Classic Television Thursday #53 – The Rivals of Sherlock Holmes: The Horse of the Invisible (1971)

car2Recently I’ve been writing about my favorite armchair detective, Nero Wolfe, whom I consider to be in the same league as a detective as the much more famous Sherlock Holmes. Today I want to spotlight another detective, who, while he may not be in the same league as those two, still deserves a bit of a spotlight and serves as a reminder that even though Mr. Holmes may be the most famous of the Victorian-era detectives, he is far from the only one operating or being written about in that era.

One of those other detectives is Thomas Carnacki, otherwise known as the Ghost-Finder.

Carnacki is the creation of writer William Hope Hodgson, and appeared in a series of six short stories published between 1910 and 1912 in The Idler magazine and The New Magazine. Unlike Holmes, however, Carnacki’s adventures, as is perhaps obvious from the Ghost Finder subtitle, usually involved the supernatural in some way or another. I say usually, because in at least a couple of circumstances, it is discovered that there actually is no supernatural instance involved, thus leaving the reader unsure until the end whether this is the case or not, which adds to the suspense of the stories.

car1The structure of each of the stories tends to be quite similar. In each of them Carnacki invites four friends, including Dodgson from whose perspective the stories are told, to dinner at his flat in Cheyne Walk, Chelsea, England. At the end of the dinner, everyone settles into their chairs, and Carnacki relates his latest exploit. At the end of the tale, Carnacki may entertain a few questions, but he usually does not go any further into an explanation than he already has.

Though it seems as though the character of Carnacki and his stories might be ripe for development as a television series, or a series of movies, as far as I can tell, the only adaptation that has been made thus far is as an episode of the two-season BBC series The Rivals of Sherlock Holmes. This adaptation of the story The Horse of the Invisible stars Donald Pleasance as Carnacki.

Check it out and see what you think:

 

 

 

 

 

 

 

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Classic Television Thursday #52 – The Dean Martin Celebrity Roast (Part Two)

martin1The last time I did one of these Classic Television Thursday posts (and I apologize for the intervening weeks, but what with the holidays and life intervening as you’ve noticed, I’m sure, my posting here lately has simply been on the sparse side), I posted a few of the Dean Martin Celebrity Roasts just to give you a taste of what they were like. Today I’ll go into a bit more about them.

From 1965-1974 Dean Martin hosted one of the most popular variety shows on television. The show aired on Thursday nights on NBC except for the final year which saw it move to Friday night. It’s during this final season that the show changed, and upon which I want to focus today.

martin2Due to declining ratings during the show’s eighth season it was decided that it was time to retool things. During this season, a series of “Man of the Week Celebrity Roast”s were added to the weekly offerings, and these proved to be very popular with the television audience. Therefore, rather than renewing The Dean Martin Show for a tenth seaon, NBC decided to work with Martin on this format and signed him to a series of specials, including roast specials. Martin was agreeable to this because it actually meant less work for him, while still keeping his name in the spotlight.

martin3The first specials, which began airing early in 1974 with a roast of Bob Hope were shot in California before they finally moved to a permanent home in the Las Vegas MGM Grand Hotel’s Ziegfeld Room. For 10 years, from October 1974 to December 1984, Martin held court as roastmaster as some of Hollywood’s and Vegas’s top comedians and other celebrities would come together in a Friar’s Club style roast to playfully chide and or insult one of their fellow celebrities about his or her career. Then, at the end, the “honoree” would get a chance to take to the dais to respond to these quips and taunts with a few sharp lines of their own. Unlike some later iterations of the celebrity roast (I’m thinking particularly of the Comedy Central iteration of the concept) all of this was obviously meant as good, relatively clean fun as opposed to an occasion to see who could be the most insulting to the guest of honor.

Actually, I feel like I should go back and clarify a bit. Though Martin did indeed havea 10 year contract with NBC to do these specials, there were actually only 5 of them produced, with none airing from 1980-83, and the show finally returning with a few specials in 1984 to wrap up Martin’s obligations and fulfill the terms of the contract.

