Variety (May 1955)

Wednesday, May 25, 1955 TELEVISION REVIEWS 59 . . S - - CAPT. SAFARI OF THE JUNGLE PATROL With Randy Kraft Director: Lewis Freedman 60 Mins., Sat. 10 a an.' WCBS-TV, New York WCBS-TV proved with reason- able success.that the. kind of film footage that has kept “Ramar of the Jungle" stocked.in\authentic background atmosphere could be turned into a tot telestanza of its own. Taking a wad of Martin & Osa Johnson celluloid on Africa, the N. Y. CBS-TV o&o turned the po- tential library stuff into'the chief excuse for an hour-long program on jungle facts and lore. "Capt. Safari of the Jungle" had all the embellishments in Its preem last Saturday (21). It had a monkey (Zippy the Chimp), a well-trained and voluble Capt. Safari (in per- son of Randy Kraft), 17d Walter Lantz animated cartoons as supple- mentary film, and a set simulating the interior of 3 shack out of which worked the Jungle Patrol, a ficti- tious African outfit that appeared to be a cross between the workings 1 of Tim Tyler and the Forest Rang- ers. Setting had four video moni- tors through which Safari was able to scan the "jungle/’ i. e., the Johnson film.' The Johnson material is old stuff to adults. It wasn’t top quality, and often was choppy in motion, like’ many early films, but Kraft seemr ed to make it live for°jiives. Some of the footage even ‘tested the gul- lability of the kids (there’s a scene with Osa Johnson being passed off 'as a member of the Jungle Patrol) and the clips shifted from one scene to another too quickly at times for kids to comprehend, but it fitted in generally well with the overall format. Kraft adlibbed a story/ about lion teaching., a cub how to hunt. He had an exciting personal delivery and Infp was au- thentic, since he talked out all the films to be shown on the preem previously with^ technical advisor Bill Lbngnecker. "Safari" might be worthwhile sponsor bait since It’s only fair to figure that a lot of kids might pre- fer, elephants, monkeys (live and film), and spear-carrying natives to Pinky Lee and '‘Paul Winchell, rivals for the 10-to-ll time on NBC. Art. OZARK JUBILEE \ With Red Foley, Jean Shepard, Chief Marvin Rainwater, Bobby Lord, Pete Stamper, Foggy River Boys (4), Grady Martin Orch (7) Producer: Bryan Bisney Director-Writer: Don Richardson 60 Mins., Sat., 8 p.m. CO-OP ABC-TV, from Springfield, Mo. It remained for ABC to come up with a major show not available on any of the big nets heretofore, the country and western "Ozark Jubilee" now originating at KWTO, Springfield, Mo. Show is the prop- erty of Radio Ozark. which has rounded up Red Foley and battery* Of names in the field and Is produc- ing a full hour each Saturday night. Plenty of interest is being shown in it, indicating there definitely is' a spot iii videtrifor a good hillbilly offering. This one comes near the mark, but after several weeks still is cutting eyeteeth. and has a number of spots that heed smooth- ing out. This should come as the show continues. It follows the format of putting Foley, in the key spot; with, most of the m.c. chores assigned to hin^ He provides several of the vocals for which he is noted, and carries out the homey atmosphere for which the show strives. Singing Of Jean Shepherd and Chief Rain- water, comedy of Pete Stamper and musical work of Foggy River Boys and the orch directed by Grady have been show regulars, and policy calls for other acts to be guested, such as Bobby Lord on this stanza: Although organization of this show surprised some quarters in that it came from, the mid-America country, where it was never dreamed that a show of this scope pould be mounted, still it’s quite natural that the Ozark Mountain city of* Springfield should originate the opus and keep it all in charac- ter. Evidently it is here to stay, as plans call for stepping up the show to an hour and a half with an earlier air time beginning in July. It’s also rumored that other nets are rushing to bring out shows 1 of this type, hinting that perhaps the hill» music is a niche of pro- gramming entirely overlooked heretofore. .This one is out and out country aftd western, sticking to the groove with both talent and material; As