Variety (March 1955)

26 TELEVISION REVIEWS Wednesday, March 23? 1935 c Networks . Gotta Begin Doing Something About New Talent: Red Buttons Bed Buttons laid it squarely on the line on his “Person to Person’* appearance with Ed Murrow last week. The networks "“are going to have to make an investment,” Buttons said, in creating tv work- shops for comics and writers, be- cause that’s the only way left to help them develop, “Burlesque is dead,’’ vaudeville nearly so, there’s little room in summer stock for comics, and the Catskills at the moment are no longer a train- ing ground. The only place left is the networks themselves, and' sponsors who will have to have the vision to string along with low ratings while a comic develops. The theories drew a vigorous as- sent from the usually noncommittal Murrow, particularly as to c the workshops, , Buttons and his wife, Helene, provided a pleasant contrast from the plush, prepossessing environ- ment of Conrad Hilton’s 61-room mansion in Bel Aire, outside Holly- wood. Putting Buttons after Hil- ton, though, was something of a tactical mistake in that it gave the redhead a chance to mimic in a friendly way the grandeur of the Hilton manSe by comparison with his own four and a half room apart- ment (eveiv if it is on Sutton PL). .But ’twas all in good fun, includ- ing some closing jingles Buttons had written which seem to prove he can always make a living writ- ing. All in all, a highly pleasant visit with a nice guy and his doll. Perhaps it was the surroundings and the fact that the hotelier did more walking, as Murrow put. it, than he would have in 18 holes of gdlf, but Hilton never really the family, some-piano playing got to say much, except for a re- cital of his creed of faith, courage, honesty and enthusiasm. He did get a chance to plug his soon-tp- opfen hotel in Istanbul, to deny a report he was planning to build in Florida, and to say "I’m afraid I can’t say anything at this time” to a query about plans for. Berlin and Amsterdam. A quick.' look at the family, some bad piano playing by Hilton, and a visit-to the silver vault (he called it a room, but it opens by way of a safe) pretty much wrapped it up. Beautiful sets, but the potential of the plot and the character weren’t realized. Chan. WAR IN THE AIR Producer: John Elliot With Robert Harris, narrator Music: Sir Arthur Bliss 30 Mins., Sunday, 1:30 p.m. Sustaining CBC-TV, from Toronto This preems first North Ameri- can telecast rights, secured by the Canadian Broadcasting Corp. of the BBC’s 15-series of 30 minutes docu- mentaries dealing With the Allied and enemy air activities and inevi- tably invites comparison with NBC’s “Victory At Sea.” Exciting clips assembly is drawn from such sources as the British Air Ministry, U. S. Defense Depart- ment, the French government, German film archives, the photo- graphic records of the Royal Ca- nadian Air Force, plus clips from the British Commonwealth coun- tries, the Imperial War Museum, and NATO. Claim is that 90% of this actual combat material was filmed during World War II. In- terpolated commentaries are also spoken by Quentin. Reynolds and other war correspondents. Series goes to 24 trans-Canada tv stations. Bow sets the scenes leading up to World War II with plenty of shots of Hitler’s speech-making war- mongering to the Berlin stadium mass-meetings, the fall of France, the terrific aerial destruction of Warsaw and the similar treatment of Holland and Belgium, these from the Luftwaffe phonographic records, and the captured "protec- tion” of Norway and Denmark. Outstanding scenes are the delib- erate wrecking of Warsaw, the goose-stepping of Hitler’s tempo- rary conquerors, the evacuation of women and children from London. Throughout are clips of Chamber lain .and Churchill speeches. Whole is harrowing but a magni- ficent historical record via tv. It’s also gripping and exciting editing, punched by the shocking impact of man’s inhumanity. This is one series that should keep set-owners at home. *. *»* # *.. *■« -. McStay* * ♦ ♦♦ ♦ ♦ mm ♦» •♦♦♦»♦-» »» ♦ ♦♦»»» » »»»»»» » ♦♦ ♦ ♦ + ♦♦ » + ♦ ♦♦ Tele Follow-Up Comment ♦♦♦♦♦♦»♦» 4* ♦ 4-44- M4MM M MMMMMfM#M MMfM44M» *0 Sherman Billingsley, the Stork Clufi, N. Y., boniface, must have a terrific regard for his public. In his famed eastside bistro, he piles up gifts upon gifts oil favored patrons. Everything from cham- pagne sur-la-cuff to perfume and neckties come with the. compli- ments of the host. The same tech- nique applied to video, however, isn’t as effective evefi'.though it does show his high regard for the viewers. ’’ Billingsley in his 45-minute show piles up a lot of stars and a lot of activity during that time, but because of the brief activity of each of the participants, the im- pression is fleeting and not too substantial. "Stork Club shoW” has shifted to a new time slot on 'ABC-TV net- work in moving to Sunday at. 9:15, getting the benefit of an audience lured by Billingsley’s friend, Wal- ter Winchell. Billingsley had a substantial talent lineup this past Sunday (20) which included partner in the perfumery business Morton Down- ey, along with. Jack Whiting, Gi- selle MacKenzie, Jill Corey, harpist Robert Maxwell, and interviews With. Peggy Ann Garner and Sir Cedric Hardwicke. Along with this was a fashion show with dolls parading some of the latest in coutouriering and glimpses of the socialites in the stork’s various rooms. It sure does keep Billing- sley hopping taking care of every item lined up. However, the show does main- tain the impression that this spot is still a citadel of the elite and a gathering spot of the tops in glamor set. The club is an institu- tion, now getting the third genera- tion of Customers. Billir jsley has seen the college, kids come in and now their grandchildren, as the show pointed up on Sunday’s edition. Maybe a few lapses of video, technique can be forgiven. It may even be that Billingsley will become the Ed Sullivan of the saloon set; then his tele- strategy will really pay off. Jose. Andy Griffith drawled onto the set of the Theatre Guild’s "U.S. Stfeel-Hour” last Week (15) and the ABC-TV dramatic, showcaser was alive over the full route. Griffith’s folksiness, a fillip in the specialty cafes like New. York’s Blue Angel, took over "No Time for Ser- geants,” the Mac Hyman bestseller, transplanted with keen regard for the ..home screens by Gl Ira Levin. What they did, to Alex Segal’s blueprint in the director’s chair, was have the lanky Tarheel walk into the fray, away from it into an other set, telescope the offstage ac- tion by Griffith’s sustained nar- rative and recap, and thus retrieve as much from the joybook as it was possible for t tv to accomplish. What it accomplished was a series of high-larious incidents-sketches worthy of several hours , of variety .shows, while not getting off the main line,.which was to lampoon what goes on in the Army in "small picture” capers. As Will Stockdale, Griffith was particularly alert to his fun-raising mission, aided and abetted, will- ingly or not, by tile Sgt. King of Harry Clark in a compelling por- trait of a GI careerist going to pieces by degrees as a result of Griffith’s straightface sheneni- gans; by the comic-faced Ben Whit- ledge of Eddie LeRoy, as Griffith’s buddy in barracks arms; and nicely wrought bits by Arthur Storch as, Irvin, Bob Hastings as Lubky and' Alexander Clark and t G. Albert Smith as the inspecting brass,' While script 'was loaded withj laughs as Griffith lit out on his- in- nocent escapades, as spitr-and-pol- isher of the latrine, in the psychi- atrist’s office (With the psycho verting, of course, to dementia un- der the hillbilly’s examination-in- reverse); in the barracks battles and in. the finale collapse both of the physical surroundings- and the topkick. It was quite a trick to turn, and done with speed and surefire comedy of the twang school. Trait. Credit "Philco TV Playhouse" and scripter Robert Alan Aurthur with a major achievement on last Sunday’s (20) show on NBC. Aur- thur took a subject well hashed oyer by Hollywood—the .fight rack- et and the people in’ it—and man- aged to make It look almost new again. Title of the opus was "Shadow