 to 4), "Ed Sullivan Presents: Topo Gigio and Friends", "The Four Complete Historic Ed Sullivan Shows Featuring The Beatles", "Ed Sullivan Presents: Rock 'N' Roll Revolution", "Ed Sullivan Presents The Beatles", "Ed Sullivan's Rock 'N' Roll Classics", "The Best of Broadway Musicals: Original Cast Performances From The Ed Sullivan Show", "Muppets Magic From the Ed Sullivan Show", "Holiday Greetings From the Ed Sullivan Show", "Elvis Presley: The Ed Sullivan Shows", "Inspirational Treasures... The Ed Sullivan Show", "Ed's Amazing Animal Acts", "The Ed Sullivan Show: A Classic Christmas", "Motown Gold on The Ed Sullivan Show", and "Great Moments In Opera from the Ed Sullivan Show".

Stay Tuned (1992) * * ¾

Roy Knable (John Ritter) is a couch potato and struggling Seattle plumbing salesman married to Helen (Pam Dawber), his neglected wife and a vitamin product manager. After a fight where Helen throws one of Roy's fencing trophies into the family television, smashing the screen, Mr. Spike (Jeffrey Jones) appears at the couples' door, offering Roy a high tech new satellite dish system filled with 666 channels of every program you can't get on the four big networks. Roy signs the contract which actually requires a one-time payment of his soul. He and Helen are sucked into their own TV set, an alternative TV dimension called Hellvision, where they are kept on the run through such monstrous fare as "I Love Lucifer" and "Northern Overexposure." If they can survive for 24 hours, they learn, they will be returned to their normal lives. But if they get killed, their souls will go to Satan. Eventually, their disenchanted kids Darryl (David Tom) and Diane (Heather McComb) discover mom and dad are trapped in the TV set and they set about rescuing them. Darryl is an electronics whiz and puts his ingenuity to work to get them back.

Helen Knable: You sadistic bastard!
Mr. Spike: Runs in the family! My father was an oil company president.
(Helen and Roy Knable are sucked into the HVTV dish)
Mr. Spike: Fasten your seat belts, folks. It's going to be a bumpy ride! Ha, ha, ha, ha!
You Can't Win host: Do you know the rules of our game?
Helen Knable: (not sure where she is) What game?
Mr. Spike: Screw up in here, and you're dead meat... dead meat.

The hellish television world is full of satirical shows and movies. In some shows, the Knables are transformed into various roles and forms that fit the plot of the movie they happen to be in at the time. There's Captain Jean-Luc Picard in the STAR TREK TNG scene, Clint Eastwood in a spaghetti western, and even Jack Tripper (a character portrayed by Ritter) on the set of THREE'S COMPANY. Others are "Facts of Life Support", "30 Something to Life", "Sadistic Hidden Videoes" , "Murder, She Likes", "You Can't Win", and commerical parodies. They are pursued by Mr. Spike (also known as "Mephistopheles of the Cathode Ray") who enters some shows along with the Knables in order to halt their advance. He too takes on alternate forms that reflect the themes of the various shows, such as the Klingon and Android in the STAR TREK scene, and the driver in "Driving Over Miss Daisy".

TV Announcer: How did James Dean really die? Find out tonight on "Autopsies Of The Rich And Famous".
Voice over on one of the HVTV channels: The next item we have for you on the "Home Shoplifting Channel"...
TV Announcer: Welcome to "Northern Overexposure", the story of a young doctor from New York who comes to Alaska, complains about everything, and freezes to death.
Voice over on one of the HVTV channels: And now the all-new mini-series about the French Revolution... "Off With His Head", the story of the Marquis de Knable, an enemy of the people, who tries to escape the guillotine by wearing a disguise. It's an epic drama of love, danger, and cross-dressing. Stay tuned for the final chapter of "Off With His Head", when the Marquis de Knable finally loses his.

Helen Knable: Where's my husband?
Murray Seidenbaum: What are you worried about him for? I ditched my wife five channels ago. She happened to meet the business end of a fifty-ton reptile. And I can tell you, I don't exactly miss dried meat loaf.
(Murray Seidenbaum gets shot. Roy Knable approaches him)
Murray Seidenbaum: (to Roy, just before dying) All I wanted was to be the big shot for once. Take my remote.

Salt-n-Pepa make a cameo appearance near the end of the film in a "Hell TV" (MTV) segment. Mr. Spike, the DJ in this segment of the film, throws records at Roy who is dressed in a satirical Prince outfit. Roy is pursued in an elaborate music video by the rap duo Salt-n-Pepa. A zany touch is in the middle of the chase the "mute" on the remote control is accidentally pressed. However, Roy dodges them all, confronts Mr. Spike, and wins back the remote. The music video ends and Roy uses the remote to save his wife from being run over by a train. Roy and Helen are beamed back to the real world through their satellite dish. At the end of the movie, Roy has dramatically cut back on his TV viewing time, and is teaching a fencing class. A student attempts to disarm him with a fancy move, but fails. When he asks "Where did you learn that?", she replies "I saw it on TV once." Roy replies, "Don't watch too much TV, trust me it will get you into trouble."

After the unwatchable SHOCK TREATMENT (1981) and before the witty PLEASANTVILLE (1998), this comedy also features a family taking its problems out of the real world and into the crazy fictions of television entertainment. A genuine novelty, STAY TUNED is powered along by a chain of imaginative sequences, most memorably an original cartoon by Warner legend Chuck Jones that cleverly integrates Ritter and Dawber's characters. This social satire about the overbearing nature of television on underachieving lives is an imaginative and entertaining movie. The old rivalry between TV and film carries on in this clever parody, with many supporting players including SCTV legend Eugene Levy, SNL announcer Don Pardo, and hip-hop performers Salt-n-Pepa.

STAY TUNED takes a satiric concept and reduces it to a mild-mannered suburban comedy with little bite. It's an innoovative cleverly plotted movie that offers ample opportunity for spoofing anything and everything that can be found on television. The film is a bit more on target in its takeoffs of actual TV shows. One of the best moments is a "Wayne's Underworld" segment of "Saturday Night Dead," in which adolescents in ghoulish masks bash Roy in the head with the camera that is actually filming him. Ritter and Dawber don't do much in the movie except act frantic. However, Mr. Spike is an amusing caricature. With his creepy grins, arching eyebrows and stifled fits of apoplexy when things don't go his way, he suggests a TV executive gone bonkers from all the competitive pressure. STAY TUNED has been rated PG-13, with a few slightly off-color jokes. It's bizarre and cute.