Okay, I’ve nattered on enough. Now I think it’s time to just sit back and enjoy a few more of these roasts, beginning with a roast of the man himself. Have fun!

 

 

 

 

 

 

Classic Television Thursday #51 – Dean Martin Roasts (Part One)

 

Not a whole lot of time this week just because sometimes life intervenes, but instead of leaving you without your classic TV fix, I’ll give you a preview of next week’s column where I’ll go into some detail about these shows…

In the meantime, just sit back and enjoy!

 

 

 

 

 

 

A Classic Television Thursday Bonus – Letters To Laugh-In (1969) and Baggy Pants And The Nitwits (1977)

There are times while I’m researching these posts that I am completely caught off guard by something that will turn up. That’s what happened while I was looking for information for today’s post on Dan Rowan and Dick Martin’s Laugh-In. As a matter of fact, it happened twice.

Laugh-In was, of course, one of NBC’s highest rated shows in 1969, so it only made sense that the network would want to find some way to capitalize on that and spin-off shows of popular series were always good bets. The only question for the network was what kind of show would take advantage of the original show’s popularity without diminishing the original’s popularity.

I’m not sure exactly who came up with the idea of creating a daytime game show, but that’s what they went with.

b2Letters to Laugh-In was created to fill the void left by the recently cancelled Match Game. The concept of the show, hosted by Laugh-In‘s announcer Gary Owens, was simple: viewers would send in their jokes which would be read by a panel of comedians which usually consisted of two Laugh-In regulars and two other comedians. Each joke would then be rated on a scale of 1-100 and the viewer who sent in the highest rated joke each day would win a prize.

If you don’t think that sounds like the premise for a winning show, well, you would be right, as it lasted for only three months, from September 29 to December 26, 1969.

Here’s the only episode I could find readily available. it’s the second episode, and don’t worry if your screen goes black while watching it, as it actually looks like it could be a network feed to local stations with blank spots for the insertion of commercials.

Even more of a curiosity is the Saturday morning cartoon Baggy Pants and the Nitwits.

Once again, this is one of those shows that I cannot explain, but since there are episodes available to be watched, I have to accept it as a real thing.

b1The show was created by the prolific team of David H. DePatie and Friz Freleng. It was comprised of two segments, Baggy Pants, which featured the adventures of an anthropomorphic cat version of Charlie Chaplin’s Little Tramp character, and though there was music, there was no spoken dialogue. The second segment, which is the one that relates it to Laugh-In, was The Nitwits.

The Nitwits, you see, were Arte Johnson’s mumbling old man character Tyrone and his wife, Ruth Buzzi’s Gladys. However, instead of occupying the bench where they could be found “courting” (if you want to call it that) on Laugh-In, in this show the two were married, and Tyrone was a superhero who had come out of retirement in order to show the younger heroes how it was really done. Johnson and Buzzi even provided the voices for the show.

Yeah. I know. Complete WTH? But here it is:

Again, probably not too surprisingly, Baggy Pants and the Nitwits was not destined to last. If anything is surprising it’s that it did get a full 13 episode run.

So there you go. Two completely different and I dare say widely unknown spin offs from Laugh-In. And a couple of examples of the surprises that can turn up on the internet when you least expect them.

Classic Television Thursday #50 – Rowan and Martin’s Laugh-In (1968-1973)

li1Last time I mentioned that the cornpone comedy Hee Haw was heavily influenced by Rowan and Martin’s Laugh-In, (generally referred to simply as Laugh-In) so it seemed only fitting this week to take a look at the original show itself.

I suppose I’d never really given the name of the show much  thought, and it’s one of those things that I suppose should have occurred to me before, but just never had, but for those wondering where the name Laugh-In came from, it was a play on the sit-ins, love-ins, be-ins, and other -ins that were popular forms of protest during the civil rights and anti-war protests of the times.