of a Champ,” and if Aurthur, as associate producer pf Playhouse, has predominated in recent months, this show was a strong convincer that Aurthur the play- wright hasn’t lost his touch. "Champ” had the same penetrat- ing offbeat quality that has dis- tinguished his past scripts. Using a fine, sensitive tduch, and aided and abetted by a standout' cast directed in sock manner by Robert Mulligan, Aurthur drew a life-size, moving portrait of a "little man,” in this instance the much-abused manager of a cham- pion prize, fighter, who lives on the illusion of his importance to "the champ.” Then he meets a woman and is suddenly jolted into a realization of his loneliness' and insecurity. Out of tills rather flimsy story line. Aurthur hammered a dialog piece that probed deep and ear- ned a powerful emotional wallop. At the same time, thanks again to the past headed up by Eli Wallach, the yarn never became maudlin and it never dragged. It was just plain good drama that spelled out entertainment to the hilt. Wallach as the manager etched a touching and intelligent portrait of a man who suddenly realizes the futility, of his subservient "friendship” with the fighter, Jack, Warden* whom hp idolizes. The scenes between the two, and the give-and-take between Wallach and Lee ' Grant, a. shipboard ro- mance that turns into real, love, had real impact and were kept on a completely believable plane at all times. Warden was rbbust and ruthless, yet reluctantly - under- standing, as the efiamp, giving a great performance. Miss Grant, a newcomer to the Playhouse, created a figure that had depth and beauty. Her per- formance, underplayed and yet highly sympathetic, was masterly in its restraint and the register of emotions displayed by mere ex- pressions and tonefalls. Here is an actress of distinction and one hopes the Playhouse will bring her back again soon. Rest of the cast were all fine. Robert . Middleton as Warden’s gangster mentor; Tony Canzoneri as the dazed trainer still re-living the war, and Val Avery as an as- sistant, all deserve kudos. Mulli- gan’s direction, apart from giving the production a surprising feeling of scope- alternating with inti- macy, helped to make the .show what it was. Mulligan is still'd young man, so his handling of "Champ” Sunday with its many fine shap- ings* displayed a mature judgment that promises great things to come. His staging of the moving climax, and several' other Highspots, matched the expert scripting and performances. Show’s, musical background—bars of hot jazz punc- tured by frantic drumrolis-r—caught the mood of the play, perfectly. Gordon Duff produced. Hift. . Ed Sullivan had a routine vari- ety-layout on. his CBS-TV "Toast of the Town” last Sunday (20). It was a diversified bill, with, strong individual entertainment values. But; familiarity of most of the acts lessened show’s overall impact. Program got off fb a nice start with a flavorsome Latino number by Xavier Cugat’s otch. Bandlead- er’s shapely wife, Abbe Lane, then took over for* some eye-appealing hip-swinging and ear-satisfying vo- calling. Sam Levenson’s homespun humor was good for a hefty quota of laughs, while Frank Marlowe’s more robust comedy attack was oc- casionally funny. Choralling by " the Dartmouth Glee Club was impressive. Sarah Vaughan did a; solid vocal job on two numbers, including a rendition of her latest record click, "How important Cart It Be.” Number was effectively gimmicked up with kn echo sound. Ballroomology by Tony and Sally DeMarco was suave artd graceful, while the Wlades’ trained doves were interesting to watch. * Jess. Lucky Strike paid-the freight, as plugs for Variety were dropped In at strategic points in “Robert Montgomery Presents,” whose Monday (21) drama pitched "N. Y. to L.. A.” on NBC-TV. The title is a Page 4 fixture of this publication, so the plugs in ex- change for the lift may be considered to" square things, although it appears on reflection that. Variety should stiff be biffed for the super-billing. The hocus-opus, put together by Robert J. Shaw from an inspired idea with ’which every