Variety (July 1949)

t4 TKLK^ RK%IKWS Vethic^day, July 6, 1^9 MAMA With ppgfy Wood. Judsoa Lalro. Malcolm Keen. Rath Gates. Rosemary RIee. Dick Van Patton. Iris Mann Writer: Frank Gabrielson Director-Producer: Ralph Nelson 3U Mins.. Fri.. 8 p.m. Sustaining C BS-TV. from New York For some time now there’s been ! an awareness that one of the basic f»»imuias necessary to give video a much-needed lilt and warmness, namely situation comedy, has been lacking. As TV became more and more inundated w'ith hit-and-miss vaudeo presentations, it only served to accent this shortcoming. The emergence of “The Goldbergs” was the clincher in recognizing that situation comedy, when real and alive, was as vital to tele’s creative growth, as it was in radio. The point was again proven last Friday night (1) with the premiere of “Mama.” the new Carol Irwin package built around Kathryn Forbes’ warm hearted Norwegian characters as suggested by her “Mama’s Bank Account” novel and its sub.sequent "I Remember Mama” legit and pic adaptations. In effect this is the “Goldbergs”— with a Norwegian accent. And on the basis of last week ini-! tial installment, the “Mama” saga looks like a TV click. As scripted by Frank Gabrielson and enacted ' by a highly capable cast headed by , Peggy Wood and Judson Laire, with all the necessary topflight pro ' duclional accoutrements, it is en, dowed with sufficient qualities to , satisfy discriminating viewers in i all age brackets. The mood, the ; color and the flavor of the original . Forhes characterizations have all been captured, and brought to life within the framew'ork of a polished TV production. | Gabrielson played it safe for the Initial epi.sode, built around Papa’s , attainment of citizenship (a script. Incidentally, that had previously [ done successful service in radio), but dovetailed with the sureflre sentimental values was a blending , of rich, fine portrayals, sharply focussed by expert camera treat' ment. to suggest “Mama’s” continuing broad appeal. Willi the possible exception of Uncle Chris (Malcolm Keen’s portrayal seemed too forced; certainly not the sympathetic character as suggested by O.scar Homolka). the casting was flrstrate. not ably Judson Laire as Papa, Peggy Wood as Mama. Iris Mann as Dagmar and Ro.semary Rice as Katrin, the latter, as in the stage version, also doing the running commentary. General Foods, which starts sponsorship of “Mama” on Aug. 5. appears to be playing it smart in video, at least in its coffee division. What the “Goldbergs” is doing for its Sanka product. UOH MR. AND MRS. NORTH WUh Joseph Allen, Jr.. Mary Taylor, others Producer: John Loveton Director: Marc Daniels Writer: Hector Chevigny 30 Mins., Mon. f p.m. COLGATE NBC, from New York (ilherniau A Mnrqucti** ^ The video translation of one of radio’s staples, “Mr. and Mrs. North,” provides an added dimension to this lightweight mystery. This comedy when wired for sight retains the same qualities inherent in its radio edition plus the visual attributes afforded only by tele. For the initial session writer Hector Chevigny has taken a subject with which he’s unfortunately quite familiar with — that of a sightless man who has the responsibility of administering a relatively large estate. Jerry and Pamela North stumble across one murder and an attempted murder and Pamela’s light-headed hunches provide the key to the solution. The one unfortunate aspect of this yarn is the fact that the viewer by asking himself which of the cast is most unlikely to pull the caper, finds himself in agreement with the show’s denouement. The villain of the piece shouldn’t be so stainless if the element of mys! tery is to be kept at top-secret level. Knactments are uniformly good I with Joseph Allen. Jr., and Mary Lou Taylor as the sleuthing pair. I with .sets and production values excellently keyed. ! The C’olgate commercials for I Lustre Creme shampoo and Ajax I cleanser are in the metrical form i with cartoon embellishments. The big center spiel comes off best. I Jose. WHAT’S THE WORD? | With Jack McElray, Margaret Brown. Jack Lane, Monlea " ' Whalen. Whitey