such it has the edge on any other fold be starters, and • if it can keep gathering momentum and '•smooth ... presentation -it. 1 should keep it. ))» ) > ■ ■ j Quin.' Tele Follow-Up Comment Paddy .Chayefsky Is a writer With an uncanny ear for the sounds of the common m an * His dialog is smooth and yet harshly realistic, just as the situations he employs are for the most part simple and, by their very unaffectedness, aimed at the heart. In his “The Catered Affair" on the Goodyear Playhouse on NBC-TV Sunday (22), this ability to capture people Without gloss or varnish was again put to the test, but somehow not as effectively as in his past plays. "Affair,” touching on an issue apt to arise in practically any fam- ily, was still, a great human drama and came across hs fine, moving entertainment, but what Chayefsky seems to lack is a sense of humor.. Are the "little" people of this world really so devoid of smiles? The family sketched in Sunday’s play may be typical, and it cer- tainly was satisfyingly articulate, but they,were also a rather'dull, unhappy and frustrated lot. Not even the engaged couple seemed to find delight in one another. In .Chayefsky’s vlgnets from life, the script is the undisputed star and "Affair” was no exception. It had great sensitivity and, at times, almost, crushing emotional impact. It was also acted by a crew of al- most inspired performers, headed by Thelma Ritter in a highly skilled performance. Chayefsky’s stock in tirade is simplicity of thought and action. "Affair" went considerably beyond his prior ef- forts along that line. • It was the story of a Catholic family in'the Bronx whose daugh- ter announced her engagement., She didn’t want a big wedding but, through a variety of circumstances —including the guilt feeling of her mother—was pressed into such an affair. This was resented by the father; a, cabbie, forced to carry the high cost of a Wedding break- fast# for 300. The plot' 1 resolved itself into the deep-seated resent- ments of thfe parents. In the end, there was no big wedding and the mother, was made to realize her dependence on her husband. There were many emotional strands woven into this story and some rang almost painfully true to- .life, Miss Ritter’s delineation: as the mother had strength and superb shading, particularly in the climactic scenes. Pat Henning as the father, chafing under his wife’s resentment and his financial cir- cumstances, gave a very fine peri formance that had depth -and understanding; J..Pat O’Malley as the brother-in-law boarding with the family brought to the part a good Irish spirit, and Kathleen Maguire as the daughter did a quietly competent jo~b that seemed intelligently reasoned. Nancy. Marchand (of "Marty"), in a small part, gave a, powerful demonstration of her talents in an outstanding bit as the embarrassed bridesmaid unable to afford a gown. Also good were Billy Green and Kathryn Hynes as the brag- gardly, moneyksonscious parents- in-law, aild Michael Higgins as the groom. Director. Robert Mulligan had a difficult assignment and carried 1 vei 7 well. The play never lagged and its visual aspects were Well thought out from start to finish, giving the camera access to the entire railroad flat and creat- ing an almost constant flow of movement. Chayefsky’s script was invariably best in the simple encounters. ^ Hift. Budweiser’s "Damon Runyor Theatre" out of Screen Gem’s vid- pix assembly line may yet make a season of it if it can come up witt vlgnetp in the groove of last Sat- urday’s (21) on CBS-TV. Titled ‘Tobias the Terrible," it was one of the more amusing and familial slicej? from the late storyteller’: file, studded with good farcical ac- tion and sufficiently loaded witt Runyonisms to give it an unmis- takable stamp of authenticity. Runyon fang would know prontc that this is the yarn about a cas- permilquetoast "diaper dan" <Gi Stratton Jr.) whose doll (Beverlj Garland) yens gun-totin’ guys as per a cinema performance. Strat- ton by sheer happenstance gets himself involved in a fracas witt an underworld mob, makes Page ] . “Eight-Gun Tobias" because that number of rods is thrust into his clothing toy the mobsters as t plainclothesman (Wallace Ford) is about to confront them, .and winds up the hero by conspiring with the Constabulary to bring two camps of hoodlums to their eventual doom.' It’s the goings-on with the pistols and other lethal instru meats ,t .plus -the..repartee .byplaj and: cops frt’/ rGbbersfshenaiiigam that add up to sheer fun. The three leads are in there pitching straightface all the way, with Len- ny Kent also -clicking as one of the hoods. Easily one of the better in the Runyon skein thus far. Trait. w.k. "theatre of the imagination" technique. Next up will be & five- part study of Stephen Crane’s Civil War novel, "The Red Badge of Courage." There are no seasons on "Camera Three;" it’s a year-round winner. Steve Allen’s Thursday (19) "To- night" came forth with the second in his half-hour insert of “The Psychiatrist" series on his NBC- TV 90-minuter. Unlike the previ- ous four-character playet on May 3, this one was strictly between medico John Boruff and 'patient Vaughn Taylor. Latter’s mental disturbance was pegged on hives. The analyst tried to prove that Taylor’s own estimate of Himself as never being "angry" was offbase. This second of the Howard Rodman scripts was again too sketchy, almost flimsy, in its approach, but probably added up to some of those who’ve gone through the turmoil of skin aller- gies' without discovering any or- ganic cause. In role of the narrator, Allen quite properly put in the disclaim- er that the specific subject matter doesn’t necessarily apply to "you" the viewer. This is still a format* within-a-format*, that deserves a place on the laxe-nighter’s show. Trau. Ed Sullivan, in recognition of Armed Forces Day the day before, telecast Sunday (22) from the U.S.S, Wisconsin moored in New York Harbor* Well, Sir, the deck of this battlewagon is no intimate room, and it’s extremely difficult for a performer, unless indulging; in some violent physical activity, to get across in this environment. What’s more, it's no glory to naval tradition for the general public to see a "girl with June Valli’s architecture viewed by sailors with -sullivaned and dour« countenances, as was evidenced- during her first number. The viewers get some lift from studio laughter and frozen expressions tend to influence home reception. It was difficult for most' perform- ers to get over, particularly singing and speaking comics. Jack E. Leonard, who threw some excellent lines, didn't hit with his accus- tomed rating because of the difficul- ty in projection. Similarly, Nancy Walker, with a fine bit of material, barely made the grade. For the home audience, the cameras virtually ruined Peg-Leg Bates. The lens boxes always man- aged to switch to long shots just when': Bates was dusting off- his best tricks. The applause, though, was good *on deck. The purpose of Zippy the . Chimpanzee was lost, for just as the simian Svas getting warmed up, and the sailors were starting to enjoy the turn, came time for a commercial. And speak- ing of commercials, there was the full complement of ’em. It doesn’t seem fair 'to the taxpayer to lend some of his choicest seagoing real- estate'for. a sounding board for a commercial. It doeten’t seem fair to the other auto manufacturers either. Burl Ives, with the aid of the Tucson Boys Choir, deserved far greater acclaim than was received. Well appreciated by the tars was Richard Hearne’s bit on' a British naval ceremony, which for home purposes was too long and repetiti- ous, even though the latter element was a vital ingredient in .the bit. Jose. "Camera Three,” a local show on CBS’ WCBS-TV, N.Y., with di- mensions of network calibre in the "educational showmanship’’ groove is off an another multiple-parter, this time reviewing the Civil War for the late Sunday morning set- siders. The opener in the series (15), With overall title of “The Ir- repressible Conflict,’’ Recapped events leading up to the conflagra- tion, with Dr. Richajd B. Morris, history prof at Columbia U., hand- ling the reins. Last Sunday (22), Dr. Morris and moderator James Macanfirew covered the span from Bull Run to Gettysburg. The historian, was over-zealous in his rapid-dan approach. But there was no question of his