Variety (September 1954)

22 TELEVISION REVIEWS PtSUHETT MY FAVORITE HUSBAND With Joan Caulfield, Barry Nelson, Bob Sweeney, Alix Talton, Steve Dunne, Lud Gluskin orch Writer: Sol Saks Producer-director: Norman Tokar 30 Mins.; Sat., 9:30 p.m. INTL. SILVER, SIMMONS (alt.) CBS-TV, from Hollywood (Young & Rubicam) “My Favorite Husband,” an out- standing new situation comedy last' season, returned for its second semester Saturday night (11) with* a dull thud. Series, starring Joan Caulfield and Barry Nelson, won its popularity in large part through sonic very fine writing, but this quality was missing on the Initialer. While the basic idea was good enough—kidding the Dior craze— the material failed to live up to the premise, and consequently Dior was a bore. “Husband” had some laughs, but the quota was far below par for this course. Scrib- blers appeared to be reaching into left-field and their work was singu- larly undistinguished. Sol Saks, who is also associate producer, turned out the script, along with Shirley Gordon and William M. Cowley III, but they’ll have to do much better than this in ’future frames. - When the Coopers’ neighbors return from Paris, the distaffer brings along some of the Pans gowns, and this springboards the situation to a controversy over male - ys. - femme fashions. Liz Cooper (Joan Caulfield) rebels at Dior’s dictating the new styles, but surrenders when she is able to wangle a chic gown for herself. There’s some amusing kidding of men’s fashions, but on the whole the half-hour is sadly deficient in Vitamin Wit. Miss Caulfield and Nelson, as the George Coopers, do what they can, but the material they're given doesn’t offer much opportunity for distinction. They are good come- dians. and better than the lines. Bob Sweeney and Alix Talton, as the neighbors, and Steve Dunne, their bachelor friend, aro also competent in the other regular roles. Producer-director Norman Tokar helms at a slow tempo, something unusual for the “Husband” series. Since this was the opener and the producer presumably had far more than the usual week to prepa're it’s Surprising he couldn’t come up with a better show. Musical backing by Lud Gluskin and his orch is good. International Silver and Simmons share the tab ’Husband,” and their filmed on commercials delivered message satisfactorily. the sales DaJcu. FOOTBALL ’54 With Ted Husing, Bill Stern, Fran- cis Wallace, Bob Hope, Albie Booth, Winged Victory chorus, Alta Ray, Harry Sosnik Orch, others Producer: Jerry Danzig Directory Cort Steen Writer: Stanley Silverman 60 Mins., Sat. 8 p.m. Sustaining WABC-TV, from New York Problem of selling its own shows is a difficult item for a network at times, especially when the web al- lots a full hour of its cream time to extol the forthcoming National Col- legiate Athletic Assn, games which start over the chain on Saturday (18). The web and its producer for the show Jerry Danzig had to work within a very narrow confine, and within its limitations, Danzig did creditably. However the basic premise of the show seemed off base. The bulk of the time was devoted to film clips of games played last season by the various colleges that will play the NCAA series on this web. In the few in- stances where there was no game last season between two schools that were meeting, action shots of contests in which the NCAA con- testant figured were shown. At the end of each clip, commentators Ted Husing, Bill Stern and Francis Wallace pontificated, and the most they dared say on the outcome of the game was that it would be an interesting contest. However, some imagination was rhown in getting referee Albie Booth, onetime Yale football great, and now a referee, discussing the new rules. Insertion of a clip by Bob Hope plugging the games also*| was a good departure. Otherwise, the show represented a difficult job that left much to be desired. There was some between-quar- ters entertainment with a sprightly production line, the ideas of which seemed to be taken from the ’20s. College styles have changed con-, siderably since then. Jose . THE STORK CLUB With Sherman Billingsley, Eddie Fisher, Nanette Fabray, Robert Cummings, Jimmie Komack, Car- rie Munn, 'Shermane Billingsley; others Producer: Sherman Billingsley Director: Marshall .Diskin (Shelley Hull directed premiere show only) 30 Mins., Sat.; 10 p.m. ABC-TV, from New York In the tradition that names are newsworthy, “Stork Club” half- hour, in a new time slot over a new network, is assured of audience ap- peal if only on the manpower pro- jected weekly. While obviously specially cast for the ABC-TV net- work premiere, boniface Sherman Billingsley’s posh bistro isn’t ex- actly a Kiwanis haunt, so the su- percharged roster of “guests” at Saturday night’s (11) preem must, at least, be called “representative.” And if they’re not there in person, the emcee-host shows a photo- graphic galaxy of personalities, such as Bobo Rockefeller, Sen. James Duff, Jack