Rita Kempley of the Washington Post called the film "wonderfully silly" and a "zippy action spoof." Variety magazine said the film was "not diabolical enough for true black comedy, too scary and violent for kids lured by its PG rating and witless in its sendup of obsessive TV viewing...a picture with nothing for everybody", and noted that the "six-minute cartoon interlude by the masterful Chuck Jones, with Ritter and Dawber portrayed as mice menaced by a robot cat...has a grace and depth sorely lacking in the rest of the movie." Time Out called it "pointless 'satire'" with the "emotional depth of a 30-second soap commercial."

The cast also includes: Bob Dishy (Murray Seidenbaum), Joyce Gordon (Sarah Seidenbaum), Eugene Levy (Crowley), Erik King (Pierce), Don Calfa (Wetzel), John B. Destry (Sackler), Susan Blommaert (Ducker), Maurice Verkaar (Another Buyer), Ken Douglas (Skeletal Worker), Gerry Nairn (Newscaster), Dale Wilson (Guy Squirly), Don Pardo (Game Show Announcer), Lou Albano (Ring Announcer), George Gray (Mr. Gorgan), Faith Minton (Mrs. Gorgon), Alan C. Peterson (Wrestling Referee), Marlowe Dawn (Cyndi), Laura Harris, Andrea Nemeth, Tiffany Michas, Kristen Cloke (Velma), Gianni Russo (Guido), Bill Croft (Torpedo #1), John Bear Curtis (Torpedo #2", Victor A. Young (Handsome Guard), Jonathon Pallone (Heavy Set Guard), Ken Kramer (Innkeeper), Dave "Squatch" Ward (Peasant), David Longworth (Another Peasant), Gordon Masten (Executioner), and many others. Bruce Broughton composed the original music. Tom S. Parker and Jim Jennewein wrote the screenplay based on a story they wrote with Richard Siegel. Peter Hyams directed.

DVD special features include subtitles in English and French, animated menus, a motion menu, scene access, biographies, filmographies and much more

The Best of Ernie Kovacs * * *

Ernie Kovacs (January 23, 1919 – January 13, 1962) was an American comedian whose uninhibited, often ad-libbed, and visually experimental comic style has had a great influence on TV comedy programs. During the 1950s this oddball genius was all over TV with a few of his own shows and frequent appearances on other shows. Kovacs' TV programs included THREE TO GET READY (1951), TIME FOR ERNIE (1951), ERNIE IN KOVACSLAND (1951), THE ERNIE KOVACS SHOW (1952–53 and 1955–56), filling in for Steve Allen as host of THE TONIGHT SHOW on Mondays and Tuesdays (1956–57), and the game show TAKE A GOOD LOOK (1959–61). Kovacs later publicly accused Allen of stealing material and characters from him. For example, Kovacs' "Mr. Question Man" resembles Allen's "Answer Man," and Johnny Carson's long-running Carnac character. Kovacs also was a celebrity panelist on WHAT'S MY LINE, but took his responsibilities less than seriously, often asking strange questions for the sake of a laugh.

Ernie Kovacs: I'd like to thank you all for inviting me into your living rooms this evening. It's just a shame you didn't straighten up a little.

He also did several TV specials, including the famous SILENT SHOW (1957). A series of monthly half-hour specials for ABC in 1961–62 is often considered his best television work. What made Kovacs unique may also have been what made him a hard sell to television viewers used to situation comedies and variety shows. Having a cult following at best, Kovacs rarely had a highly rated show. His friend Jack Lemmon was once quoted as saying that no one ever understood Kovacs' work because "he was always 15 years ahead of everyone else." Kovacs influenced Such iconoclastic TV shows as ROWAN AND MARTIN'S LAUGH-IN, MONTY PYTHON'S FLYING CIRUCUS, THE UNCLE FLOYD SHOW, SATURDAY NIGHT LIVE, CAPTAIN KANGAROO, SESAME STREET, and other comics such as David Letterman and Steve Martin.

Ernie Kovacs: We do these shows for the love of it. The money means nothing. The money is nothing, consequently it means nothing.

His television career began at Philadelphia's WPTZ TV station in 1950, using the ad-libbed and experimental style that would later make his reputation, including video effects, superimpositions, reverse polarities and scanning, and quick blackouts. He was also noted for abstraction and carefully timed non sequitur gags, and for carefully breaking the fourth wall. His cameras showed his viewers activity beyond the boundaries of the show set--including crew members and, on occasion, outside the studio itself. Kovacs also liked talking to the off-camera crew and even introduced segments from the studio control room. Ernie frequently made use of accidents and happenstance, incorporating the unexpected into his shows. One of Kovacs' Philadelphia broadcasts was enlivened by a homeless man who sought shelter inside the TV studio. Kovacs invited him onto the set, where he slept for the duration of the telecast, but nonetheless was introduced on camera to the audience as "Sleeping Schwartz".

Ernie Kovacs: There is currently a formula for success in the entertainment medium, that is--beat it to death if it succeeds.

Kovacs was rarely seen without a cigar in his hand, and his love of spontaneity extended to his crew, who would occasionally play live on-air pranks on him just to see how he would react. During one of his NBC shows, Kovacs was appearing as magician character Matzoh Heppelwhite. The sketch called for the magician to frequently hit a gong, which was the signal for a sexy female assistant to bring out a bottle and shot glass for a quick snort of alcohol. Stagehands substituted real liquor for the iced tea normally used for the gag. The look on Ernie's face upon taking the first shot was priceless, as he realized that he would likely be called upon to drink a shot of liquor for each successive gong. But Kovacs pressed on with the sketch, and was quite inebriated by the end of the show. On another occasion, while doing his Percy Dovetonsils character, he found that his drink contained a live fish.

Kovacs as Percy Dovetonsils: That cameraman has the motht muthcular legth... Are you really a gay caballero?

One innovation involved attaching a kaleidoscope to a camera lens and setting the resulting abstract images to music. An underwater stunt involved Kovacs sitting in an easy chair, reading his newspaper and somehow smoking his cigar. Removing it from his mouth, Kovacs was able to exhale a puff of white smoke, all while floating underwater. The trick: the "smoke" was a small amount of milk with which he filled his mouth before submerging. He also developed routines such as an all-gorilla version of Swan Lake, a poker game set to Beethoven's Fifth Symphony, the Silent Show, in which Eugene interacts with the world accompanied solely by music and sound effects, parodies of typical TV commercials and movie genres, and musical segments with everyday items in sync to music. A popular recurring sketch was The Nairobi Trio, three derby-hatted apes miming mechanically and rhythmically to the tune of Robert Maxwell's "Solfeggio".

Ernie Kovacs: Television: A medium--so called because it is neither rare nor well done.

