Variety (September 1957)

Wednesday, September 25, 1957 VARIETY TELEVISION REVIEWS 37 POLLY BERGEN SHOW [MAVERICK WAGON TRAIN. PERRY MASON | THE BIG RECORD With Julius LaRosa, Sylvia (The War of the Silver Kings) (The Willie Moran Story) .|(Case of the Restless Redhead) With Patti Page, emcee: David { Sidney, Jack Carson, Jack Barry : Producer-director: Bill Colleran Music conductor: Luther Hender son , Writers: Mike Stewart, Phil Minoff, Tom Murray 30 Mins.; alternate Saturdays, 9 _ pm. MAX FACTOR os NBC-TY, from New York (Doyle, Dane Bernbach) The trouble with Polly Bergen’s opening show is that the producer decided to play “opening show.” It was a frail format that set guesters Julius LaRosa, Sylvia Sidney, Jack Carson and Jack Barry in a panel pattern to advise Miss Bergen on how fo do a tv program. Fortunately, the series isn’t trapped with that idea, but unfortunately it got the show off to a limping start. Series’ potential, of course, rests on Poliy Bergen, a tv-made star out of Pepsi Cola commercials, panel shows ard CBS-TY’s “Helen Morgan Story.” She’s a looker, all right, with a friendly manner that warms up the tv screen but whether she’s ready to carry the bulk of 30-minute songfest is a moot point. She's got a moderate song-selling flair but lacks the stylists’ impact that gets the tune across with a bang. The ‘opener served to show the. many vocal sides of Miss Bergen. She tvas:..simple in “Tammy,” she was sexy in “I’ve Got. You Under My Skin,” she was torchy in “They Asked Me How I Knew,” she was. Miss Vaude in “When You and I Were Young Maggie Blues” (in a ‘duet with LaRosa) and she was Miss Burlesque in “Top Banana” (in a duet with Carson), That’s a Jot of woman but yersatility can be spread out too thin. The format, however, remained the show's biggest handicap. The panelists were made to appear pretty and-foolish.. The writers (MikeStewart; Phil .Minoff and Tom Murray) didn’t help, either.: In addition to being far from funny some of the lines were tasteless. The shakedown cruise was rough ‘but the boys have a fortnight to get on the beam again. Gros, ‘SUGARFOOT ‘ . With Will Hutchins, Merry Anders, Dennis Hopper, Arthur Hunnicutt, Ainslie Pryor, Louls Jean Heydt, Chubby Johnson Producer; Arthur W. Silver Director: Leslie H. Martinson Writer: Devery Freeman 66 Mins.; Tues., 7:30 (alternate weeks) AMERICAN CHICELE (co-sponsor) ABC-TV (film) —~ (Ted Bates) “Whaddya tryin’ to do, talk me to death?” asks Billy the Kid of the gun-shy hero of “Sugarfoot,” as they face each other in that inevitable showdown in all oaters. The kid inadvertently sums up the content of the ‘initial stanza of WB’s new entry with his plaintive, frustrated cry. It’s mostly talk, talk; talk, with little action, and adds up as a routinish western which Iay be trampled to death in this season of jhoss operas. _Series alternates with Warners’ highly popular “Cheyenne” series, which debuts next ‘week, but. “Sugarfoot” will have to do. much better if it expects to go anywhere. Warner Bros. originally bought the Michael. Fessler story for a theatri cal film, but never produced it, so }’ it wourld up on fv; with Devery . Freernan adapting. Freeman’s teleplay is very verbose and he makes his hero out ‘somewhat of a dope, | to put-it charitably. _ Will Hutchins, in the title role, lJopes into a western town, is la‘beled a /‘Gugarfoot,” because, it's explained, that’s one step underneath: a tenderfoot. The mayor, a heavy, appoints him sheriff because the mild-mannered Hutchins apparently can’t shoot, and abhors violence and guns. But the hero ‘begins to investigate the murder of his predecessor in office, encouraged. by the murderer’s attractive young daughter. Mayor brings his cousin, Billy the Kid, to town because he doesn’t like all this snooping.” There’s an absurd scene in a saloon where the noted gunfighter challenges the sheriff, who won't fight. Billy calls the badge-wearer lots of nasty names. . Finally, when