TV Radio Mirror (Jan - Jun 1963)

Record Details:

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EARL WILSON'S continued were eager to get as much footage of George as possible . . . frequently, he went beyond the three-hour day ordered just for him . . . and so then George wasn't always in the best of health — nor spirits. It didn't help things any. Then there was the animosity between Maharis and co-star Marty Milner . . . Milner having been quoted saying he wasn't getting his fair share of the publicity. That seemed to date back to the filming of a segment in Dallas. A gal reporter for one of the papers came on the set and interviewed Maharis. The reporter then walked over to somebody on the set and announced: "I'm looking for Marty Milner." The person she asked just happened to be Marty Milner. It reportedly brought home to Milner most forcefully that he wasn't publicized sufficiently to be recognized. Jackie Gleason said it well when he claimed that "doing a TV series is a little like fighting a civil war. You don't rehearse any of it very much. Do you think they had much time to have a run-through of the Battle of Gettysburg?" That was Jackie's answer when Sue Ann Langdon complained that she didn't have much time to rehearse with him. But Sue Ann sympathized with Jackie's problems and even realized why she didn't get as much to do as she had hoped. "Let's face it, television is a man's medium," she said. "It's very hard to find a situation for a woman on TV." How about, instead of Charlie the Barman, something like "Charlotte the Barmaid"? INSIDE STUFF: People used to have the idea that Jackie Gleason and Art Carney didn't like each other — didn't get along. The truth is just the opposite. Recently, I found Carney in Gleason's dressing room on Jackie's taping night. I figured Carney was on the show that night. No, he had just dropped in to sit around, chat with Jackie, and watch as much of the taping as he could before going to his own Broadway show. We asked Steve Allen whether he watches much television. His answer: "I don't have much time . . . I'm working. But, as a matter of fact, I didn't watch much when I wasn't working." "They never come back" has been an accepted truism in baseball and boxing — but it's getting to be true in TV also. Not anxious to hurt anybody who's trying, we mention no names . . . yet, in a couple of instances recently, when veterans attempted to return after some years away, we sadly felt that they were merely passe. (I hope they had saved their money.) DON'T PRINT THAT!: A wellknown Broadway actor didn't work out as a regular on a variety show and was dropped: "No reaction in the mail" was the reason. (You're supposed to get reaction from the viewers!). . . . Cara Williams, who doesn't want her son John Barry more III to be an actor, makes no secret of the fact she doesn't think her husband John Barrymore Jr. was much of an actor, either — even if he does like to wear beards. . . . Now's the time to tell the networks how to run their business. So, how come they stack top shows against top shows . . . while, in other time slots, they must stack low shows against low shows — because there's nothing worth seeing? Why, Why? Danny Thomas has been trying, for three or four seasons now, to get a big TV series for Jan Murray. Danny wants to produce it. Recently there was a New York tribute to Danny which Jan got out of a sick bed to emcee. And when he spoke, Danny said, "Jan, you didn't have to do that. We're going to sell your show, anyway ! " Observing the declining ratings of "The Real McCoys," there are some viewers who say: "Kathy Nolan is very much missed." But speaking of ratings, what do they mean now — if anything? We phoned the Perry Como office and asked: "How's Perry doing with the ratings?" "Just a second. . . ." Much later: "Nobody knows." "Nobody knows!" (Echo.) "Years ago," the Como representative said, "there was a big thing with the ratings. But nobody cares much about them anymore. We feel the best rating is the sponsor's open invitation to sign Perry for ten years more. Not just a few phone calls to an obscure little town in the Middle West." (However, on some of the networks, when they want to argue how much better they are than a rival network, they drag out the ratings— I've seen it done recently.) Specialization? Sure! We were talking with "Marx Magic Midway" clown Doug (Mr. Pocus) Anderson, and he remarked that his wife Gayle was trained in college to do what she does. "She has a master's degree in puppetry from Ohio State," the clown said, not clowning. I'll merely say that Ohio State has changed a lot since veterinary medicine was a big course, back in my day. . The spot to see the celebrities of TV in New York is around "Kookie Korners" at 53d and Broadway. Ed Sullivan, Garry Moore, Jackie Gleason, Ted Mack, "What's My Line?" and some other shows are done there regularly, in the space of one block. The autograph hunters gather there constantly — especially at Ed Sullivan's stage door. It's called "Kookie Korners" because it's a section where the characters hang out . . . the Palladium, Birdland, Roseland, the International (home of "Minsky's Follies"), Lindy's, the Stage Delicatessen . . . and now the new Americana is only a block away. That's where you find the action. Frank DeVol, who got an Oscar nomination for his musical score of "Pillow Talk" and has done many big assignments in musical recording, turns up as an actor on the popular new show, "I'm Dickens . . . He's Fenster." He prefers acting to composing. "In composing," he says, "it takes about two hours of work to produce a minute of music. That's a pretty long 'working day.' " —That's Earl!