He often used extended sketches or quick blackout gags lasting only seconds. Some of these were expensive, such as his famous used car salesman routine with a jalopy and a breakaway floor: it cost a reported $50,000 to produce the six-second gag. He was also one of the first television comedians to use odd fake credits and comments between the legitimate credits and, at times, during his routines. Kovacs reportedly disliked working in front of a live audience, as was the case with the shows he did for NBC in the 1950s. He found the presence of an audience distracting, and those in the seats frequently did not understand some of the more elaborate visual gags and special effects, which could only be appreciated by watching studio monitors instead of the stage. Despite the low budget, cheap sets, and poor lighting, this pioneer genius created some first-rate TV programs.

Ernie Kovacs: Seeing a murder on television can help work off one's antagonisms. And if you haven't any antagonisms, the commercials will give you some.

THE BEST OF ERNIE KOVACS is indispensable. It offers a generous sampling of more than 100 blackouts, musical diversions, sketches, technological dalliances, and the game show "Whom Dunnit," in which a panel must determine the identity of the mystery guest who has wounded a studio audience member. Another highlight is "Eugene," a 1961 broadcast in which not a word is uttered. And let's not forget the musical gorilla-costumed Nairobi Trio, one of Kovacs' signature creations. The DVD edition has a few noteworthy additions, including a clip from Kovacs's 1959 quiz show, TAKE A GOOD LOOK. In another memorable clip, Edie Adams, Kovacs' wife, performs her definitive impersonation of Marilyn Monroe singing "The Ballad of Davy Crockett". Though this footage dates back to television's early days, some of it is dated but this is no museum piece. Much of what Kovacs unleashed on an unsuspecting public is fresher, funnier, and more original than most of what passes for prime-time programming today.

This 2-disc set includes all of the 1977 PBS Series that re-introduced this television pioneer to a new audience. Some of this DVD is not side-splittingly funny in a conventional sense, much of it is gently humorous and cerebral. Mostly, it is fascinating--incredibly surreal, the most surreal programming ever shown on television and way ahead of its time. Kovacs work remains indescribable and uncategoriazable. Characters such as lisping gay poet Percy Dovetonsils, The Nairobi Trio, German disc jockey Wolfgang von Sauerbraten, and Mr. Question Man, who would answer queries supposedly sent in by viewers, will have you in stitches. Others include horror show host Auntie Gruesome, bumbling magician Matzoh Heppelwhite, Miklos Molnar, the Hungarian host of a cooking show; and Frenchman Pierre Ragout. Keep in mind when these shows were made in the late 1950s and early 60s and they are among the most subversive ever done for network television. Kovacs solemnly intoning a scene from Julius Ceaser, dressed in full Roman centurian regalia, and then breaking into a tap-dance is fairly typical. This five-part series is a six-hour guided tour through Kovacsland, and a more surreal or cockeyed landscape has never been broadcast over "the orthicon tube".

The genius of Kovacs is his great skits, bizarre antics, wild characters, and ingenious visual gags. Most of his early television shows were done live and have not survived except for a very few short film clips. Some of his later 1950s shows exist in the form of kinescopes. Few videotapes of his ABC specials were preserved and other videotaped shows such as his quirky game show TAKE A GOOD LOOK exist only in piecemeal fashion. After his death, Edie Adams discovered that the networks were erasing and reusing tapes of his shows. She bought the rights to the surviving footage and tapes, and most of Kovacs' surviving work is available to researchers at the University of California, Los Angeles Library's Department of Special Collections.

In his final years, Kovacs found Hollywood success as a character actor, often typecast as a swarthy military officer in such films as OPERATION MAD BALL (1957) and OUR MAN IN HAVANA (1959). He garnered critical acclaim for roles such as the perennially inebriated writer in BELL, BOOK, AND HANDLE (1958) and as the cartoonishly evil head of a railroad company in IT HAPPENED TO JANE (1959). In 1960 he made WAKE ME WHEN IT'S OVER and STRANGERS WHEN WE MEET. His own personal favorite was said to have been the offbeat FIVE GOLDEN HOURS (1961), in which he portrayed a larcenous professional mourner who meets his match in a professional widow played by Cyd Charisse. The last films for Kovacs are SAIL A CROOKED SHIP (1961) and NORTH TO ALASKA (1962). In 1987, a quarter century after his death, Kovacs's talent was recognized formally at last: he was inducted posthumously into the Academy of Television Arts & Sciences Hall of Fame. Kovacs was multi-talented. He composed much of the music used on the show, and was also a capable actor. His untimely death in a car crash in 1962 when his career was just taking off was a great loss for the entertainment world. As Mel Brooks once said, "dying is easy...comedy, that's difficult."

His tombstone epitaph reads, "Nothing in moderation".

Babes in Arms (1939) * * *

In 1921 Joe Moran (Charles Winninger) and Florrie Moran (Grace Hayes) are old vaudevillians who begin a touring show featuring many of their senior colleagues. Their children Mickey (Mickey Rooney) and Molly (Betty Jaynes) want to tag along, but the parents refuse. They live in Seaport, Long Island, NY just before the Great Depression and the "talkies" replace silent movies. Vaudeville is dying. Mickey writes songs, and Patsy Barton (Judy Garland) sings "Good Morning." Mickey sells the song for $100, gives Patsy his pin and kisses her. He writes a show he will star in as well as direct, and puts on the show to avoid being sent with other vaudevillians' children to a work farm. He'll improvise his show in the country, despite the awful weather conditions. Patsy is in love with Mickey, and he loves her too, but for him the show must go on, and his big dream maybe will come true: formally stage his play in a big scenario, with a huge production. The determined youngsters must also prove that, contrary to the demands of Martha Steele (Margaret Hamilton), they don't belong in a state-administered trade school. Don Brice (Douglas McPhail) sings "Babes in Arms" as they march and make a bonfire. Joe says good-bye to Mickey.

Mickey Moran: No, no, no, judge! You don't understand; she don't understand, either. Oh, she don't mean no harm to us, but... we're not her kind of people--or yours, either. We belong in show business. We gotta start young so we can get some steel in our backbone. Well, gee, we're developing. You couldn't teach us a trade: we've GOT one. And you couldn't do without it... Oh, we're only kids now, but someday we're gonna be the guys that make ya laugh and cry and think that there's a little stardust left on life's dirty old pan. Oh, she don't understand: she'd put butterflies to work makin' rubber tires!

Nasty old Martha Steele (Margaret Hamilton) and her son Jeff Steele (Rand Brooks) from military school want the kids on a work farm. They complain to Judge John Black (Guy Kibbee) about the Vaudeville kids, but he won't take them from their homes. Mickey tells Judge Black that his parents' show flopped. The judge gives Mickey 30 days to put on the show and prove they don't belong in the jail-like school. The rest of the action involves the talented kids successful efforts to not only stage the show, but to bring the whole troupe to Broadway. Don and Molly sing "Where or When" with an orchestra of children. In a drugstore Mickey and Patsy meet movie star Baby Rosalie Essex (June Preisser), but Mickey gets in a fight with Jeff. Mickey has a date with Baby and dines in her house. Mickey wants Baby in the show, which needs $287. She offers to pay it, so Mickey bumps Garland from the lead, smokes a cigar and leaves.