Which seems fitting, since Laugh-In is very much a product of its time, a fact that, looking at it from the world of today, can be both a positive and a negative.

li2Certainly there is much about the setting, the atmosphere, and the topicality of so many of the jokes that plants it firmly in the late 60s and early 70s of its original creation and broadcast and can make it hard for viewers today, who may not have much familiarity with the general milieu and attitudes of the period to miss many of the jokes that are made, but the rapid-fire pace of the show and the simple quantity of material  gone through in each episode which made it seem so much ahead of its time then serves it well now, as there is still quite a lot of it that remains timeless.

The show began life as a one-shot special which aired on September 9, 1967, and proved popular enough for NBC to bring it back as a regular series which aired on the network at 8pm eastern time on Monday nights.

li3Rowan and Martin’s Laugh-In, as suggested by the full title was hosted by comedians Dan Rowan and Dick Martin. In traditional form for this type of duo, Rowan was generally the straight man while Martin was the dimmer-but-slicker comedian. However, though they got top billing, Laugh-In was an ensemble show featuring, over its six season run such famous comedians and actors/actresses as Arte Johnson (who eventually wrangled himself a “with… credit during announcer Gary Owens’ introduction to the show), Henry Gibson, Ruth Buzzi, Lily Tomlin, Jo Anne Worley, Goldie Hawn, Larry Hovis, Judy Carne, Richard Dawson, Dave Madden, Sarah Kennedy, Jeremy Lloyd,  Pigmeat Markham,, Pamela Rodgers, Barbara Sharma, Jud Strunk, Alan Sues, and Teresa Graves.

The show generally opened with a short intro/dialogue between Rowan and Martin before segeing into a bit which became known as the “cocktail party” during which the cast members would dance to a few bars of music then when the music would come to a sudden stop one or two of the cast would be focused in on to deliver short jokes. Then the music would start up again, the dancing would begin again and after a few seconds, there would be another stop for another joke.

After this it would be off to the races with a number of split-second edited one-liners, pre-taped bits, and recurring segments. At the end, there would be another short bit of dialogue, Rowan would tell Martin to “Say goodnight, Dick” to which Martin would reply “Goodnight, Dick”.

li5(A quick aside here: though many people, at least those old enough to remember George Burns and Gracie Allen, might think that this was a throwback to the closing lines of the comedic couple’s Television show (and the radio show which preceded it), they never actually used that line. Though George would  say “Say ‘goodnight’, Gracie”, she never actually responded with “Goodnight, Gracie”)

After that, the cast would appear in the “joke wall” a psychedelically colored wall which had different panels which would open up to allow them to get in one last line even as the credits were rolling.

Laugh-In was the source of an amazing number of well-remembered catchphrases and one-liners as well as recurring characters. Among these was “Laugh-In Looks at the News” which could be considered one of the precursors to Saturday Night Live‘s Weekend Update. Other memorable lines and characters include:

  • Judy Carne being tricked into saying “Sock it to me”, which led to her being doused with water or otherwise assaulted.
  • “The Mod, Mod World” which comprised brief sketches on a theme interspersed with film footage of female cast members go-go dancing in bikinis, their bodies painted with punchy phrases and pithy wordplay.li8
  • “Here come de judge!” – The Judge character was originated on the show by British comic Roddy Maude-Roxby, though the catchphrase wasn’t used until Flip Wilson came on the show as a guest star, and then  nightclub comedian Pigmeat Markham, who actually originated the phrase was brought in for a season. The most popular Judge, however, had to be Sammy Davis Jr., who really made the catchphrase his own.
  • The Flying Fickle Finger of Fate Award, saluted actual dubious achievements by the government or famous people.
  • Wolfgang the German soldier – a character created and portrayed by Arte Johnson who would comment on the previous gag by saying “Verrry interesting”, often following that up with lines such as “…but shtupid!”
  • Tyrone F. Horneigh, another Arte Johnson character who was a dirty old man usually seen coming on to Gladys Ormphby ( played by Ruth Buzzi) seated on a park bench, which would usually end with her beating him with her purse.
  • Henry Gibson’s poet, who would hold an over-sized flower and read offbeat poems.li7
  • Lily Tomlin’s Ernestine who was an obnoxious telephone operator with no concern for her customers and a very unique laugh.
  • Edith Ann, another Lily Tomlin character who sat in an oversized rocking chair and told short monologues which she would end with the phrase “…and that’s the truth” with the final “th” stretched into a Bronx Cheer or raspberry.
  • Big Al , an obviously gay sports anchor played by Alan Sues, who was continuously ringing his “Featurette” bell, which he called his “tinkle.”
  • Uncle Al, the Kiddies’ Pal , another Sues character, the short-tempered host of a children’s show, who usually went on the air with a hangover.
  • “Look that up in your Funk and Wagnalls”
  • “You bet your sweet bippy!”
  • “Beautiful downtown Burbank”
  • “One ringy-dingy…two ringy-dingies…”
  • “A gracious good afternoon. This is Miss Tomlin of the telephone company. Have I reached the party to whom I am speaking?”