transcontinental travelin’ Variety and show biz mugg is familiar, was in the. "Decline and Fall of a Heel” groove. It kicked off with Charles Drake moving fi un off-Broadway work into a Hollywood screen test, working* his .way into the good graces and arms of production coordinator Loretta Daye and doing everything within the realm of avarice and undisciplined ambition to. make his way as an actor, even unto giving his agent a kicking-around. Drake’s immediate latch-on to the Chasen’s-Romanoff’s-Ciro’s circuit seemed to be overstated, for one thing, and the other inci- dents, when not entirely reminiscent of some segments of the Broadway-to-pix gentry, were clearly recognizable as stock situa- tions, The performances and the production itself (with Norman Felton directing) were competent. Drake played his double-deal- ing role with an alertness tO the change of pace requirements and Miss Daye brought a quietly emotional study to her part. Pamela Rivers played Drake’s actress-girlfriend with care and Edward Binns as the percenter led the roost. Variety got the notifies. Bing Crosby was on the ameche and a couple of other Crosbys were all over the place. You’d-a-thunk it was homecoming week for the Crosby clan with Jack Benny just an incident (some incident!) On th’e CBSunday (20) .Lucky Striker. The "39 Steps” comic handled Gary, Bing’s eldest (he’ll be 22 in June), as if he were the pappy, per- mitting the poised lad full play. Fulcrum was Bing’s 10G fee for a Benny stint, but when JB heard Gary light out on "Got the World On « String” he wanted to set him up pronto for.a guest shot at his $150 fee. This,is where Der Bingle stepped in on the phone to tell his son the facts of financial life,. Bob Crosby was worked in for quickie repartee to add to the Crosby file, with Don Wilson serv- ing as the fancy butler in the stim- ulated fabulous manse of the Groaner’s, (Wilson came cheaper so he got the booking in the snap- per.) Gary showed that he’s been studying his father well, display- ing savvy in the handling of lines, excellent timing, and with service- able singing pipes to boot. That the youngster is a regular on Ten- nessee Ernie's CBS Radio show for Philip Morris was obviously not considered a sponsor conflict. Trail. Whenever Jackie Gleason goes oh vacation, the 8-to-9 p.m. slot on CBS-TV Saturday reverts to a rou- tine vaudeo format. The Dorsey Bros. (Tommy & Jimmy) take over the stanza, which switches to the catch-all tag of "Stage Show” and refugees from "Toast of the Town” move in—at least that’s what it seemed like on the hour last Satur- day (19).- On tap for the singing were Nat (King) Cole and The McGuire Sis- ters; for the comedy, Roger Ray; 'for the juggling, Rudy Cardenas and for the acrobatics, Nita & Pepi. Although each was in good form, it added up to the kind of show that the constant viewer has seen and heard before. . Except • for a neat medley of old-time faves delivered by the Dorseys' orch,' stanza lacked anything off the beaten vaudeo path. Cole was in mellow form as he turned^, over his current disclick, "Darling Je Vous Aime Beaucoup” and "Sand And The Sea” with "It’s Crazy, But I’m In Love” as an added fillip. The McGuire femmes got their plug in with "Sincerely” but weren’t too successful with a special piece tagged "I’d Rather Lead A • Band.” Cardenas was in his usual flashy form as he whipped around pins, biffls, hats, etc.; and Nita & Pepi accomplished some attractive aero designs. Ray, a comic who works' with xylophone, offered a monolog that was just par for the course. Grot. “Colgate Comedy Hour” came up Sunday night (20) with a show that- Was well above par of some the' stanzas recently presented on this series. Aside from the supe- rior calibre of the. entertainment, the session was noteworthy for its pace and smoothness, a couple of , (Continued on page 38) BURLESQUE (Shower of Stars) With Dan Dailey, Marilyn Max* well, Joan Blondell, Jack Oakie, Dick Foran, James Burke, others; David Rose, musical director Producer; Nat Perrin Director; Seymour Berns Adaptation: Morton Fjne, David Freidkln 80 Mins., Thurs. <]W) 8:30 p.m. CHRYSLER. CBS-TV, from Hollywood (McCann-Erickson) For nearly ..three decades .