Broadcasting Telecasting (Jan-Mar 1953)

WAVE-TV OFFERS TOP AVAILABILITY! A few top-notch spot participations are now available on "MASTERPIECE MOVIETIME", at surprisingly low cost! FORMATS A tremendously popular series of topflight modern film features never before telecast in Louisville. Now in its second year, "MASTERPIECE MOVIETIME" is a master audience puller a truly first-class show. TYPICAL f HOWS! Upcoming features include "Without Honor" (1949) with Laraine Day and Franchot Tone; "Scandal in Paris" (1947) with George Sanders and Carole Landis; "Johnny One Eye" (1950) with Pat O'Brien and Wayne Morris; and "Don't Trust Your Husband" (1948) with Fred MacMurray and Madeleine Carroll. TIMIt Tuesday night at 9:45 — the perfect movie-time for televiewers. CHICK WITHt Free & Peters! WAVE-TV FIRST IN KENTUCKY i NBC • ABC • DUMONT LOUISVILLE, KENTUCKY FREE & PETERS, Inc. Exclusive National Representatives 14 • January 19, 1953 IN REVIEW STUDIO ONE "Studio One" — "The Trial of John Peter Zenger," CBS-TV, Jan.12. Sponsor: Westinghouse Electric Corp. Agency: McCann-Erickson Inc. Producer: Fletcher Markle. Director: Paul Nickell. Editorial Supervisor: Vincent O'Connor. Story: Irve Tunick. Cast: Eddie Albert, Marion Seldes, Frederic Worlock, Jacques Aubuchon, J. W. Austin, Leslie Barrie, Frank Wilson, Carl Frank, Ian Martin, Murray Matheson, Henry Barnard. IN THE light of the continuing surveillance against possible encroachments on its hard-won freedoms, it was fitting that the American press recall its indebtedness to a humble German printer in observing National Printing Week. It also seems peculiarly proper that television— newest member of the communications family and now seeking its own level alongside established printed media — should give added impetus to the recounting of the heroic struggle of John Peter Zenger for freedom of expression. CBS-TV's revival of this pre-Revolutionary War drama, it should be reported at the outset, was an artistic and technical triumph — one in the highest tradition of its Studio One productions. Within the art form of the television drama, the Westinghouse play unfolded with admirable restraint and luster under the skillful hand of Fletcher Markle, not to ignore for a moment the superb casting. For Mr. Markle it represented a distinct achievement worthy of acco Fletcher Markle Producer, Studio One lades once accorded Worthington Miner, former Studio One producer. Some viewers may have found it difficult to project actor Eddie Albert into the title role, remembering his portrayal in "Brother Rat" and other light-hearted endeavors. But Mr. Albert is equal to the characterization, partly because of the underdog nature of his role and the sterling performances by others in heavier sequences. The Studio One televersion opens prior to Zenger's establishment of the New York Weekly Journal (the city's second newspaper), and after his apprenticeship with William Bradford on the Gazette in November 1733. There is popular dissatisfaction with the Gazette, a virtual government organ, and with Mr. Bradford, who also served as the King's Printer for the Province of New York. Assisted financially by thos^ opposed to Gov. Cosby, the humble Zenger renounces his early indifference to any thought of launching a popular newspaper in conflict with the ruling power. The cameras faithfully record Zenger's momentary inner conflict, the urging of backers and the start of the Weekly Journal. But it is when the scenes shift to the Governor's quarters that Studio One's production blossoms into first-rate drama — thanks to a brilliant portrayal of Cosby by Jacques Aubuchon. The play unfolds forcefully in these scenes: Zenger's arrest in his printing shop in 1734; his appearance before and denunciation of Gov. Cosby; discussions between the tyrant Cosby and his vain attorney-general, Delancey; the prison scene with Zenger and his wife, and — as the denouement — the persuasive jury speech by Zenger's attorney, Andrew Hamilton (graphically played by Frederic Worlock), who comes out of retirement to handle the case. Mr. Hamilton methodically refutes the concept that "the greater the truth, the greater the libel" and redefines truth as a justifiable defense, while admitting allegations that the Zenger Weekly-Journal was scandalous, malicious and seditious. It is here, and rightfully so, that the camera is trained closeup to best advantage as Hamilton defies a court interpretation of libel and carries Zenger's case to the jury which acquitted him. It is this reviewer's opinion that Studio One's version of the trial — and particularly Mr. Worlock's portrayal — will rank among the high points of television drama, this or any year. THE GHOST OF HAMLET Episode in "One Man's Experience" Mon.Fri., 11:45 a.m. -noon on DuMont TV Network. Producer-Director: Lawrence Menkin. Adaptor: Jay Bennett. Cast: Jack Manning. SOONER or later, someone was bound to do "Hamlet" as a daytime serial. The most famous of Shakespeare's tragedies is, when one stops to think about it, an almost perfect model of a soap opera plot. Here is murder, brother murdered by brother. Here is avarice, the murderer inspired by a longing to inherit his brother's kingdom and by lust (here is sex) for his brother's wife. Here, most requisite of all, is the bewildered central character, caught in a web of troubles not of his own making, the hapless victim of the "slings and arrows of outrageous fortune." Here is psychiatry, the son seeing his father's ghost, hearing it demand that he avenge his father by murdering his uncle. Here is plot and double plot, the play within the play to catch the guilty off guard and force a confession, the accidental murder by the hero of his sweetheart's father, driving the sweet young girl to suicide and her brother and lover to fighting over her grave. Only the final scene, where a fencing match is turned to mass murder through the introduction of poisoned foils and poisoned cup, would be avoided or altered to save today's sudsy hero for new adventures. Even that did not bother Jay Bennett, writer of the TV script "The Ghost of Hamlet" presented five mornings a week, 11:45 a.m. to noon, on the DuMont TV Network. For this presentation was one of a series, each complete in itself, telecast under the generic title of One Man's Experience, which can go on forever re Broadcasting Telecasting