And those are just a sampling.

One other note before we take a look at a sample episode. It’s kind of amazing when you think about the fact that all of the cuts that comprise an episode of Laugh-In had to be done by hand. This was well before the advent of computer editing of videotape which means that all of the edits were done by physically cutting the master tape and then physically splicing that tape together. That had to be quite a feat.

Okay, so what I have for you today is a sample episode of the show from its second season, which features as its guests Davy Jones, Robert Wagner, and Greer Garson.

Enjoy!

 

 

 

 

 

 

Classic Television Thursday #49 – Hee Haw (1969-1992)

hh1I’m not sure that I really loved the TV show Hee Haw when I was a kid, or whether I just remember it that way through a nostalgic haze. Either way, it was definitely a Saturday night staple here in my Nashville home.

One thing I was surprised to find out when I was looking up information on the show was that it was initially inspired – especially in it’s quick cutting from joke to joke – by the then-popular show Laugh In. When I read that, it made perfect sense, but it was a connection that I never would have guessed. I was also surprised to find out that it was initially designed to be a Summer replacement series for the Smothers Brothers Comedy Hour.

hh6For those of you who are unfamiliar with the show – which I’m guessing would be most of you out there – Hee Haw is probably best described as a cornpone comedy/variety show. Set (as much as it can be said to be set anywhere) in fictional Kornfield Kounty, it was pretty much just an excuse to share a whole lot of backwoods/hillbilly jokes and as a showcase for both classic and up-and-coming country music stars. I suppose in a way you could also compare it to Saturday Night Live, except that instead of sketch comedy it focused on piling in as many one liners as possible in one show.

That’s not to say that it didn’t have recurring buts and settings, however. It actually had quite a few, including KORN News, Lulu’s Truck Stop, Stringbean’s Letter From Home, The Haystack, “Hee Haw Salutes…”, The Joke Fence, The Empty Arms Hotel, “Hey Grandpa! What’s for supper?”, The Cornfield, and many, many, many more. And that’s not to mention the most popular segments,

“PFFT! You Were Gone!”

and “Gloom, Despair and Agony On Me”

Much like Laugh-In was hosted by Dan Rowan and Dick Martin – it’s official on-screen title is Rowan and Martin’s Laugh-In Hee Haw was hosted by Roy Clark and Buck Owens. But also like its predecessor it is very much an ensemble show. Actually I’d say it’s also more of a variety show than a strictly comedy show, since so much of each episode was devoted to the music. Among those regularly appearing on the show were Gordie Tapp, Don Harron, Roy Acuff, David “Stringbean” Akeman, Cathy Baker, Barbi Benton, Archie Campbell, Jim and Jon Hager, Grandpa Jones, George Lindsey, Irlene Mandrell, Rev. Grady Nutt, Minnie Pearl Slim Pickens, Lulu Roman, Misty Rowe, Junior Samples, Gailard Sartain,  and Jonathan Winters, and many, many others.

hh7Hee Haw actually only lasted for two years on CBS, from 1969-1971. CBS dropped the show in July 1971 as part of what became known as the “Rural Purge”, along with fellow country-themed shows The Beverly Hillbillies, Mayberry R.F.D. and Green Acres because the network felt that those shows skewed too far outside the younger demographic they were trying to draw in. After that, the show moved to syndication where it lasted for 20 more years. Personally I’d say that the move was the right one for the show, as I doubt that it would have lasted anywhere near as long on a network.