Mickey tells Patsy that Baby has to play the lead because of the money, and Baby shows how good she is. Mickey directs a rehearsal with Baby and Don, imitating Clark Gable and Lionel Barrymore. Patsy sees Mickey kiss Baby, then Mickey tries to stop Patsy from leaving. She tells him, "Did you have to kiss Baby Rosalie today? In the future if we should meet again at the opera or at a ball, and I'm dazzling in my diamonds and pearls and ermine wraps and surrounded by lords and dukes and princes, you'll probably be sorry!" On the train Patsy sings "I Cried for You." She goes to a theater to see her mother (Ann Shoemaker) and says that Mickey is putting on a show to keep the kids out of an institution. Patsy's mother tells her not to quit her show. She inevitably retakes the lead in the show and everything ends happily when out of nowhere a hot-shot producer likes what he sees in the barn show scene.

Baby's father takes her out of the show, and Mickey asks Patsy to go on. In the show Patsy sings "Daddy Was a Minstrel Man". Mickey and Patsy put on black face and sing a medley with Don. The barn show scene includes a minstrel show typical of the era that is not only dated but potentially ofensive to some viewers. Patsy sings "I'm Just Wild About Harry," but a storm drives the audience away. Mickey says, "Please folks, don't go! It's just a little shower!" He learns that his father quit theater and got an elevator job. Mrs. Steele says the children must report and gives Joe the paper. Mickey gets a letter from producer Maddox (Henry Hull), who liked the show and produces it. As hidden Mickey listens, Maddox asks bitter Joe to teach the youngsters in the show. Mickey introduces the show by singing "God's Country," which the company contrasts to fascism. Mickey and Patsy satirize FDR and Eleanor and dance.

As fascism is terrorizing Europe, young Americans have the freedom to organize a show and even satirize their government leaders. Mickey wonders if America can loan money for war, why can't they get some for entertainment? The marching and bonfire scene offers a parallel to fascists but a significant difference in purpose as they are struggling for artistic freedom not against it.

BABES IN ARMS was originally a 1937 Rogers and Hart Broadway musical that proved a smash on the New York stage--a slightly satirical script with one of the most powerful scores of the 1930s. MGM specifically purchased the property for Rooney and Garland and then promptly threw out the script, most of the score, and transformed the thing into a tale of young teenagers who decide to put on a show in a barn. It was the first Rooney/Garland vehicle directed by Busby Berkeley, and its success set the tone for their 9 films together. Busby Berkeley's big production numbers are a sight to behold, from a march through town for the title number to an embarrassing minstrel show routine. The movie was made the same year as THE WIZARD OF OZ (1939) and features the same villain: Margaret Hamilton. At the time Rooney was the number one box-office attraction.

The Broadway script was revamped to accommodate Hollywood standards. Most of the Rodgers and Hart songs were cut, except for the title tune, "The Lady Is a Tramp", used as background music during a dinner scene, and "Where or When". Arthur Freed and Nacio Herb Brown wrote a new song for the film, "Good Morning". This was the first of the Rooney/Garland "let's put on a show" extravaganzas and it's saved by Rooney's brash nerve and the charm of Garland. The storyline has been reduced to vaudeville corn, but Garland transcends the cliche, transforming a formula into critical and box-office gold. Harold Arlen and E. Y. Harburg (composer and lyricist for THE WIZARD OF OZ) wrote a new grand finale, called "God's Country", a strange mixture of Hollywood ballyhoo, patriotism, and fear of the European war that would soon engulf the world.

Although well performed, the songs that replaced the original score simply are inferior to the play's original score, and viewers are likely to be startled by a minstrel show number that find Mickey and Judy romping in blackface, a now dead theatrical tradition. The movie also has a number of distinct flaws. Busby Berkley was best with big-budget musicals that had scope for the elaborate dance numbers he favored, and his approach here feels heavy handed. Although immensely popular at the time Mickey Rooney's performance is manic by modern standards, and Garland's more natural performance is often overshadowed by his excesses. The script is as weak as the score, few of the supporting performers are memorable, with the exception of Margaret Hamilton, and the whole movie has an awkward quality to it. However, the film does capture the famous Rooney/Garland chemistry--a chemistry that would fuel three more "let's put on a show!" musicals, each one more more effective than the last. Casual viewers would do better to select BABES ON BROADWAY or GIRL CRAZY, but in spite of all its flaws, Rooney and Garland fans will likely find BABES IN ARMS a delight.

The original release of the film included a segment during the finale in which Rooney and Garland lampoon Franklin and Eleanor Roosevelt. This was edited from the film during a later reissue and not restored until the 1990s. MGM worried it might be construed as disrespectful during wartime. Filming of BABES IN ARMS began on May 12, 1939, soon after Garland had finished filming THE WIZARD OF OZ, and was completed on July 18, 1939. The film premiered on October 13, 1939. It was released not long after OZ and was an immediate and major hit, becoming one of the most admired musicals of the year. But time has a way of changing our perspective. Today, BABES IN ARMS feels a little strange, a little strained, and somewhat dated.

The cast also includes: June Preisser (Rosalie Essex), Leni Lynn (Dody Martin), Johnny Sheffielfd (Bobs), Barnett Parker (William Bartlett), Ann Shoemaker (Mrs. Barton), Joseph Crehan (Mr. Essex), George McKay (Brice), Henry Roquemore (Shaw), Lelah Tyler (Mrs. Brice), Charles D. Brown (Larry Randall), Joe Caits (Vaudevillian Veteran), Frank Darien Mr. Parks, Druggist), James Donlan (Fred), Inna Gest (Extra), Robert Emmett Keane Booking Agent), Lon McCallister (Boy), Sidney Miller (Sid), Cyril Ring (Vaudevilian Celebrant), Charles Smith (Shy Youth), Leonard Sues, Libby Taylor (Millicent, Rosalie's Maid), Mary Treen (Receptionist), Pat West (Vaudevillian Veteran), and Robert Winkler. Nacio Herb Brown composed the incidental music. Jack McGowan, Kay Van Riper, and Annalee Whitmore wrote the screenplay adapted from the play by Richard Rodgers and Lorenz Hart. Busby Berkeley directed.

Babes in Arms was released on DVD for the first time as part of Warner Bros. 5-disc DVD set "The Mickey Rooney & Judy Garland Collection" on September 25, 2007. The set contains BABES IN ARMS, BABES ON BROADWAY, GIRL CRAZY, and STRIKE UP THE BAND, as well as a fifth disc containing bonus features on Rooney and Garland.