RobertSi ' Gene and Jean. Cy Sonamera. Jack and “Front Row Center” on DuMont continues to hold up as one of video’s brighter revues. Modestly scaled and stacked with young talent, Friday’s show (1) ran off at a breezy, entertaining pace for most of the way. Comedy sparkplugs are Jan Murray, doubling as emcee. and Phil Leeds, both contribing several funny sketches. Nitery singer Marion Bruce delivered a couple of fine numbers and the superb dancing team of Hal Lohman and Juan Fields scored onc*e again with some fancy stepping. Singing duo of Virginia 0.swald and Jack Cassidy were okay but their turn was too long. Overall, show rates high because of its fresh materia! which, even slipping at times, reveals ingness to take a chance. Jackie •rch. ( Director: Producer: 30 Mina.: Bhafton. Iran Ditmars though a w’ill MEET YOUR CONGRESS With Blair Moody, moderator Producer: Charles Christlensen 30 Mins.: Fri.. 9 p.m. NBC, from Washington From a public service angle, this type of program is probably the most effective educator in the working of the U. S. government, , Although there are several other programs similar to this on the air. there’s more than enough material to go around. All of these shows are not only informative, but have a natural dramatic quality born out of ideological conflict. They bring to the constituency not only the viewpoints of the legislators but their per.sonalitles as well. In short, this program genre is video’s meat. “Meet Your Congress” has a familiar, straightforward format I which brings two Congressmen ' from each parly to discus.s vital I public issues. On the preem (2) : Senators James Murray. Joseph I O’Mahoney. Jomer Ferguson and > Andrew Schoeppel kicked around the problem of rising unemploy “Studio One,” for its last show this summer, made a flight into a ghostly realm with the adaptation ' of Ellen Glasgow’s “The Shadowy Third” on CBS last Wednesday, i Diama had a fragile substance but was spun out effectively via expert performances and a superb production. Especially standout was the camera’s fluidity in creating a subtle atmosphere of impending tragedy. The climax of this peace, in fact, was accomplished solely via camera work. Yarn revolved around the attempt of a doctor to get rid of his wife by committing her to an insane a.sylum. Gliding eerily! through the piece was the form of the deceased daughter who was killed by her father through negligence. The gho.stly existence of the girl is used for some confused s.\ mt^lism for most of the way but i is exploited for a spine-c‘hilling climax. At the windup, the doctor is shown sprawled dead at the bottom of a staircase with the camera slowly ri.sing upwards to pick up the child’s skipping rope which tripped him on the top step. Members of the excellent ca.st included Helmut Dantine, Francis Fuller. Margaret Randolph, Frank Wilson and Una O’Connor. “Mama” should duplicate for Max | ment in the U. S. well House. Rose. Arnold RobConroy, nar FEDER.AL AGENT With Joe De Santis. ertson: Edward E. rator Producers: Chick Vincent. James Caddigan Directors: Carl Eastman Writer: Don Sandford 30 Mins.: Wed. (29). 9 p.m. Sustaining DuMont, from N. Y. (7 stations) DuMont’s “Program Playhouse,” aliowcase for new' tele stanzas, last week preenied “Federal Agent.” a whodunit based on the files of Edward E. Conroy, formerly chief special agent for the FBI in New ><uk. Conroy served as narrator, which seriously detracted from the whow’s potentialities. The ex-investigator was nervous before the cameras, fluffing some of his lines. In addition, fact that the material was read destroyed the illusion of realilN , especially so since the ca.se enacted dealt with a phenomenal ineiDory joh. Tlie slorv it.self lacked dramatic pitndi. detailing the tracking down of a quartet of murderers. The case was cracked by the identification of a single fingerprint, a feat which lacks spectacular eye-appeal. On the other hand, a documentary handling of the tedious identificati<»n process could have aroused Inlerest. SI an/a evidently suffered from InsuKicient reliearsal time. Thespin'i in the opening