Variety (August 1950)

Wednesday, August 9, 1950 I'fc&iEfi' TELEVISION REVIEWS S3 Ed Sullivan returned to his em- cee spot bn CBS-TV’s “Toast of the Town’* Sunday night (6) after a five-week European Jaunt, dur- ing which „ guest personalities subbed for him. He had a crack lineup of talent on the show to make it the best of the suriimer. With NBC preparing its top- budgeted variety program with rotating name emcees to buck "Toast” directly - in the Sunday night at 8 period starting early October, .Sullivan has his work cut out for him until then in trying to cemient his audience. Szoflys (2), One of the better dance teams extant, teed Off Sun- day night’s show with a fine rou- tine, marked by the femme mem- ber’s acrobatics, and the , show rolled steadily from there. Kay Starr chirped a couple of novelty tunes in sock style; with Sullivan aiding her on one with some sound effects. LeRoy Bros, impressed with their puppetry, featuring come telling: impersonations of Jimmy Durante and Gene Krupa. Juggler Bobby Jule registered solidly with some fresh routines and the. Stagg McMarin harmonica. trio scored with their terrif in- strumental ability on a bop num- bei and the "Dance of the Hours." Actor Horace MacMahon, current in the Broadway production of ."Detective Story,” had little to do but did it. capably in a shbrt skit with Sullivan, Henny Youngman likewise scored with his comedy monolpging, mixing some new material in well with Some of his more aged stuff; Joey Adams maw not be the cuavest male vis-a-vis that "Leave It.To The Girls” has. booked but he’s not the most inhibited, which undoubtedly accounts for his re- turn engagement. The male is now flanked between femcee Maggi McNellis and the panel, which this past Sunday comprised Dorothy Kilgallen, Florence Pritchett, Eloise McElhone and Janis Paige. It was the usual give-and-take on the eternal male versus female, and it’s to the credit of the show that the flippancy is leavened with much good sense most of the time. WPIX, with the Night Owl film theatre, is the video version of ra- dio’s irritation technique. Qrily a strong film like "39 Steps’* can re- tain the interest with those four longwinded commercials for Amer- ican Limoge. Let the film be less than this particularly strong entry and they’ll be swinging over to Morey Amsterdam - jerry Lester’s NBC zanyisms. were given slight production aids, which while not elaborate were satisfactory. Dorothy Jamac socked oyer a couple of zany dance numbers in which she pantomimed pop tunes line-by-line. She wound with a terpshhorean interpretation of the CBS network identification cue. Condos and Brandow demonstrated their versatility in singing, tapping and at piano and trumpet in a last- moving turn. Novel segment on the stanza is period in which Moore answers queries from the audience. He got off some ad lib quips, but for greater impact the queries should be screened. v CBS-TV’s "What’s My Line?” scored something of a coup Wed- nesday night (2) by getting N. Y. Mayor William O’Dwyer to guest as the; mystery personality.. Panel, blindfolded for his appearance, had little trouble guessing his iden- tity, with columnist Dorothy Kil- gallen grabbing off top honors with her identification. O’Dwyer then tossed off what he had come on the show to say—another plug for making N. Y, the permanent TV capital. According to the mayor, TV now employs 30,000 people in N. Y. With John Daly moderating thje questions and answers as the pan- elists attempted to guess the occu- pation of guests they had never seen before, the show generated considerable humor, enthusiasm and audience interest. Panel mem- bers are all hep citizens, including besides Miss Kilgallen, Louis Un- termeyer, Arlene Francis and Hal Block. Latter got a little too cute at. times in some of his gdesswork but it added to the fun. Show is bankrolled by Stopette Deodorant, which has some okay film com- mercials. There’s evidently a wide spread between legit flackery and emcee- ing a television show, at least judging from the appearance of Mike O’Shea on "Broadway Scrap- book” via WPIX, N.Y., Friday night (4). With N Y. Daily News columnist