The Saint (1962 - 1969) * * *

Simon Templar (Roger Moore) is The Saint in one of the best cult TV series of all time. The Saint is a modern day Robin Hood. He steals from rich criminals and keeps the money for himself and the little guy or beautiful woman. Usually he manages to get the crooks put behind bars after he's stolen their goods. He's handsome, charming, suave and sophisticated, cool in a crisis and hot between the sheets--an impressive character, a great series, with an explosive blend of thrilling action and exciting adventure.

The daredevil gentleman adventurer who outswindles the swindlers was created by writer Leslie Charteris in 1928. Nineteen actors have portrayed Simon Templar. George Sanders is memorable in a film series from the 1930s, and Vincent Price voiced the character on radio in the 1940s. But the definitive Simon Templar is Roger Moore, who starred in this classic 1960s British TV series. Except for the gadgets, THE SAINT has all the trappings of the James Bond films: a real international man of mystery, exotic locations, cold war intrigue, sparkling bon mots, and beautiful women. He's one of the most popular of all fictional heroes, basically a self-hired and self-paid law enforcement officer constantly chased by a real lawman who doesn't see the difference between him and other criminals.

THE SAINT was adapted for television in 1962, with Roger Moore portraying the Saint in 71 black and white, and 47 color episodes with a runtime of 51 minutes each. In late 1961, Leslie Charteris sold the TV rights to THE SAINT to producer Robert S. Baker, who teamed up with Lew Grade of ITC to film 71 b & w shows. These episodes were based on the over 100 books and short stories written by Charteris, with additional material added by screenwriters including Harry Junkin, Gerald Kelsey, Terry Nation, and others. Few episodes were actually adapted from the novels, though many were based on the short stories. The show was well-received by British audiences, but ITC could not find a network in the US to carry the show. ITC syndicated "The Saint" in the US, and it became a huge hit, making it one of the most successful first-run syndicated shows in history.

With most of the original Charteris stories translated to the small screen, and the contract running down, ATV-ITC penned a new contract to continue the series in color. The producers had to submit the stories to Charteris, but unfortunately they were not legally obligated to take any of his advice. Along with the new contract came a deal with NBC in America to show THE SAINT in network prime time. The color series lasted 41 episodes, with many of the best being penned by John Kruse. It also proved popular beyond America and Britain, eventually broadcast in over 60 countries. With 118 episodes, the programme is exceeded only by "The Avengers" as the most productive show of its genre produced in Britain. "The Saint" came to an end in 1969.

Roger Moore drove a white Volvo P1800 during the series. His portrayal of Templar was a training ground for his later work as James Bond. Moore was reportedly offered the role of 007 at least twice during the run of the series, but had to turn it down due to his TV commitments. In one early episode of the series, a character actually mistakes Templar for James Bond. Chief Inspector Claude Eustace Teal (Ivor Dean ) regards him as a common thief, regardless of whom he steals from, so the Saint must always stay one step ahead of the doggedly persistent Inspector. Fortunately, his wit, charm, and savoir faire make this a fairly easy task, and the series chronicles his various exploits.

The Saint lives in London, though the exact address is never revealed, and is seen traveling to locations across London, the UK and around the world. In reality, the whole series was shot at Associated British Elstree Studios in Hertfordshire, with very few scenes shot on locations outside of the studio. This was achieved by using the sets at Elstree Studios, blue screen technology to simulate different locations in the background, painted or projected backdrops, as well as revolving painted backdrops for moving scenes. There are a few exceptions, such as the extensive location shoot on the island of Malta in Italy for "Vendetta for the Saint". Lookalikes were used for location shoots where The Saint is seen in the distance entering a well known building or quickly driving past the camera.

The series began as a straightforward mystery series, but over the years adopted more secret agent and fantasy-style plots. The early b & w episodes are distinguished by having Moore break the fourth wall and speak to the audience at the start of every episode. With the switch to color, this gimmick was replaced by simple narration. Invariably, the pre-credits sequence ends with someone referring to the Saint as "the famous Simon Templar", at which point an animated halo appears above Templar's head as the actor usually looks at the camera or directly at the halo. Some episodes such as "Iris" break away from this formula and have Templar address the audience for the entire pre-credits sequence, setting up the story that follows. The first color series with a production run of 32 episodes, includes the two parter/feature film "The Fiction Makers". The second color production run consists of 15 episodes including the feature film/two parter "Vendetta for the Saint". This second color run has a revamped theme tune marking it out from the first batch of color episodes.

Roger Moore: "It was Bob's idea that we should address the camera to take the audience into our little secret and share it with everybody. Certainly, in portraying the Leslie Chateris creation, Simon Templar, otherwise known as "The Saint", I haven't drawn in any way on the impressions of him given by other actors, including George Sanders and Hugh Sinclair, who have played him in the past. Self-identification is something readers of books very often experience, and I have always felt this way about The Saint. I've been reading him since I was so high. I've always had a mental image of myself in his shoes. In latter years, he has become more and more the type of character I've felt I would rather play than anyone else--so much so, in fact, that I made efforts to obtain the television rights in the stories for myself. I failed (I'm not a millionaire!). So you can imagine my elation when producers Bob Baker and Monty Berman, being much richer than I am, obtained the rights and asked me if I would like to take the part."

"If my portrayal is of Roger Moore in some people's eyes it's because I happen to be Roger Moore and because, in my own arrogant way, I've got this feeling that the Saint and I have a devil a lot in common. For the record, let it be admitted that when Leslie Charteris himself heard that I had been cast for the part, he is reported to have made a beeline for the nearest bar, ordered the most exotic-sounding drink that came to mind, and tried hard to forget that such a diabolical thing should have happened to him. But it must be also recorded, in fairness to Leslie Charteris and to myself, that, after he had seen a few of the TV productions, he admitted that things could have been much worse, and that I was very much less unlike Simon Templar than he had anticipated. In fact, he admitted, he rather enjoyed the productions."

"Saint followers, of course, know Simon Templar's background. Those who meet hm for the first time on television may wonder how he earns a living. The answer is that he no longer has to do so. While he may have been regarded as a crook earlier in his career--but always as Robin Hood, charitable type of crook--it is no longer necessary for him to take his "cut" from the proceeds of his fabulous robberies. Though he takes the law into his own hands, he is certainly not against the law as such. Leslie Charteris has, in story after story, made it clear just what the Saint's outlook on life is. Let me quote: "I'm a sort of benevolent brigand. I raise hell for crooks and racketeers of all kinds, and make life miserable for policemen, and rescue damsels in distress, and all that sort of things". What more delightful character could any actor ask to portray?"