it looks as though he may fighf, he’s rescued by the ex-Sheriff’s daughter,: who nicks .. him in thé arm with a shot-so he won’t have to face Billy. The show drags on, and finally the sheriff straps on his gun and goes out to face Billy. But he begins ing— not drawing—and convinces: Billy he’s just being used by his cousin, the mayor. Angry mayor (who it’s turned out had the preceding sheriff slain) draws, and Hutchins finally takes out his piece of iron and nails him. And so, everything taken care of, “Sugarfoot” lopes off into the. sunset, awaiting his next adventure, . Hutchins fits into the sub-tenderfoot role easily, but is helpless ja distinct disservice. With James Garner, Edmond Lowe, John Litel, Leo Gordon, Carla/ Merey, John Hubbard, Fred Sherman. Producer: Roy Huggins for Warner |_ Brothers" 1 Director: Bud Boetticher Seript: James O’Hanlon 160 mins., Sun., 7:30 p.m. KAISER INDUSTRIES & KAISER ALUMINUM & CHEMICAL CORP. . ABC-TV (film) . . (Y&R) This being the season for westerns on tv, Kaiser Industries and assorted Kaiser enterprises have latched on’ to “Maverick,” described as an drama series. Warner Bros. is producing and James Garner is star of the hourlong episodes. He’ll just “drift” from one adventure into another every Sunday: night, The. first installment Sunday night (22) raised some interesting questions. Entitled “The War of the Silver Kings,” and written by James O’Hanlon from the C. B. Glassock story, “The War of the Copper Kings,” it was as un-adult and routine a “western” as Warners or any other studio_has turned out. this first exposure was indicative of what’s to come in the weeks ahead, “Maverick” could well find the going rough in snaring its audience. obvious from the start, i.e. that the tv western will have to be structurally different’ from the widescope action films in the theatres. series, also must haye sensed that today’s audiences requires some There was a reason .why the studios stopped mass-producing westerns-a couple of years ago; and it was, in part, that the audience got tired of them. Now, the theory seems to be that what didn’t go in the theatres is surefire material for television on a Sunday night. Perhaps, with some red-blooded action or, at the opposite end, with glever stories that haye some meaning, the tv westerns can draw an entirely new and interested. audiélce, If they stick, however, fo the ‘level-of “War of the Silver Kings” and hope to get by with eyewash, the studios now getting a foothold in television are doing the medium “Maverick” introes a new leading man in Garner. He's a wellbuilt hombre, the kind of hero that gets into serapes for no very obvious reasons and rights the wrongs he encounters on his travels. Gar ‘Tner is well cast in the part and at least director Budd Boetticher didn’t let him go overboard. Action consisted of Garner and Leo Gordon throwing a couple of /punches at one another. Rest of the show was mostly talk, and not very clever dialog at that. In fact, it was kind of a dull opener. tion of Warner Bros., Young & Rubicam(plus Pat Weaver consultancy), experiencéd in showbiz and tv problems, couldn’t come up with a Sharper format. Considering the experts on the W# lot, the letdown is the ‘more pronounced. ‘That’s true even of the camerawork. There were some shots in the Kaiser commercials that were more impressive. uwla script, Edmond Lowe was raspy lionaire, outsmatted by Garner (who does it all for the town, with Ino selfish motives at all); John | the role of Thayer, the drunk whom troed some humor as Big Mike McComb, who seems destined to be‘come Garner’s sidekick in future shows. Also there was Carla Merey as Edie.: It never became quite clear why she was there, buf she ‘did very well in a bit role. “best foot forward” time. It’s even more difficult to. grasp why Warners would try to set the, clock back. Hift. against the weak material given him -on this opener, which was ac‘ually a pilot. Merry Anders is conipetent