Danton Walker, regular moderator on the show, away for a three weeks’ vacation, O’Shea is filling in. He’ll undoubtedly im- prove over his preem shot at the program, which was marked by a slowness and lassitude on the part of the entire panel that detracted from any entertainment qualities, O’Shea is a nice-enough looking guy and evidently knows his legit theatre well enough to fill the job. Any personality he has, though, was buried under his all-too ap- parent nervousness and first-night jitters. That, of course, can be excused as resulting from his first crack at TV, which is why he must improve. Of the panel, Renee Carroll, w.k. hatcheck gal of Sardi’s eatery, N.Y., and Bernard Sobel, legit authority, fared best. Former dancer Eunice Healy was apparent- ly struck with the same mike-fright as O’Shea and author-critic Oliver M. Saylor could scarcely be heard, Garry Moore is doing an hour- long version of his cross-the-board 7 p.m. CBS-TV stanza as summer replacement for "Arthur Godfrey and His Friends” on Wednesdays at 8 p.m. The 60-minute version, like his half-hour stint, includes thrush Denise Lore, singer Keri Carson, announcer Durwood Kirby and the Howard Smith Quartet Aided by a couple of guest acts, the cast wraps up an unpretentious but pleasant package. ... On Wednesday (2) Moore did a fairly humorous skit with Miss Lor in which he played a baseball ump at home—stumbling blindly around the. house. He has an informal, engaging personality that comes across—although it would register more effectively if h,e played more to the home viewer rather than the studio audience. Miss Lor chirped "Old Devil Moon” well and Carson pleased with "Chattarioogie Shoe Shine Boy.” Both number* Bert Parks is back from * Euro- pean vacation and "Break the Bank” has him, which is all to the good for the NBC-TV quiz show. While Bud Colly er, permanent host on the program, did an ac- ceptable fill-in job during Parks’ absence, he lacked the zany quali- ties and apparent lack of inhibi- tions through which Parks sparks the program to a bright half-hour. Those qualities were easily appar- ent Wednesday night (2) and, judging from the work of the audi- ence participants, were catching. To mark his return,. Parks did such things as come out in Scotch kilts to ask a group of questions based on Scotland, one of the countries he, visited on his trip. Show’s jackpot, incidentally, is now close to $7,500, highest it’s ever been, and viewers’ interest in seeing it cracked should help build the program’s rating. Bristol- Myers, which has held the show through the summer, is now plug- ging Ipana and Mum, instead of Vitalis as formerly, with the film commercials doing a heat selling job. Colly er, incidentally, is now on his vacation, with announcer Bob Sheppard handling the re- placement job capably. VARIETY QUIZ With' Sandy Becker, Connie B. Starr Producer-Director: Rick Leighton. 50 Mins., Mon-thru-Fri., 11:10 p.m. Sustaining WCBS-TV, New York This late night WCBS-TV show, "Variety Quiz,” pitted against NBC’s "Broadway Open House” video showcase, was apparently borne out of desperation. Some- body around CBS went out on a limb—-and a $100,000 one, at that —in buying up the Official Films catalog of nearly 2,000 musical pix quickies. In a bid to refurbish the stanza with some live elements (for it’s obvious that the films can't stand on their own), Columbia has put Sandy Becker in to dress up the 50-minute show. Whatever virtue the stanza has derives from Becker, for the pix Won’t even rate place or show. Becker, formerly a CBS an- nouncer, has an engaging quality of sorts, and looks like he might still have a year to go for his college degree. Apparently put in to fill the gaps between projection of the "Soundies,” he reverses the situation. It’s the pix that are the fillers. They’re still playing around with the format on "Variety Quiz,” which is loosely conceived, with a telephone quiz giveaway as its pivot. Becker works with Connie B. Starr (CBS, get it?), an engag- ing looker, who never gets too much in the way. It remains for Becker either to make or break the show, for it’s geared strictly for a personality buildup, If he falls short, it’s because even a Godfrey doesn’t carry 50 minutes alone, as Becker is called on to do. There are only so many varia- tions of a grimace. The voice is there; in fact, it’s a very good one.