Nine episodes of the program were directed by Roger Moore (36, 40, 53, 68, 71, 85, 100, 107 and 112). When he signed his first contract to star in the show, he thought he was agreeing to do 26 one-half hour shows. Then he found out he actually agreed to appear in 26 one-hour shows and had signed for too little money. Moore had earlier tried to buy the production rights to THE SAINT books himself and eventually became co-owner of the show with Robert S. Baker when the show moved to color and the production credit became Bamore Productions. Most of the wardrobe Moore wore in the series was actually his own.

In 1979 ITC decided to renew the Saint and continue the series. Robert Baker proposed "The Return of The Saint" (aka "The Son of The Saint") solution to the age problem, with Roger Moore appearing in various episodes as the new Saint's father. This was scrapped, and Ian Ogilvy took over the halo for 24 episodes as Simon Templar. The show featured very high-quality production values, and was shot on location all over the world. People still saw the Saint as Roger Moore, and while some were beginning to accept Ian Ogilvy in the role, the show was cut short before he had a chance to turn the majority to his rendition.

Robert Baker still believed in the Saint, and in 1987 decided to give it another go with Australian Andrew Clarke in the lead role. He teamed with D.L. Taffner Ltd., to produce a one-hour pilot episode that aired on CBS. The show did not make the fall schedule. In 1989 the Saint was once again welcomed back to television in six 2-hour movies featuring Simon Dutton as Simon Templar, alias the Saint. D.L. Taffner Ltd., produced the episodes as part of "The Mystery Wheel of Adventure", a series of ten new made-for-TV movies. Bob Baker was involved as a consultant to the series. Moore never played the role again after 1969, though he can be heard speaking on a car radio during the 1997 film THE SAINT, starring Val Kilmer as Templar. Although the film bore little similarity to the TV series", the executive producer of the film was Robert S. Baker.

All of the color episodes in this series are available in DVD sets from A&E Home Entertainment. A&E initially was not planning to release the black and white seasons, but changed its mind due to public demand. A pair of two-part episodes from later seasons, "Vendetta for the Saint" and "The Fiction Makers", were compiled into feature films which were distributed to theaters in Europe and often show up on late-night television in America. They are also available on DVD.

In Region 2, Network DVD has released two multi-disc sets, with all the monochrome episodes available in an 18-disc set, and all the color ones separately in a 14-disc set. The color set includes both the theatrical versions of the two double-length stories, as well as the original 50-minute two-part versions. Also included are a 40-minute documentary and isolated music tracks. Prior to this, Carlton Video had released four separate discs, the first one with the first two episodes, and the rest with four episodes each. There is also a 10-disc set that repackages the previous four discs alongside six more, containing the first 39 monochrome episodes.

Umbrella Entertainment in Australia has released the entire series in five boxed sets with six discs each. These are in PAL format, but with no region code (typically, Australian DVDs are a Region 4 code). The box sets feature numerous extras including a series of audio commentaries recorded in 2004 with surviving members of the cast and crew, ranging from guest stars through to Roger Moore. The series is also available on DVD in France and Spain.

Harry and the Hendersons (1987) * * ¾

George Henderson (John Lithgow) takes his average American family on a hunting trip in the Pacific Northwest. On their way home to Seattle in a station wagon with wife Nancy (Melinda Dillon), bratty daughter Sarah (Margaret Langrick) and hyperactive son Ernie (Joshua Rudroy), they accidently run over a strange animal, and when they get out to see what it is, they find the seemingly dead body of a hairy Bigfoot-type monster (Kevin Peter Hall).

George Henderson: Nancy, I'm not a doctor, but it's got no pulse, it's not breathing and it's cold as a popsicle. Believe me, honey, whatever he is, he's definitely dead!

Excited by his rare find, George straps the monster to the roof of the car and takes it back to the Seattle suburbs. Believing that the creature is a grizzly bear, he plans to stuff the beast and put it on display in their living room. But the beast turns out to be alive and within minutes the revived creature goes wild, rampaging throughout the house. It transforms their dream home into a pile of drywall and splinters. Eventually, the family realizes that the creature is the legendary Bigfoot, and is actually very gentle. Given the name Harry, the creature's curiosity leads it to escape, running through the city as sightings of it strike fear into the populace, and greed into the heart of French Canadian hunter Jacques LaFleur (David Suchet), who has followed its trail for 25 years.

Jacques LaFleur: (to Nancy, about Harry) It could be out there suffering. And I know you'd want to help me find it so I could ki-... care for it.
(LaFleur is released from the watch house)
Jacques LaFleur: Where the hell have you been?
Jerome: There was nothing I could do!
Jacques LaFleur: Oh, bullshit!
Jerome: They weren't letting anybody out until they processed those guns, and there were a lot of guns! You need a bath.
Jacques LaFleur: And what, blow my cover?
(bangs on counter)
Jacques LaFleur: Come on, come on! Give me my piece!
Police Clerk: Hey, when I'm ready, pal.
Jacques LaFleur: When he's ready...! Jerome, do something, hey!

The Hendersons nurse Harry back to health and attempt to keep his existence a secret. Trying to hide him from the Seattle authorities and the hunter who wants its hide, the Hendersons come to realize that the best thing for Harry is to return him to his home in the wilderness.

George Henderson: He walked into our kitchen and was eating out of our refrigerator. I thought we was gonna eat me but he ate our daughter's corsage and then ate our goldfish!
Sergeant Mancini: And where is he now, Mr. Henderson?
George Henderson: In the bathroom.
Sergeant Mancini: Oh, of course, how stupid of me.
George Henderson: (on the phone) No, no, no Bigfoot here, Sergeant. I was just joking. It's just a prank, uh, I'm not even George Henderson. You must have reached the wrong number. (hangs up)

Hiding their furry friend as they race to get him back to his natural environment isn't so easy. They soon discover that the creature has a heart of gold as well as a brain. Far from being the ferocious monster they fear Harry to be, he's a friendly giant. They grow quite fond of the family's new addition, and it is adopted as a pet. This makes things all the worse when local hunters start setting their sights on the Henderson's beloved Bigfoot Harry.

This is a cute movie about a family man who befriends a Sasquatch (Bigfoot) and brings the friendly creature into his Seattle home. Mayhem and comedy ensue, and most of the film's jokes are about Harry's smell and size. He desperately needs a bath and a deodorant, and he's so big and heavy that he breaks chairs, floors and ceilings. Everything hinges on the relationship between George and Harry, and it is quite effective and touching. Dr. Wallace Wrightwood (Don Ameche) is a hoot as an old guy whose life has been ruined by his dedication towards the study of the Sasquatch. He has dreamed of meeting a Bigfoot all his life and finally gets his chance.