holdup scene was unconvincing. Cutting from <amera to (amera was slow and a tduple of times the ca.st was left on screen after the scene had died. I)e Santis, however, turned in ■at job as the gang leader and Arnold Robert. son was fair as the nherifl'. Injection of the narrator at two points in the unfolding of the yam was bad. interrupting the story and explaining what should have been told In action. Bril. The show had several rough spots. Blair Moody, as moderator, apparently failed to brief the participants in video’s etiquette and consequently, the speakers were getting into each other’s hair. Early part of the show, moreover, was taken up with some academic comments that flared into verbal fireworks just about at closing time. In any case, however, it gave a glimpse into Congres.s’ division between the laissez faire and government Intervention camps. With firmer control by Moody, it will undoubtedly emerge into topnotch adult video fare. Hern}. K.vle MacDonnell. who won her television spurs as the singer with a tres videogenic face, branched out into her first dramatic role Wednesday night (29) on NBC-TV’s “Kraft TV Theatre” — and did a surprisingly good job on It. Play, an old fashioned farce by Margaret Mayo titled “Baby Mine.” lacked impact because its basic situations have become trite but, under the combined administrations of Miss MacDonnell and others in the cast, it emerged as easy viewing. Fun was heightened by the actors playing it so fast, that it wound up six minutes early. They rounded off the hour by Introducing the cast and plugging the following week’s program. As a scatterbrained wife addicted to lying. Miss MacDonnell laid on the slapstick with a heavy brush, proving she can handle roles like these with ease, Warren Parker and Natalie Core were good as her best friends ar^ Gordon Mills was adept as th^ disgusted husband, milking the rnaximum in laughs from the part. J. Walter Thompson staff producer Paul Belanger hypoed the pace with his camera cutting and was also responsible for directing the cast so deftly. Bud C'ole John Neliton Thurs., 8:29 p.m. EVANS CASE CO. KNBH, Hollywood (Don Marter) “What’s the Word’/ ” is best of the audience part ici pat loners yet, beamed on the Coast, That really j isn’t saying much, because most of . them havo been pretty sad affairs. ; Comparisons aside. “Word” is stH'ko. if for no other reason than j the fabulous prizes gathered by the “Three Johns” of “Bride and Groom,” Masterson. Nelson and Reddy. It’s a show that Coast | viewers will be looking forward to ' next week, becau.se the giveaways ' are right in the “Stop the Music” groove. Additionally, there’s good entertainment on tap. Time and talent costs, aside from the premiums, are $1,200. Jack McElroy is emcee of the j Evans Case Co., la.vout. w'ith Westinghouse Electric and other manufacturers in for .some painless coop plugs. McElroy stands in front of a large chart with squares on it,' like a kingsize crossword puzzle. Studio audience and home viewers are given clues contained in such acts as Whitey Roberts’ juggling stint and Margaret Brown’s tap dancing. In the case of Roberts it was a five-letter w'ord (McElroy supplied that cue), meaning “lucre.” because Roberts was juggling two-bit pieces. Miss Brown’s was “toe.” When a studio participant misses, view'ers get a chance to phone in the answer. Other clues were provided by such acts as Gene and Jean, magicians: Cy Sommers in pantomime of a “Figaro” recording; Jack and Jackif Shafton, puppeteers: Jack Lane. Brown Derby cartoonist who.se sketch was correctly pegged as Dennis Day; and song.stress Monica Whalen. Ivan Ditmars and orch provided the backing. McElroy worked like a beaver, but ingratiatingly. Ditto for announcer I I.,ou Cook. Bud (’ole directed, I Joiin Nelson produced. Don Mar' ter of Boston is agency for Evans, and the results were wortli the backbreaking efforts of all concerned. Layout moves so fa.st that the commercials are hardly more than throwaways. Speed, apparently, is the secret of staging succes.sful video giveaways. Speed, and the giveaways themselves. Mike. OLSEN