- Becker is completely at ease and appears to have a good time. If anything, that is a weakness, be- cause ease in youth too often be? comes brash. He’s so cocky that a dud doesn’t phase him. A property like this takes time and latitude to jell. But it’s worth CBS’ while to nurture a potential TV personality. Rose. ABC-TV’s "Stop the Music” Thursday night (3) marked the re- turn to active duty of three of the prime components of the show —emcee Bert Parks, producer Charles Henderson and stager Mitzi Mayfair (Mrs. Henderson), all just returned from European vacations. While the program has been rolling along without them (both Admiral and Old Golds have remained in the sponsors’ seats through the summer), it perked considerably with their re- turn. With Groucho Marx sched- uled to tee off on a regular NBC- TV show in the fall directly op- posite, "Music” will need all the power it can build. Resumption of work by Hender- son and Miss Mayfair, of course, was not so obvious to the audience as that of Parks, since they are both offscreen. Parks, for his part, received a Clever introduction. Jimmy Blaine, regular singer on the show Who has done an admir- able fill-in job as emcee, again held down that post, at the start of the show, noting that Parks was currently enroute. Latter was then "picked up” in a couple of gag situations, until his official entry shortly before the 8:30 half- way mark. While the major part of the pro- gram’s emphasis is still on the mystery melody and the jackpot prizes, "Music” is still notable for the fact that it entertains and does not rely strictly on the awards fqr its pull. Present cast is topnotch, including Blaine; vocalists Marion Morgan, who handles the ballads, and Betty Anne Grove, who does (Continued on page 38) THE GOLDWYN TOUCH With Samuel and Frances Gold- wyn, Joan Evans, Gilbert Seldes, Ben Grauer Producer: George Wallach Director: Dwight Hemion 30 Mins.; Thurs. (3), 10:30 p.m. NBC, TV, from New York The Samuel Goldwyn of fable and pressagentry was conspicu- ously absent in a single-shot TV airer which the film producer’s N. Y. office set up, timed with the world preem of his "Edge of Doom” at the Astor theatre on Broadway. This show attempted to combine a patent pitch for the man and the picture with a caval- cade oL Goldwyri’s past life and accomplishments. Unfortunately, it fell between two chairs. As pure commercial, its 30 minutes would be overdrawn. As entertainment and nostalgic edu- cation, its format of hopping from old photos to old films became too episodic. At the same time, the idea of working into the bally of a picture, the buildup of the color- ful life of its producer is clever. More care in toning down the sales end and working it incon- spicuously into the entertainment qualities of the program would pay off in audience interest. The Goldwyn story was told mainly through the lips of his wife, Frances, who was inter- viewed by Ben Grauer. A family album, flipped through by Grauer, with frequent tele closeups on the honestly-interesting snapshots was the device used to project the pro- gram backward. With this went a half-dozen clips of Goldwyn’s big films of the past including sUch stalwarts as "Best Years,” "Withering Heights” and "Walter Mitty.” ,, The irritant in the broth was the repeat mentions of "Edge of Doom” and the' ineptly-introduced stint of Joan Evans, the Goldwyn thesper. Distinctly on the credit side was Mrs. Goldwyn’s chatty and uninhibited sidelights on the man. She is videogenic, vivacious and completely unaware of the camera’s stare. She lent the show a valuable, homey touch. Goldwyn himself, in a brief stint, Was. stiff and self-conscious in comparison. It would interest the film indus- try to know that Goldwyn is still tilting with the dark forces in Hollywood. In the words of Gil- bert Seldes, critic who appeared on the program, Goldwyn has no use for "the little fairy tales” turned out so often