Dr. Wrightwood: And I know it's closing time, so if you wanna talk shop, then shop!
Nancy Henderson: George, if I could have a word with you before The Carson Show calls?
Sarah Henderson: Where's the roast?
George Henderson: I'll go get it.
Nancy Henderson: The roast is resting in a shallow unmarked grave in the backyard.
George Henderson: Oh. Well, there's plenty of other stuff.
Dr. Wrightwood: Are you vegetarians?
George Henderson: Sometimes. It depends on the guest.

Harry is played by a 7-foot-2-inch actor Kevin Peter Hall in what looks like a slightly altered Chewbacca suit. However, it's not his looks or smell that offend--it's his unctuous manner, which permeates the film itself. Harry is so sentimental he'd weep over a television commercial. Tears of gratitude well up in his eyes when someone doesn't swat him. Unlike E. T., who regards the world with a sophisticated yet kindly doubt, Harry, who's meant to be lovable, is simply dumb. His adoration of the boorish Hendersons and their suburban lifestyle is not satiric. In the way of sit-coms, HARRY AND THE HENDERSONS sanctifies the values of a stereotypical American family that's never looked quite as empty-headed as in this film. But it has a a sharp, comic edge and includes some vulgar language. Interestingly, the main character who curses in the film is the boy. Except for hearing the word "sh*t" a few times, the rest of the movie is clean enough for the whole family to enjoy. However, it is rated PG. There are several messages : some humans are more beastly than animals, forgiveness is a powerful healer, and protect the wilderness, for it contains many wonderful things that are not always apparent to us.

Originally conceived as a TV series by comedian Brad Garrett, HARRY AND THE HENDERSONS won an Academy Award for Makeup by Rick Baker. Ultimately it did make it to the small screen as a weekly syndicated sitcom in 1990, with Kevin Peter Hall repeating the title role during the series' first 24 episodes. HARRY AND THE HENDERSONS fits perfectly in the niche of Spielberg-produced family fantasy comedies that were made throughout the mid 1980s. In the spirit of "E.T.", but not quite as heavy, movies like THE GOONIES, INNERSPACE, and HONEY, I SHRUNK THE KIDS successfully delivered escapism and fun to viewers of all ages without asking too much in return. That's exactly what one can expect from HARRY AND THE HENDERSONS.

John Lithgow is perfectly cast as the long-suffering patriarch. He brings a depth to his character that certainly wasn't required, but makes the bond between his George and Kevin Peter Hall's monstrous Harry endearing and believable. Likewise, Don Ameche and David Suchet deliver top-notch performances as the conflicting sides of the scientific community. And, as always, Melinda Dillon fills her motherly role with skill and ease. Altogether, HARRY AND THE HENDERSONS brings together a talented cast and a charming script, resulting in an unabashedly cute film. It's a funny and moving classic for all the family, and most people will love it no matter what their age. The film was released as BIGFOOT AND THE HENDERSONS in the UK, though the TV series retained the American title.

The cast also includes: Lainie Kazan (Irene Moffat), M. Emmet Walsh (George Henderson Sr.), Bill Ontiverous (Sgt. Mancini), David Richardt (Dirty Harry Officer), Jacqueline Moscou (DMV Clerk), Laura Kenny ("Mouse" Woman), Richard Arnold ("Mouse" Spouse), Sean Morgan (Jerry Seville), Nick Flynn (Stuart), David MacIntyre (Billers), Peggy Platt (Librarian), Orene Anderson (Woman in Kitchen), William Dear (Sighting Man), Laurie O'Brien (Screaming Woman), Michael J. Loggins (Big Gun Man), James King (Bicycle Man), (Nathaniel Ellis (Sgt. Bader), Juleen Murray (Press Woman #1), (Mark Mitchell), (Press Man #1), Connie Craig (Press Woman #2), Dana Middleton (News Anchor #1), Richard Foley (News Anchor #2), Larry Wansley (News Anchor #3), Steve Sheppard-Brodie (News Anchor #4), Mickey Gilbert (Police Officer), Tom Hammond (Police Officer), Stuart Schwarz (SWAT Officer), Justin Mastro (Vigilante), Michael Goodell (Pool Man), Chuck McCollum (Guard), Vern Taylor (Jerome), Stan Sturing (Police Clerk), Robert Isaac Lee (Kim Lee), Debbie Lee Carrington (Little Bigfoot), John Bloom (Feet), Fred Newman (Vocal Effects), William Frankfather (Schwarz), Robert Hanley (Eddy Rose), and Vicki Petite (Baby Bigfoot). Bruce Broughton composed the music throughout the entire film, and Joe Cocker and Jennifer Warnes perform "Love Lives On" during the end credits. William Dear, Bill Martin, and Ezra D. Rappaport wrote the screenplay. William Dear directed.

Dr. Wrightwood: I'm gonna say this once. 'Gonna say it simple. And I hope to God for your sakes you all listen. There are no Abominable Snowmen. There are so Sasquatches. There are no Big Feet!
(the family begins to giggle. Unknown to Wrightwood, Harry is standing right behind him)
Dr. Wrightwood: Am I missing something? So what you're saying is you would be willing, excuse me, Jack would be willing to take in this creature and care for it and love it like a pet?
George Henderson: No, like a member of the family.

The Burns and Allen Show (1950 - 1958) * * *

George Burns and Gracie Allen had one of the most enduring acts in the history of show business. They were headliners in vaudeville in the 1920s, on radio in the 1930s and 1940s, and on TV in the 1950s. They noticed that whenever Gracie would act "scatter-brained" in response to George's straight lines, they got their biggest laughs, and that's how they developed their act. When THE GEORGE BURNS AND GRACIE ALLEN SHOW, aka THE BURNS AND ALLEN SHOW, began on CBS television October 12, 1950, it was an immediate success. The show was originally live before a studio audience for the first two years. Burns realized it would be more efficient to do the series on film and the half-hour episodes could then be syndicated. With 291 episodes, the show had a long network run until September 22, 1958, and continued in syndicated reruns for years.

George Burns: You see, to be a straight man you have to have a talent, you have to develop this talent, then you gotta marry her like I did.

The format of their TV show is simple enough. It is set in the Burn's home, and George plays the dual role of on-screen narrator and straight man for Gracie's crazy but delightful involvements with various people and situations. Each episode begins with Burns standing, trademark cigar in hand, before the proscenium arch surrounding their living room set. There he presents a brief monologue, then offers the audience a few comments regarding the situation they are about to see. Gracie's cohort in many of her predicaments is neighbor Blanche Morton, whose accountant husband Harry is as infuriated by the girls' escapades as George is tolerant. George is unflappable and simply turns to the camera, cigar in hand, and philosophizes to the audience. He watches all the action standing outside the proscenium in early live episodes, and watching the show on TV in his study at the end of the series. Burns breaks the fourth wall by commenting upon it to the viewers. A running gag is George's weekly firing of announcer Harry Von Zell after he turns up aiding, abetting or otherwise not stopping the mayhem caused by Gracie's illogical logic. Another gag is a closet full of guests' hats that they left rather than have another run-in with Gracie.