au- thoritativeness as, with maps and still and narrative, he sized up key battles that led to the Gettysburg Address, with Michael Kane, also offscreened at the intro, giving a a quiet, walloping reading of the Address while stills of the battle- ground dead enhanced the moving words. All in all, it was a remarkable lesson in U.S. history that doesn’t figure in the classroom history books. • Frank Meriarty’-s- staging was ideally mated to* 1 Uhe? show^t It Is doubtful whether Horace Heidt, during his travels of recent years, has even picked up as en- gaging a performer as Groueho Marx. As a matter of fact, the natural elements of the NBG "Hor- ace Heidt Show Wagon" were so sparse on^ Saturday's (21) edition, that it’s a conjecture as to what Heidt would have done for enter- tainment without the senior mem- ber of the noted comedic family. Marx not only filled in a lot of time, but. provided a lot of laughs. The lines rolled off him smartly and gracefully. There was a solid- ity with every word in front of the cameras. Indeed, with Heidt pro- viding a more or less deadpan foil, he had a fine sounding board for his verbiage, -•Otherwise, there wasn’t much substance to the Heidt show. A pair of amateurs from separated cities vied in Chicago for top ap- plause. A lively 14-year-old sang “TwCqdle Dee" and a 16-year-old hammed put "Granada." There was also a brief. interview between Heidt and Marty Marion of the Chicago White Sox. All of the seemed pretty perfunctory* stuff, Groueho excepted, of course. /NBC-TV’u "American Inventory" tied in with the annual Alfred P. Sloan radio-television awards for highway safety for its Sunday (22) outing. With 'a terse little drama tagged "Second Chance," the stanza punched home the need of a community safety program but stressed how over-drastic and rigid programs can have a reverse effect. Playlet, defied by Edgar Marvin, got its message across in solid dramatic terms without any soap- box aura. . • AlrVWVl I# If Q1U 1 UUilUUi Up a slick company of thesps foi the stanza. In the key role was John Larkin, as a newscaster wh< fought the strict enforcement o: the safety law campaign set dowi by the town’s mayor. Wendel Holmes was effective as the mayor In lesser roles were Elspeth Eric Joe Boland and Martin Woifspn Camera was used to full advantag< by director Edward King. - The 30-minuter wound Up with 1 film clip of Alfred P. Sloan hand mg ^ out the safety awards at 1 confab at New York’s Waldorf Astoria. Gros. ALEC TEMPLETON •With Joan Fulton, instrumental trio Producers: Marty Colby & Howard Schwartz Director; Pat Fay 30 Mins., Tuc$., 9 p.m. Sustaining WARD, New York , - Alec Templeton, some years ago, was one of the top entertainers in the radio era and prior to that a phenomenon in the supper clubs. This blind British pianist is a clever musician, who can offer en- tertaining improvisations, and has a classic sense of musical humor. Templeton is now on weekly tele show on the DuMont N. Y. flag- ship^WABD, which recalls manyof the virtues he displayed on radio. Since Templeton assumes what is essentially a radio format, the program’s potential is limited. The appeal seems designed for a catch- all turnout with its mixture of classics and modern jazz. On the preem show, Templeton assisted by a rhythm trio behind him, gave a set of impressions of how vari- ous performers would do "Saints Go Marching In," provided a romp through a “South Pacific" medley, "Time on My Hands" and seri- osoed the Rachmaninoff “Prelude in C Sharp Minor." Another jazz- classic mixture was a fusing of Rodgers & Hart and Mozart mel- odies into a pleasing combination. Guest this session was Joan Ful- ton who, in conjunction with Tem- pleton did a series of English music hall songs. Both seemed to be at home in this medium. Jose. Armour Drops ‘Burton 1 "Second Mrs. Burton," CBS Ra- dio daytimer, has been dropped by Armour, and will ride as a sustain- er after June 17. Understood ’ that upcoming switch in agencies—Henri, Hurst & MacDonald currently has .the. ac- countH-causeidrttiei dxe< to > 1 PROMENADE With Tyrone Power, Judy Holli- day, Kay Starr, Herb Shriner, Janet Blair, Barbara Baxley, Bit & Cora Baird, Jack