Dempsey and Gene Tunney side by side, Dorothy Kilgallen and Walter Winchell dit- to, Bert Lahr, Lloyd Nolan, John Hodiak, Morton Downey, et al. Just for the convincer Downey, whom he called his “partner” (without identification of the Sor- tilege perfume business) was also there in person along with James A. Farley and other Stork Club regulars. , The show, per se, is in the same plush parade of personalities from show biz and the social pages, a potent array of names. The off- screen regisseur identifies them dining tete-a-tete, either in the re- created CUb Room or dancing-din- ing in the actual cocktail lounge and the main dining rooms. This is the show’s new technique—the roving cameras will pick up celebs making their entrances off East 53d St., or navigating through the sundry public rooms. The “person-to person” appeal thus is undeniable. Whether it’s a Ted Steele afternoon show for Pepsi-Cola, showing teenagers terp- ing in al fresco juvenile convivial- ity, or the lush atmosphere of a worldfamed top bistro like Billings- ley’s Stork, the revealing image orthiconh pickup is arresting audi- ence stuff. In the case of the Stork, the Saturday night looker-inner, let’s say in Duluth or Stroudsburg, Pa., must get a vicarious kick from being privy to such fancy - dan shenanigans by the formally attired clientele that is attracted to the Storki It’s a closeup on how the other half lives. As for the show proper, it's al- most surefire in its unspooling, what with an Eddie Fisher—not forgetting that plug for Coca-Cola —balladeering “If I Ever Needed You” to Shermane Billingsley She. is the host’s teenage daughter, a regular vis-a-vis to her father in some of the "interview” stuff. Their penchant for pet dogs (which - are prize giveaways also) is reprised. Nanette Fabray did two numbers, “On 'Behalf of the Visiting People From Any City” (an improved par- aphrase of Johnny Mercer’s origi- nal “Visiting Fireman” lyric) and “Louisiana Hayride,” Latter was the finale, leading into a seasonal, autumnal touch with a camouflaged pooch in the haystack, excepting that the propertyman goofed by not having the puppy properly crated although it made for an un- expected laugh, as Billingsley ad libbed for the signoff. ' In between, fashion designer Carrie Munn was interviewed and showcased her latest samples of haut couture, and a light touch was added by Jimmie Komack with re- prise of his current Coral disk novelty, “The Nick Name Song.” There was also a “human interest” (Continued on page 30). IT’S A GREAT LIFE With Michael O’Shea, Janies Dunn, William Bishop, Frances Bavier, Barbara Logan, others; music, David Rose Producers - Writers: Ray Singer, Diqk Chevillat Director: Christian Nyby 30 Mins., Tues. 10:30 p.m. CHRYSLER - PLYMOUTH DEAL- ERS NBC-TV, from H’wood ( McCann-Erickson) “It’s a Great Life,” taking cold- blooded aim at the visual values with contributions to the slapstick larder, brings filmster Michael O’Shea to the homescreens via the telepix route. He shows up as an up- and-at'em deliverer of lines some- times akin to the wJiammo style of Danny Thomas as he is spoke. Joined with O’Shea in sundry shenanigans, with behind-closed- doors mistaken identity as mam springboard for the initialer, are •James Dunn in what is for him an offbeat clown’s role and Wil- liam Bishop as a sort of love motif straight, though also skilled at the, ripostes. (The other side of the romantic shuffle is Barbara Logan, a long-gammed looker seen on the preemer but who'll be succeeded by Barbara Bates on the subse- quents, this being due, apparently, to Miss Bates not having been available at shooting time). Ray Singer and Dick Chevillat, doubling as scripters and pro- ducers, have come through with funnybone material that depends on some stock but laff-yaising sit- uations for its effect. However, the playing and timing thrust the opener into a position to command future attention. O’Shea and Bishop are post- Korea GFs intent on settling down in. Southern California. They wind up grabbing a furnished room in the home of Frances Bavier, a straitlaced widow strait jacketed economically by out-of-work Dunn, who’s intent on protecting his cushy shelter from outside on- slaughts. Miss Logan is the widow’s daughter who catches Bishop’s roving eye and vice versa. Ex- tended complications set in When the only available room (except for the attic, which is earmarked for Dunn) is rented to another couple by the unknowing daughter. Thus a quartet readies to become occu- pant' of the same bedroom, pre- cipitating a revolving door series of entrances and exits as each of the principals grapples with the double entendre situation, inclu- sive of bathroom and clothes closet processionals. Dunn is centered in the byplay since he feigns half-wittedness in an effort to drive the two sets of boarders away. While doing so he’s called upon to wear outlandish habiliments and comport himself as the dizzy