it JOHNSON SHOW StariiaK Ole Olsen it Chle Jolia, son; featuring Marty May, Jun. JoEnson. J. C. Olsen, others Prodneer-4lreetor: Ezra Stone TV Director: Frank Burns 69 Mins.; Tues.. 8 p.m. BUICK NBC-TV. New York {Kndner ) Olsen and Johnson have certainly run the gamut. The zanies have been in every branch of the amusement industry during their approximately 35 years as a team and now they’re a cinch to carve a new career for themselves in tele-' vision. Their opening show' for Buick, as the Tuesday night summer replacement for Texaco’s Milton Berle vaudeo. gave plenty of indication that they will make a place for them.selves when they get their own spot in the fall for the same spon.sor. There was hardly a piece of business that O&J did on the opener that isn’t standard. All of it, of cour.se, associated with O&J. Ole Ol.sen. always a master at the talk, doesn’t have midgets running up and down the aisles, or other distractions occupying the audience, when he’s making with the tele gab. This isn’t Ol.sen in the theatre or cafe. The camera iq TV is focu.ssed on him alone. Thus he punches home his spiel. Throughout this TV-er is in the usual Olsen and Johnson tradition of scurrying midgets, loud costumes, racy pace, standard sketches with the usual blackouts, and the countless props without w'hich no O&J show is complete. Production-wise, it was a strong show. Everyone rates more than a nod, and a particular one goes to the camera crew. It was a heavily peopled show, but no one had much to do outside of the .stars. Marty May, Chic Johnson’s son-in-law. was the emcee in the “pre-show” festivities within the show. In which a Hollywood premiere was .satirized for five minutes, from in front of the TV theatre. June John.son, C’hic’s daughter, and J. (’. Olsen. Ole’s son, helped make it a family affair. This is a show that costs, production-wi.se. in the neighborhood of $20,000 weekly. It looks it. Kahn. staf PUPPET Producer Director: 30 Mins.; OPERA Ernest Wolff Reinald Werrenrath. Tues.. 8 p.m. (CDT) Jr. lNBC, from Chicago (8 stations) r Ernest Wolff’s puppet troupe is an earnest experiment in bringing opera classics to televiewers, in ' tliis case “Aida.” but it will take more than claquers to warrant en, cores. Wolff’s miniature scored heavily in ('hi (and re.stauranis using ’ and recordings of La i Milan, Ital.\ . has of intimacy showing is the puppets a grey mist. Topflight opera hotel rooms a tiny stage .Scala ('o. of However, the .sense gained by a personal lo.sl on TV. wheiein move jerkily about in recorded Joe I) a neai music can t save the show from an almost complete sense of unreality, although the program teihnique is a faithful imitation of grand opera, complete with orch. curtain calls, intermission scenes and announcements. (’amera can’t get close enough to pick up intricate details of costumes and scenery, which are a big feature of the troupe, and hence these are not noticed b.\ viewers. It’s too bad tliat a first class idea such as tliis doesn’t meet tele requirements, at least in black and white iveeption. On color tele, with adequate ch>seup lensing. puppet opera would be a better show. Mart. RED BARBER’S CLUB HOUSE With Red Barber, ' guests Writer: Judson Bailey Producer: John Peyser, John Derr 13 Mins.. Sat., 6:30 p.m.* U. S. ARMY AND AIR FORCE ( B.S, from N. Y. Broadcast simultaneously over AM and TV, this sports show has the advantage of Red Barber as pilot. Barber is a smooth, well-informed gabber who can get across the maximum amount of info with minimum effort that’s directed at the key athletic events. Program serves nicely as a week-end news roundup, plus late baseball scores and interviews with sports celebs. Despite the radio tieup. special video angles were liberally used via still and motion pictures which illustrated Barber’s chatter without interfering with the AM broadcast On the kickoff stanza (2i. Barber exploded the J)aseball myth about the Jyly 4 league leaders, described the inspiring comeback of Joe piMaggio and gave the week’s tennis results. Picture inserts were neatly handled throughout. Raiher