Okay, that’s probably enough background. Let’s take a look at a sample show. Unfortunately, I have no idea where this episode comes from or when it first aired, but it does seem pretty exemplary of the show.

And as a special bonus, here’s a short (roughly 30 minute) documentary featuring some behind the scenes footage and interviews with some of the show’s creators and stars.

 

 

 

 

 

Classic Television Thursday #48 – The Norliss Tapes (1973)

nt1The past couple of weeks in this space we’ve looked at the Dan Curtis produced made for television movies The Night Stalker and The Night Strangler, topping the Halloween celebration off with a look last week at the TV series that sprang from them. I’d originally planned for that to be the end of things, but while I was researching all of that, I was reminded of another Curtis telefilm from the same time period.

So here’s what apparently happened: when it was announced that  that Curtis wasn’t going to be involved in ABC’s Night Stalker series, he was courted by NBC to create a slightly different show for them Thus The Norliss Tapes was born. As was typical at the time, he created a made for TV movie which would run an hour and a half and serve as an undeclared pilot for the series.

nt4To call The Norlisss Tapes a rip-off of The Night Stalker is a bit unfair (can you really rip yourself off?), but there are certainly similarities between the two. Instead of being an investigative reporter like Stalker‘s Carl Kolchack, Tapes‘ protagonist David Norliss (played by Roy Thinnes, at the time probably best known for his role in The Invaders) is a book writer researching – and along the way debunking -the supernatural. They both show an inclination for recording/narrating their adventures on audiotape. They both run afoul of disbelieving lawmen, etc. etc. The biggest difference between the two is that whereas The Night Stalker had a more lighthearted – at times almost comedic sense to it, Norliss plays the horror straightforward, definitely going for the chills.

I guess you could call it Stalker‘s more serious cousin.

nt6Anyway, just to touch a bit on the plot, the movie opens with a telephone call between Norliss and his publisher during which the titular character begs him for a meeting. When Norliss doesn’t show, the publisher becomes worried, and when it becomes obvious that he has disappeared, he decides to investigate. Upon arriving at Norliss’s house, he finds a series of tapes, supposedly containing the narration of the book, and he decides to listen to them in order to try to find out what might have happened to the missing writer.

All of this, of course, is merely set-up to get us into the actual story.

nt2The always lovely Angie Dickenson plays a woman who awakens to find her home being invaded by a figure who appears to be her dead husband. He has already killed her dog, and begins to come after her. Fortunately she’s able to grab a shotgun, and in a very explosive P.O.V. shot shoots him at point blank range. However when the police get there, the only hing they find is the dead dog. Not only is there no other body, there isn’t even any other blood.

Norliss is called in to help investigate the mysterious goings-on, and it of course turns out that the dead husband is actually a… well, it’s kind of unclear what he is. Though he mostly looks and acts like a vampire, and the victim of his bodies are drained of blood, he doesn’t seem to be drinking it, instead, he’s mixing it into clay that he’s using to make a statue of the demon Zardoth who is temporarily inhabiting his body, but wants to use the statue as his new earthly body.

nt5In the end, it’s pretty easy to see why NBC wound up taking a pass on making this into an ongoing series. Thinnes’s Norliss really doesn’t display any of the charm or personality of Darren McGavin’s Kolchack, and the show in general just seems flat compared to  lot of Curtis’s other offerings. As a one-off it’s okay, but mostly forgettable, (which may be why it’s mostly forgotten today) and with The Niight Stalker already on the air and covering what would likely be most of the same ground that Norliss would pursue – let’s be honest, there’s only so much that can be done with a monster of the week show, though it would have had the advantage of the overarching “What’s actually happened to David?” subplot – it seems like it wouldn’t be long before the show simply ran out of tapes and ran aground.

Still, if you’re a fan of The Night Stalker and/or Dan Curtis it’s certainly worth checking out, which you can do below