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THE BOSS CRACKS DOWN L EST there be any doubt, Arthur Godfrey and Arthur Godfrey alone has the final say-so on his shows. Recently, of course, he has been di¬ recting by remote control from his farm in Virginia. He sees what hap¬ pens at the rehearsal, and the cast watches him as he orders changes. Occasionally during a Wednesday afternoon rehearsal, he doesn’t like what he sees. A TV GUIDE photogra¬ pher just happened to be at the New York studio on one of these occasions. He snapped a shot of Godfrey off the monitor, then turned his camera on the attentive cast. Their expressions on the opposite page are reactions to Godfrey’s words, “It’ll have to be better than that!” He went on to tell them how to make the dance number better, and sure enough, he was right. The expressions were much .hap¬ pier, a few minutes later, when the boss came through with, “That’s fine. Let’s do it that way tonight.” Now that Godfrey has been visiting New York more often, the rehearsals are less of a strain. The boss—and the cast—find it easier to work face to face instead of by electronics. L ARRY KEATING, whose biggest forte as an actor is that he doesn’t look like one, is now building a tele¬ vision career after four years and 36 big-budget pictures in Hollywood. He’s the new Harry Morton with the Burns and Allen Show, the fourth since the program’s inception in 1950. Keating fell into pictures accident¬ ally. A veteran of the stage from 1920 until 1934, he deserted the boards abruptly and turned to radio—as an announcer. Over a period of 15 years he announced some of the biggest shows on the air. In 1949 a studio scout visited ABC’s This Is Your FBI show. Ignoring the show’s cast, he singled out the announcer as just the man he was looking for, and that was the start of Keating’s movie career. Keating found the Bums and Allen Show tough going for the first two films and hated himself in them. “Switching suddenly to farce comedy,” he says, “is like facing up to a south¬ paw boxer. Takes you a little time to get the hang of it. I was reacting nor¬ mally to George’s lines—and when you react normally to a farcical situa¬ tion you look ridiculous. You have to exaggerate to make it believable. Screwy, isn’t it?” THE 20