also raced through interview with Peewee Ree.se of the Dodgers who. incidentally, broke up the ball game only a few minutes previous. Filmed plug for the U. S. Air Force was a hardhitting selling job showing the planes to be handled by the iMitenlial recruits. Herni. BRASS BUTTONS REVUE With NBC’s Page and Guide fers Writer: Bob Van Scoyk ; Producer: Bill Garden Director: Dick Cox i Music: Jerry A’erbel, Jerry Brelten ' 30 Mins.; Wed. (29), 19:40 p.m. | Sustaining I WNBT-NBC. N. Y. | “Brass Buttons Revue.” written. ' directed by and starring NBC’s page and guide staffers in N. Y.. , is the opportunity offered them by the w'eb to show'case their talents. i on the assumption that many of them use their jobs as stepping ^ stones to careers. La.st Wednesday night’s edition, fiist since the w'ar, , revealed considerable creative talent in writing and direction and the performers, while not standout, showed some promise. Most of the show w^s played for laughs, which was a good thing, since Hie one or tw'o attempts at serious skits were n.s.g. Best of them lampooned 'some of NBC’s best known properties. "Howdy Doody,” the w'eb’s video puppet star, took in on the chin via an hilarious skit titled “Rowdy Rudy” and radio’.s giveawayers al.so came in for their share of satire in another neatly-played .scene. Show at times took on the coy characteristics of a high .sc'hool .senior class play but. for the most part, indicated some of the talent involved should be given a pinfcssional tryout. As a sustainor. the revue could not have given too much camera rehearsal, whicli w'as sorely evident in the number of miscued stage directions, with performers peeking tiirough curtains w'ithin camera range, etc. Otherwise Bill Garden, himself a former NBC page boy and now chief of the web’s TV remote operations, handled the production capably. Singer Earl Wrighlson, who also graduated from page ranks, was on hand to introduce the pi'oceedings. Stal. ON THE AVENUE With Howard Tupper, Bernard Krause Producer: Bob Stone Three 69-Min. Telecasts ALBANY CENTRAL AVE. CIVIC AND MERCHANTS’ ASSN. WRGB-TV, Schenectady Celebrating a unified three-day .sales promotion, an Albany merchants group inaugurated a new feature in its advertising budget, the pre.sentation of three hourlong telecasts through W RGB’s remote equipment. It was the first time such sponsorship had been essayed hereabouts; the results accordingly w'ere closely .studied in both the video and the business fields. Comments by interested parties, on and off the air. were generally favorable, although from the point of viewers the shows were too long and repetitious. They held moments of interest, liowever. Two teenage bands played acceptably. Howard Tupper and Bernard Krause did impromptu interviews. (’hanged spots for each telecast, plus film shot of avenue establishments, gave participating .stores a sufficiency of plugging. Added to this were the many spiels by mercliants and participants. Camera work attained a fairly high level of effectiveness. It is probable that producer Bob Stone and others of the crew learned valuable les.sons from pickups. Jaco. 1.') Mins.. Wed., 7:45 p.m. San Francisco — “Kieran’s kaleidoscope.” new series of quarler-hour nature films directed and narrated by .lohn Kieran which debuted June 30 via K(’fO-TV. has tieen signed for spon.sorship by the Bank of America. MUSICAL DEMITASSE With Kay Fredericks Director: Lee Hall .3 Sustaining WNHC-TV, New Haven “Demitasse” is pegged as a series I of varied femme vocalizing. P)’®" gram caught (29) being confined to operatic selections from “ba ' Bolieme” and “Madame Bullertly. Kay Fredericks, with radio and recital background, displays a ni(*e voice and sufficient facial emphasis to make her rendition convincing . from the dramatic standpoint. I Program is broken up by chatter between Miss F'redericks and anI nouncer Tom Romano, conver^* i tion being descriptive of story behind the particular song. R<*y accompanies okay Piabb .. 1 ,-c Camera work of lap and double exposures is in chopping up the lengthv str.ngn I vocalizing shots. Hmof on Peter the