George Burns: A book salesman. Hmm. Going up to our house? Is he silly enough to try to sell Gracie a book? Yes he is--if he was smart he'd turn around and run. You heard of that play "Death of a Salesman"? Trying to sell something to Gracie is what killed him.

Typically Gracie would goof up and try to hide her mistake from her husband. Her way of hiding it is easy to see through but she'd be sure that he wouldn't find out. Also, she would misunderstand things others told her and then assume they didn't understand. Then she'd proceed to explain things to them. For example, someone would say that their doctor had to close his practice due to a lack of patients. Gracie would say that they should learn to control their anger. Then the person replies, "No, I mean they don't have enough people coming to see them for medical attention". Gracie would then say, "Well, of course, if you always get mad at them, they'll go to another doctor." It would go on and on like that until the person would give up and Gracie would be satisfied that she had explained it to them adequately

The first six episodes were broadcast from New York, but the show soon moved to Hollywood. On Burns' insistence, the show was broadcast on alternate weeks in order to provide sufficient time for rehearsals and alleviate some of the pressures of live broadcasts. After two seasons of live performances, the series switched to a weekly filmed broadcast. Although not filmed before a studio audience, the final filmed product was previewed to an audience and their reactions recorded. At a time when many series relied on canned laughter, Burns claimed that his series only "'sweetened' the laughter when a joke went flat and there was no way of eliminating it from the film. "Even then we never added more than a gentle chuckle," he said.

Gracie: My the paper is full of news this morning. I hardly know which item to explain to the readers of my column.
George: You explain the news to them?
Gracie: Oh, yes. Everyone doesn't have my uncanny grasp of world affairs. I'm not the average person, George.
George: That I've known for years.
Gracie: Some people have the minds of children and it's my duty to guide them.
George: I see.
Gracie: What would you like to know dear?
George: Not a thing. Nothing at all.
Gracie: Now you take the elections last Tuesday. Do you realize how confused those poor Republicans must be who got elected? I'll bet some of them wind up in Seattle and Tacoma.
George: Seattle and Tacoma?
Gracie: Yes. They've been out so long they won't know which Washington to go to.

Gracie never saw herself as a comedienne, but rather as an actress. The supporting cast continued in roles established in the original Burns and Allen radio program. Bea Benaderet and Hal March play the Burns' neighbors, Blanche and Harry Morton. Bill Goodwin, as himself, plays the show's announcer and friend of the family, and Rolfe Sedan plays mailman Mr. Beasley, with whom Gracie gossips. During the run of the series, the role of Harry Morton was subsequently played by John Brown, Fred Clark, and Larry Keating. In the second season, announcer Goodwin left to host his own variety series and was replaced by Harry Von Zell. Musical entertainment is provided by The Singing Skylarks. The Burns' real life adopted son Ronnie later joined the cast as himself, and is cast as a drama student who tends to look askance at his parents' comedy style. Their adopted daughter Sandy was somewhat shy and not too fond of show business, though she appears in a few episodes as a classmate of Ronnie. In one episode, Ronnie's drama class puts on a vaudeville show to raise funds for the school. Gracie hosts the show while Ronnie and Sandy deliver an impersonation of their famous parents along with one of their classic routines. Since Ronnie plays himself, Gracie closes the segment with a wisecrack: "The boy was produced by Burns and Allen."

Gracie: Oh! Here's an interesting item. Frank Sinatra is going to sing at the Waldorf Hotel in New York.
George: The kid really gets plenty of work.
Gracie: Yeah, and I can't understand it. Why you're twice the singer he is.
George: Ah, Gracie.
Gracie: Oh, I realize it's not his fault. He gets tones that are thin and hollow because his chest is thin and hollow. But you get tones that are low and round because your chest...
George: Don't finish it. Don't finish it.
Gracie: That hotel should have hired you to sing.
George: (singing) "Though April Showers may come your way...They bring flowers that bloom in may."
Gracie: OOOhhh! You're murder, Jack. Mur-der! Oh, those golden notes come pouring out of you like Democrats out of Congress. (buzz) Oh, excuse me, dear. I'll see who is at the door.

To keep dialogue and situations consistent with the characters' personalities and ages, the writers stuck to policies and practices established during their radio show. The stories stayed away from topical humor, fantastic characters, and absurd situations and focused instead on more universal aspects of daily life. Plots were simple and, like their vaudeville routines, the comedy emanated from Allen's uniquely skewed interpretation of the world and the resulting confusion. Burns played the quintessential straight man to the scatterbrained Allen. Her enormous popularity came from her ability to underplay her character with convincing sincerity and illogical premises, such as sewing buttons on her husband's shirttails so no one would notice if he lost one.

Gracie Allen: Well, you see one Christmas my father caught a wild turkey and he fed him corn and chestnuts. But then we didn't have the heart to kill him so we let him get away.
George Burns: Oh, I see.
Gracie Allen: But the turkey liked the food so well that he came back each year. And that way we always had...
George Burns: A turkey for Christmas dinner?
Gracie Allen: Yes.

The program's sponsor was "Carnation Evaporated Milk" and their commercial theme stated that their product comes from "Contented Cows". The commercials were worked right into this show. For instance, Gracie would tell Blanche that she just made some delicious homemade pie with Carnation Evaporated Milk. Then Blanche would taste it and they'd talk about why Carnation Milk makes everything taste so much better. Then they'd go on with the show. At the end of the show, Burns would always say, "Say goodnight, Gracie" to which Allen always replied, "Goodnight". Despite the popular misconception, she never said, "Goodnight, Gracie" in reply. Burns was once asked why she didn't do it and replied, "Incredibly enough, no one ever thought of it."

Although Burns and Allen was never among the top-rated series, it maintained consistently high ratings throughout its eight seasons. Their show received 12 Emmy nominations: four for best comedy series, six for Allen as best actress and comedienne, and two for Bea Benaderet as best supporting actress. The show ended in 1958 when Gracie Allen's health deteriorated and she retired from show business. She suffered a heart attack in 1961 and died three years later at the age of 69. Burns continued to work as a singing comedian and enjoyed an Oscar-winning movie resurgence at the age of 80 with "The Sunshine Boys", and died in 1996 at the age of 100.

The kinescope recordings of the live telecasts from the 1950-1952 seasons of THE GEORGE BURNS AND GRACIE ALLEN SHOW have fallen into the public domain. They are available on "dollar DVD" collections, but better quality DVDs of the show are also available.