Russell, Bam- bl Lynn A Rod Alexander# George Irving Producer-director: °Max Liebman Writers: William Friedberg, Neil Simon, Will Gllckman Musical Director: Charles Sanford 90 Mins., Sun,, 7:30 p.m, SUNBEAM, MAYTAG NBC-TV, from N. Y. ( Perrin-Paus; McCfift $ -Edichson) ' "Promenade,” the latest in the series of Max Liebman’s "spec- taculars" in both color ahd black- and-white, was a highly entertain- ing 90-minute package for a large part of the Way Sunday night (22). As evidenced by this layout, Lieb- iiian 1$ settlling down to a conven- tional revue format somewhat akin to the old Sid Caesar-Imogene Coca "Show of Shows," which he also produced. The show was carried by a solid lineup" of performers who should have given the competing Ed Sul- livan “Toast of the Town" stanza on CBS-TV a good run for the ratings (although they didn't). Tyrone Power, as emcee, was not completely at ease with a script that had him discussing "new sounds" in the music biz, but the actor did handle the assignment with sufficient authority. Judy Holliday, making her fourth spec appearance, again was a standout in a couple of comedy sketches that were takeoffs on cur- rent Broadway shows. Opening bit., a parody on "Desperate Hours," “with an assist from George Irving and Barbara Baxley, had some ob- vious gags, but Miss Hollidav played the dumb broad role with perfect timing. Another sketch, inspired^ by "Damn Yankees," was more sharply scripted, with Janet Blair and Miss Baxley joining in a routine about “"baseball widows." Miss Holliday was not, however, so effective in her overdrawn carica- ture of Caterina Valente. She hammed it up to a fare-thee-well, although showing ah excellent set of pipes. The show was~very strong in the straight vocal department via Kay Starr and Miss Blair. Latter had one sparkling number, "I Love To Rhyme," while Miss Starr had an unusually long routine comprising about a half-doezn numbers. But Miss Starr is an expert belter; both aurally and visually, and she exe- cuted a varififl repertoire with socko impact/ Her songalog com- prised such disk hits as "Side By Side/’ "If You Love Me" and “Wheel of Fortune.” (All of these sides were cut while she was still with Capitol Records. At tfye finale, she threw in a gratu- itous plug for her latest RCA Vic- tor disk, saying "I promised Manie (Saqks) I would say that." That comment was strictly a private trade comment and, as such, was entirely unnecessary on this show.) Herb Shriner, also doing a re- peat on this series, came up with a socko patter routine in which he did the commentary on what pur- ported to be a homemade film biog. The clips were funny and it added up to refreshing comedy. Another solid turn on the show was a Bil. & Cora Baird animal puppet takeoff on the Ed Murrow "Person-To-Person" show which, incidentally, was quite a plug for a rival network personality. It was a clever script and the mimicry of Murrow’s somewhat portentous delivery was deftly handled. In the dance department, Rod Alexander & Bambi Linn, backed by a hoofing troupe, impressed in a "Carioca” produtcion number. Finale was a jumping version of “Chattanooga Choo-Choo," with Power and Misses Starr, Holliday and .Blair handling the lead vocals a well-designed choral- dance background. Herm. TOMORROW'S CHAMPIONS With Ed Kallay, George Lewis Director: Bob Franck 30 Mins., Fri.t 6 p.m. WAVE-TV, Louisville Half-hour of amateur boxing bouts, produced under auspices- of Louisville and the surrounding area, is sanctioned by the Kentucky A.A.U. Each show has three bouts, consisting of three one-minute rounds. Bouts are held in regulation ring in the WAVE-TV studio, with George Lewis, who has handled announcements for pro bouts here for years, three judges, a referee, timekeeper and attending physi- cian. Brief one-minute rounds assure no one getting hurt, and lads mix things to provide -plenty of action. While mostly beginners, the wild swinging and sincerity of effort gives viewers a lively half- hour boxing sesh. Purpose of the station in presenting the bouts is to "build better citizens through sports." Ed Kallay does a concise job jof commentary, and * Bob I Franck's r direction ds to^dtaweiv