on the Coast. He is "one man fighting and not 20 ex- ecutives sitting around the table frightened over what the public may like.” Apropos, this senti- ment was embroidered into, a plug for "Edge of Doom.” Wit. DEAR DIARY With Fred Robbins, Barbara Bel- . ben, Adelaide Klein Producer; Tommy Ward Director: Eddie Nugent Writer: Jan Brewster 15 Mins.; Fri. (4), 10:30 p.m, EXQUISITE-FORM BRAS ABC-TV, from N.Y. (Brandford) This is the show that's had all the advance publicity because it has a live model, Norma Bartlett, posing on camera with the spon- sor’s product Exquisite-Form Bras. But, while Miss Bartlett is a beauteous gal who can probably model the lingerie with the best of ’em, the show itself also rates plaudits. Judging from its one-shot showcasing last Friday night (4), it’s ofle of the sprightliest and best-paced husband-arid-wife situ- ation comedy programs to hit TV in some time. Jari Brewster’s original script had nothing significant to tell. Ini fact, it dug rather deeply by basing the story on a young couple’s tribu- lations in finding an apartment. But, through capable thesping by the small cast and Eddie Nugent’s precision direction, the program generated a . warm charm which rates it a steady run on the ABC web. Disk jockey Fred Robbins, as the husbafld, played himself and, while the script called for no great talent, he handled the part surprisingly well. Barbara Belben, as his model wife, was both pretty and proficient and Adelaide Klein scored as their flightly next-door neighbor. Producer Tommy Ward mounted the show on a neat-looking living- room set. Commercials, reportedly representing the first time that a bra has been modelled live on TV, were handled in good taste. Miss Bartlett merely posed, while p sultry femme voice told of the product’s finer points. Sta l. INTERNATIONAL REPORT With Dick Johnson Producer: Bert Gold 15 Mins.; 11 to 11:15 p.m., Mon.- thru-Fri. W T. GRANT CO. WICU, Erie, Pa. Sponsor switched from "Yester- day’s Newsreel” in favor of this more vital news analysis, with total emphasis on the war and its back- wash. Point of view is underscored by playing it largely in long-shot before an enormous United Na- tions insignia, on painted backdrop. Quite impressive. Visual piirich is provided ,by front lines, battle arrows, etc., be- ing painted on large glass-faced Korea map, along with commenta- tor’s description. This compares not unfavorably (even to the well- informed) with network analyses of its type on this station. Only hand of the map artist is shown. It might be interesting to see his face, if only once. Dick Johnson, who also conducts Musical Mardi Gras, disk jock show in the afternoon, conveys a surprising intensity and conviction in this different role, for which he is well-informed and more suited. AP dispatches are credited, but only bulletins are read. (It just happens that because of the time differential from Korea, all big news comes through just about this time of night.) Commercials caught were on film. Wes. MAMA With Peggy Wood, Judson Laire, Pick Van Patten, Rosemary Rice, Robin Morgan* Ruth Gates, Len Mence Producer: Carol Irwin Director: Ralph Nelson Writer: Frank Gabrielson 30 Mins., Fri., 8 p.m. MAXWELL HOUSE COFFEE CBS-TV, from New York (Benton it Bowles) "Mama,” returning after a summer respite, stands up as a consistently topflight show. The family comedy gets the full human values from just about every sit- uation it projects, which is a/' tribute to the entire team involved and to the warmth of the original yarn, "Mama’s Bank Account.” What arouses the viewers’ re- sponse to the stanza is its closeness to reality and down-to-earth peo* pie. It’s a quality which fortunate- ly rubs off on the commercials. On the initialer Friday (4) the story dealt with the father’s being out of work but having promised the younger daughter a Scotch collie for her birthday. With no loose cash to spare, he got a mongrel from the dog pound, which proved a disappointment to the kid. Pay- off was her ending up loving the mutt and the latter’s being instru- mental in getting the father a job. This wasn’t the best "Mama” has ever been, but it made