guy alive'to the inten- tions of his pretense. On the bath- room side, O’Shea is caused to drape himself with a girdle handed .to him by the husband who be lieves his wife to be dressing in the cubicle. It’s a funny bit only in the sense that pie-in-the-face usually is—and, forthwith for- gotten. With all hands pitching for all they are worth; the future of “Life” in the rating sweepstakes depends on how producers-scribes Ray Singer and Dick Chevillat and di- rector Christian Nyby will, along with rest of the cast, be able to sustain the interest in a theme that can wear pretty thin in its one-joke jacket. On the other hand, the central idea of GI’s returning to. the homefront with “unreal” behavioristics can be a flexible one. Trau. Life With Father (CBS) Under the CBS policy this season of exposing every tv show on the network to compatible color, it was "Life With Father’s” turn last week (Tues. 10 p.m.) to be sub- jected to rainbow analysis. And if anything came out of it, it was the reaffirmation that all the reds, blues, purples and golds in their brightest and mightiest array can’t help a bad show. Which is precise- ly what “Father” was, whether viewed from the script or the acting. There was nothing wrong with CBS color, as such. In fact, ini view of “Father’s” West Coast origins, it represented quite a stride forward in the network’s attain- ment of a coast-to-coast tint emana- tions. While it was far from perfect (particularly background scenes and the refusal of two cameras at times to see eye-to-eye on color graduations), there was a qualita- tive technical aspect, to suggest that CBS can hold its head high in the tinted tv sweepstakes. And particularly since “Father" as a "period piece” lends itself in design to the pastels and shadings of that era, everything was in favor of making “Father” compatible. But even had the tints beep per- fection themselves, "Father” as it was written, conceived and ex- ecuted last Tuesday, was licked from the start. There’s not even a pretense any more of trying to achieve anything bordering on subtlety. It’s played strictly for the elusive belly laughs, them no object. And Leon Ames as Father unfortunately is hamming up those inevitable blustery attitudes to the point of absurdity. Rose. 41 Wednesday, September 15, 1954 Somewhere towards the end qf the “Darryl E. Zanuck” story; Which Ed Sullivan presented on his “Toast of the Town” over CBS-TV Sunday (12), Zanuck observed that his success was actually a tribute to the work of the many who have been associated with him through the years, It was this modest thought which Sullivan and co-producer Mario Lewis adopted, as the theme for their hour- long tribute to the head of the 20th-Fox studios. The result, even though it told little about Zanuck the man or his personal formula for success, nevertheless provided tv with a bright, fast-moying, often hilarious and mostly nostalgic hour of top entertainment. Many words might have been spoken both by Zanuck and about him. Instead, “Toast” made the man emerge through his work. And for added frills, there were the familiar faces o£ a host of Hollywood stars, both on the screen and in person, in the audience. Much great artistry was crowded into this all-too-brief hour, by “live” performers, such as Tony Martin and Dan Dailey, here making his tv debut; Gloria De Haven and Jack Benny, and via bits from the film landmarks in the Zanuck career. The excerpts,, some of them undoubtedly not pleasing to the vanity of the older performers in the audience, were unusually well’ chosen and must have, thrilled the audience. Few things are more fun than watching .the old classics, or parts from them, and “Toast” proved this beyond the shadow of a doubt Sunday. There were clips from “42nd Street,” “Capt. January,” with a long and delightful dance sequence starring five-year-old Shirley Temple; “Thin Ice,” starring Sonja Henie whom the camera also picked up in the audience; “Charley’s Aunt,” which introed a very funny Jack Benny bit with Sullivan; “Girls Dormitory,” “Lloyds of London,” which launched Tyrone Power on the road to stardom; “Gentlemen’s Agreement,” with a powerful scene involving Gregory Peck; “Snake Pit,” “I Was a Fugitive from a Chain Gang,” “Grapes of Wrath” and “Sitting Pretty.” Marilyn Monroe came in f for proper attention via screen test footage and a more uprto-date bit from “Gentlemen Prefer Blondes.” After seeing the test, with Richard Conte, one must give due credit to Zanuck for seeing Miss Monroe’s potential, since it was certainly hidden at that moment, with but a few curves showing. The “Blondes” sequence confirmed his good judgment. While Cinemascope was mentioned on the show, it didn’t get too much of a play. Only excerpts from- a CinemaScope film shown were from “The Egyptian,” Zanuck’s personal production. Zanuck also commented in his brief conversation with Sullivan that it took two years to make a C’Seope film