‘‘Bur- lesque” has been taking the bumps and grinds as a hardy perennial of the theatre and it was inevitable that it would one day reach tlie tube dwellers. In its telescoped version of CBS-Chrysler’s “Shower of Stars,” only the framework re- mained but it came off as an ac-. ceptable replica If not memorable in the collection of color specs. To take it out of its dotage and mod- ernize ‘ the treatment a few bor- rowed musical numbers were in- tegrated into the backstage drama of broken hearts and stolen-bows. For Dan Dailey, who played Skid Johnson in the 20th-Fox film, it was a leisurely romp without tCo great tax on his talents. He hoofed and, sang but the “heart line” was cut and scenes that misted the eye in other versions had to be trimihed in the interest Of timing. As if there wasn’t enough talent aboard, Jack Benny was brought on (unnamed or un- billed) in a hokey bit with Dailey and Jackie Oakie,.a brace of putty* i nosed comics. It was little more than a walkon and would have meant points to. the rating had-he been -billed and his, part padded. But Benny insisted on anonymity. Marilyn Maxwell, as. the long- suffering wife and dance partner Of Skid, gave a standout perform- ance boffi dramatically and in her dance numbers with Dailey, one of the show’s high spots, Fronting the hurley line she was gay and spirited and avoided any bodily gyrations that might he criticized (as with the Sheree North inci- dent). She’s a solid trouper and the perfect prototype of the show- girl with, everything it takes. In supporting roles were Joan Blondell and Oakie, enlarged edi- tions of their picture days; Dick ■Foran as the upright suitor; Helene Stanley, the scheming chorine; James Burke, suitably substitute for. the ailing James Gleason as the hurley producer, and Laurie Mitch- ell, ‘ a looker that wasn’t aroqnd enough. Production team of Nat •Perrin. Harold. Conrad, Seymour Berns and Robert Adams gave the piece a good staging with zestful movement. David Rose’s music was a strong plus. Helm. TELERAMA With Alan Scott Producer-director: Cal Jones 30 Mins.; Sun., 3 p.m. WPTZ, Philadelphia "Telerama,” with some interest- ing sessions to its credit under newsman Dick McCutcheori (sinco resigned), resumed regular ses- sions Sunday afternoon (20). Hol- land Tooke* WPTZ general man- ager, says he intends the new series to offer “live telecasts, fre- quently with a mobile unit and a. much bfoader scope.” Preem did not evidence this broader scope,* although It provided an informa- tive discussion of a hot issue- wire-tapping. Format offers much the same setup as numerous other intelligent panels. Philadelphia Bar Association sponsored the debate between such protagonists as Richardson Dilworth, former District Attorney and present candidate for Mayor, and PL. lip Price, former chair- man of the Association’s hoard of governors, who took the affirma- tive, and Louis B. Schwartz, of the U. of Pennsylvania law school faculty, and Wilfred S» Lorry,, for- mer FBI agent, who were against Wire-tapping. C. Brewster Rhoads, chancellor of the Bar Association, stated his organization was op- posed to all forms of intercepting phone conversations. This was a well-mannered group —no clashes nor stepping on each other’s words; and except for a few moments at the end mod- erator Alan Scott was able to rest in the - background. Dihvorth’s contention was "that we wouldn’t give police bicycles to chasa bandits on motorcycles" and that organized crime was conducted by phone. His partner Price saw no distinction between wire-tapping and peeping through windows and keyholes to obtain evidence. Schwartz called wire-tapping a J iolice convenience, a device lead- ng to breakdown of morale in law enforcement agencies and a means of encouraging blackmail. Lorry called the practice ‘'unsavory.” Scott closed the half-hour with the proper summary, that there was no attempt to convince the audi- ence, merely to expose it to soms [enlightened viewpoints. Gagh.