a charming tale and had some good moments. Thesping is on a high level arid has about reached the point'where the actors become the -characters, at least from the audience point of viqw. Peggy Wood and Judson Laire are restrained and Under- standing as the parents, Rosemary .Rice is winning as the daughter who remembers and Robin Mor- gan is appealing as the kid sister. Dick Van Patten is believable as the brother. And special credit should go to the capable scripting of Frank Gabrielson. Bril. BAR NOTHING RANCH With Bud Whaley, Patsy Rees, Fred Flores, George Rees Producer: Bud Whaley Director: Mort Dank 30 Mins.; Wed., 7:00 p.m., CST Participating *. KEYL, San Antonio : Local television viewers have asked for this series following the debut of a similar show heard on KEYL each Saturday for a full hour, which features popular tunes of the day. This half-hour telecast features we ster n and hillbilly tunes and a take off on various western oaters on the air and on films. Music and comedy provided will help to speed away the hot summer evenings. Bud "Limp Along” Whaley is m.c. and keeps the show moving along at a fast pace although a few modern jokes would help some. He also is seen and heard in the various commercials which use slides and the product for good effect. Patsy Rees and Fred Flores steal the show with their lip sync panto- mime to the tunes played. The youngsters are Outstanding in their presentations. A comedy touch is lent to the telecast by George Rees as "Shab- by Daze.” He makes a nice stooge for Whaley. Adding to the confusion is the playing of instruments by mem- bers of the group as well as Whaley adding his own singing talents to (Continued on page 40) CLUB CELEBRITY With Giflny Simms, Jill Richards* Harry Von Zell, Greg Mitchell* Bette Bligh, Tune Tailors, Dick ..Peterson Orch Producer: Ken Herts Director: William Asher 30 Mins.; Tues., 10:30 p.m. NATALIE KALMUS TELEVISION KNBH-NBC, Hollywood This is what comes of a brave but futile attempt to make the show match the product. The TV cabinet sets of Natalie Kalmus, who bankrolls, are the classiest things seen around but the over- loading of a nitery .with chi chi made a farce , of an horiest effort and lavish expenditure. With two finished performers such as Ginny Simms and Harry Von Zell, the end result would have been far more promising had not the assorted emcees fawned so rhapsodically on every performer. If it Wasn’t for Von Zell bowing and scraping over Miss Simms, these uncalled-for amenities could have been performed professional- ly by Greg Mitchell or even the band fronter, Dick Peterson. At the mention of Lucille Norman’s name as next week’s guest, it was as if Lily Pons had been booked. To make the atmosphere more sticky, Von Zell made love to a Kalmus console in his com- mercial. Miss Simms proved highly tele- genic and can still turn a neat tune, Mitchell, a nitery singer, and Jill Richards dueted'a number without any unusual virtuosity, and the Peterson crew gave out with a be-bopper that was small time. Bette Blight Was on for one song, so-so, and i the Tune Tailors deliv- ered what was expected of them. United Television Artists will have to improve on the first, if they want to make the sponsor or NBC clap hands. Helm. MOBILIZATION STORY With Fanny Hurst, emcee Producer: Edythe J. Meserand 30 Mins.; Thurs., 8:30 p.m. Sustaining WOR-TV, New York Purpose of this new effort by the WOR special events division is to present various phases of the gov- ernment's call for manpower. The initialer Thursday (3) concerned it- self with womanpower’ On hand were seven women, representing the Wacs, Wafs, Waves, femme Marines, the several nursing corps and the civilian American Red Cross. Novelist Fannie Hurst served as moderator for the broadcast and queried the military representa- tives on aspects of their work. In turn, each discussed eligibility re- quirements, nature of training, the kind of work the women in uni- form perform and a bit about the service’s history. While the wom- en were earnest in their presenta- tion of the recruiting material, the exposition became repetitious and lacked Visual interest. Bril.