Broadcasting Telecasting (Oct-Dec 1957)

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IN REVIEW IU CHAN N EL Channel 7 rolls up its sleeves behind solid programming and digs in on merchandising and product promotion that really pays off. Give your marketing or distribution problems the Channel 7 solutionenthusiastic cooperation from folks who know firsthand just what makes this unique Miami market tick. WCKT's plus services deliver a promotional punch that gets you greater returns per TV dollar day after day. Try WCKT now and discover why Channel 7 makes TV a better buy than meets the eye! WCKT CHANNEL MIAMI, FLORIDA THE PRINCE AND THE PAUPER Although the season is young, network tv already has entered a few programs for top honors. A major contender was telecast Monday night on CBS-TV. After limited success with its first offering of the season — a giant kaleidoscope of talent in "Crescendo" [In Review, Oct. 7] : — the Du Pont Show of the Month hit its stride with a superb live production of an adaptation from Mark Twain's The Prince and the Pauper. The Leslie Slote script captured the imagination, charm and cohesion that distinguished the great American author's novel. It was difficult after 90 minutes of delight to doubt seriously the author's concluding, whimsical observation: He didn't know if the switch between prince and pauper actually happened, but it might have. As in the memorable telecast of "Peter Pan," Pauper was fantasy at its best. To enjoy, one must believe. And there is no believability unless the cast gives the drama a sense of reality. As a relief from circling sputnik, psychological drama and adult westerns, The Prince and the Pauper was a refreshing experience. As a major tv accomplishment, the teleplay called for considerable skill in craftsmanship by David Susskind, the producer; Mr. Slote, the adaptor, and Daniel Petrie, the director, among others. Outstanding in the cast was Christopher Plummer as Miles Hendon, sword-wielding champion of the Prince. The latter role was performed by Rex Thompson, who showed an ability to project the dignity and nobility expected of a young Prince Edward; lohnny Washbrook as Tommy Canty, the pauper, lent the credibility of a boy whisked from the streets of London into the life of royalty as a result of mistaken identity. Also notable in the cast were Rosemary Harris, Sir Cedric Hardwicke, John Carradine and Hurd Hatfield. Because of the hour, many youngsters missed the play. This was unfortunate since the program could have been a treat for the whole family. In any case, here's to more of the same, whether on the Du Pont series or elsewhere. Production costs: Approximately $175,000. Sponsored by the E. I. Du Pont de Nemours & Co., through BBDO, on CBS-TV, Mon., Oct. 28, 9:30-11 p.m. EST. Producer: David Susskind, for Talent Assocs. Ltd.: director: Daniel Petrie; associate producer: Michael Abbott; writer: adapted by Leslie Slote from the novel by Mark Twain. KEEP IT IN THE FAMILY Aside from the fact that this is one of the few tv quizzes to debut this season, Keep It in the Family appears to possess nothing noteworthy. Two families of five are matched. After the nature of the question is stated, the families bid points (up to 100) maximum for the right to try for the answer. The points count (or subtract, if missed) toward the game-winning goal of 350 points. The suc Page 14 • November 4, 1957 cessful bidders must answer five-part questions, starting with the youngest member of the family. For each question, there is a lavish gift. On the opening show, it included vacations in Bermuda, kitchen equipment, a completely-equipped power workshop, a Hillman Minx car and diamond-studded watches. The group huddles of the families as they decided on bidding tended to stutter the first show's pace. Also the precedes on each family's background appeared to be too well scripted. Example was the instance of one seven-year-old who got halfway through a "cute" answer, floundered, and then restarted with a verbatim duplication of his first remarks. Production costs: $10,000. Telecast sustaining on ABC-TV, Sat., 7:30 8 p.m. EST. Started Oct. 12. Producer: Art Stark; director Mickey Tren ner; writers: Mr. Stark, Leonard Stern. BOOKS ZOOMAR, by Ernie Kovacs; 348 pp.; Doubleday & Co., 575 Madison Ave., New York City. Tv comedian Ernie Kovacs has come a long way since his newspaper columnist's days on the Trenton (N. J.) Trentonian some 10 years ago. Making his debut as a novelist, tongue-in-cheek Mr. Kovacs has written an interesting and amusing — albeit badly-told — tale of life behind the electronically-charged grey flannel curtain. His story, as others of its type, is populated by slick network and agency boys and girls. But where the other books are more fancy than fact, Mr. Kovacs has given the reader (and his characters) -the benefit of his own 10 years in the industry. Our hero is an agency man named Tom Moore who finds himself at liberty following the suicide of a client — a soap-manufacturer, naturally. How Tom picks himself off the sidewalk and works his way into the No. 2 spot at United Broadcasting Corp. is Mr. Kovacs' tale. As we said, he may not tell it so well, but he does it with verve, wit and imagination. JOURNALISM QUARTERLY: Trends in the Field of Electronic Journalism, a special issue, Summer 1957. School of Journalism, U. of Minnesota, Minneapolis 14. 128 pp. $1.50 or with yearly subscription ($6), special rates to students. The legal problems tv has raised and the ever-present fight for freedom of information are among the timely issues presented by many contributors to this issue. Radio and tv's right to report in the courtrooms and elsewhere are discussed in separate articles by Dr. Fred Siebert, Michigan State U; Hugh B. Terry, KLZ-AM-TV Denver, and Ted Koop, CBS. Among other pertinent pieces are those by Sig Mickelson, CBS, who traces the growth of tv since 1946; Jim Bormann, WCCO Minneapolis-St. Paul, writing on the durability of radio [Playback, Oct. 14], and Per Holting, U. of Minnesota, who explores areas where friction has developed for the tv news editor [Broadcasting, July 15]. Broadcasting