and that, by the time it came out, the studio was taking the risk of changed audi- ence tastes. “It’s an expensive guessing game,” Zanuck quipped. Nice personal touch was introduced when Zanuck kudosed his wife, Virginia, and the camera picked her up in the audience. Sullivan lost no time launching into his subject even though he first introed some of the celebs in the audience, among them June Allyson, Dick Powell (RKO got a plug for “The Conqueror”), Michael Rennie, Ruby Keeler, Clifton Webb, Henry King, Robert Stacks Herbert Marshall, etc. Montage of musical highlights from such Zanuck hits as “State Fair,” “The Dolly Sisters,” “Alexander’s Ragtime Band,” “Three Coins in the Fountai etc. was dominated, by the vocalizing of Tony Martin, a gent with a mighty pleasant voice. Dailey’s soft- shoe routine was competent but unexciting and Miss DeHaven’s “You’ll Never Know” number was a sentimental salute to Virginia and Darryl Zanuck. Benny almost stole the show. His timing as perfect as ever, he brought down the house, and even had a little scoop for the trades. His “Horn Blows at Midnight,” generally considered a flop, did make money, he confided. Ask the director, he told Sullivan, he now works here as an usher. Finale, which no, Hollywood show with stars in it can resist, had all the stars lining up stiffly and uncomfortably on the stage for quick camera perusal while Martin crooned “There’s No Business Like Show Business.” It’s probably figured that the fans demand this kind of closeup. Actually, it’s inevitably disappointing. “Toast” did itself proud by Zanuck, winner of three Irving Thalberg Awards and one of the most dynamic top execs in the history of Hollywood. It told his story in terms of his taste and his conscience, and he emerged as one of the great creative personalities-of the century, a man directly responsible for more and better entertainment than almost any other. And Zanuck, in turn, gave “Toast” one of its best shows in years. On camera, he w’as modest and pleasant, a man ‘conscious of the - value of his work, and yet humbly grateful for the good fortune of having capable associates. He paid tribute to Spyros P, Skouras, Jack Warner, Al Lichtinan and other of his earlier and present associates. He did it simply and effectively and the audience must have liked him for it. "Toast’s” toast to Zartuck was really a toast to the industry as a whole. HifU MARTHA WRIGHT SHOW With Bobby Hackett Orch, Nor- man Paris, chorus Producer-director: Matt Harlib 15 Mins.; Sun., 9:15 p.m. PACKARD MOTOR CAR CO. ABC-TV, from New York ( Maxon) Martha Wright’s back in her Sunday at 9:15 post-Walter Wih- chell ABC-TV slot with a few changes in her Packard musical stanza. Producer Fred Heider and director Cort Steen have gone on to turn oift the Firestone simulcast on the web and they’ve been re- placed by .Matt Harlib; Bobby Hackett’s combo has been expand- ed to a fullsize orch, and a chorus has been added. Basically, though, it’s still the same—a pleasant and simple quar- ter-hour of good music, unemeum- bered by a lot of production trap- pings and concentrating strictly on the music. Miss Wright’s a thor- oughly professional performer who can turn out any type of tune; the chorus is good and the band a lit- tle lusher. Miss Wright turned out three songs with equal facility, “Great, Wide Wonderful World,” “Hey There” and “Boy Next Door,’ r while Hackett excelled on trumpet and Norhian Paris on piano in a rendition of “Coin’ Home.” Glenn Osser’s arrange- ments Were good, and John Brod- erick’s camera team worked smoothly. Packard pitches were easy to take. Chan. PRIVATE SECRETARY With Ann Sothern; Don Porter, Ann Tyrrell, Joan Banks, Mary Ellen Kay, Christian Drake, Joseph Martorano Producer: Jack Chertok Director: Oscar Rudolph 30 Mins., Sun., 7:30 p.m. LUCKIES CBS-TV, from Hollywood ( BBDfSiO ) “Private Secretary,” which came back to the air Sunday (12) for its third season, will now alternate weekly with the "Jack Benny Show,” and on the basis of Sun- day’s opener, will hold its own very nicely. Comedy series is built around natural situations, and some of them can be pretty funny. The situations can sometimes be corny, too, but they’re never hoked up too much, to reach the burlesque stage. And if some of the gags are trite, there’s usually enough amus- ing dialog to offset. Sunday’s segment was a good case in point. Sequence concerned itself with Ann Sothern, as a good- hearted neighbor, acting as an en- forced babysitter when the couple next door had a spat over their un- employed situation and fled their separate ways. Miss Sothern’s boss (Don Porter) got helplessly involved, to find himself playing assistant nursemaid while en- grossed In an important business deal. Crisis worked itself out alright under Miss Sothern’s wise, assured ministrations, for a satis- factory finale and a .satisfying half- hour. Performances of various cast- members was above-par. Bron.