and decorative as the daughter of the murderee; Dennis Hopper is effective—and frustrated —as Billy the Kid; and Arthur Hunnicutt, Ainslee Pryor and Louis Jean -Heydt are okay in support, Leslie Martinson’s direction is uneven, and his. misses on Hutchins’ ‘it with’depth or dimension. ‘There are participating sponsors ‘for the payoff, and the blurbs all unimaginative. Sharing in the tab are American Chicle, ColgatePalmiolive,.Luden’s and Natidnal Carbon; Luden’s and Colgate don’t begin with their spots . until Jan. 7. Daku, “adult-western’”’ | “Maverick” recognized what was Whoever put the “adult” tag on the | thing more than ‘formula heroics. tose the | script, it’s surprising that the combina; wag Actors did okay with the form aS Phineas King, the graspy mil LiteIl brought some distinction to'| Garner gets elected as judge. (nat-| urally; he reforms), and Gordon in-} It’s difficult to understand. why: this was picked as an opener at characterization, failing to imbue | With Ward Bond, Robert Horton, Ernest Borgnine, Marjorie Lord, | others Producer: Richard Lewis. Director: Hershel Daugherty Writers: William Fay, William Cox 60 Mins., Wed., 7:30 p,m: DRACKETT CO., LEWIS HOWE NBC-TY (film) . (Young & Rubicam, McCann Erickson) 7 The Wednesday. night pot is now officially boiling, what with NBC’s “Wagon 'Frain” operating squarely against “Disneyland” for the full 7:30 to 8:30 hour, and “I Love Lucy” reruns and the first half of “The Big Record” playing against them both on CBS. Theoretically, “Wagon Train” should have a selid chance of scoring, since its western format constitutes a “family” appeal that should get the kids and teenagers, as well as the adults interested. But for practical purposes, in spite of a lineup of big name guests, “Wagon Train” doesn’t shape up as a winner. A possible elue lies in the fact that the network and Revue Productions apparently haven't decided on a firm ‘point of view for the program. Premiere show started out to be a fine piece of characterization, set against the wagon train background,’ and degenerated into a standard potboiler. Perhaps an hour’s worth of western cliches cauld hold. an audience; perhaps sticking to principles with adult treatment could do the same; but it’s probable that a bad combination ‘of the two won’t succeed in holding anybody—the adult treatment will kfidies and the potboiler aspects will lose the adults. ° Opener, ‘“The Willie Moran Story,” had the advantage of Ernest Borgnine in the lead, and he contributed a topflight perfornm ance that made the characterization seem better than it was in the Borgnine was cast as a drunken and humbled stumblebum of an ex-pugilist who’s hired on to the wagon train at the last minute. He goes on the wagon, partially becausé of the admonishment of Ward Bond, the wagon master, and partially because of the blandishments of Marjorie Lord, a pretty ‘widow. But he’s in and out.of trou ble, none of it his faulf, and it’s not until he nearly-single-handedly blows up a bunch of outlaws attacking the train that he’s accepted as an equal. ° For the first three-quarters of the show, Borgnine turns in superb job of the drunk, in turn wildly andreelingly exhilarated and shamefacedly and: humbly sober, .But when the action starts, “Wagon Train” turns into a subpar actioner, complete to ‘war whoops by the outlaw raiders. Willie Moran’s redemption just isn’t very convincing, nor are the action scenes that accompany it. At the end, “Wagon Train” .was a complete letdown. . Production, and casting credits are topflight throughout, except for the script’s inadequacies. Bond is authoritative and believable as the tough ex-Army major wagon master. Robert Horton, as the 2 train’s scout, didn’t get, into the first episode much, but looks right fof the role. Marjorie Lord handled ‘her turn well, and supporting players were good. Photography, costuming and other details seemed cut out of the real ‘cloth, Only problem for NBC ap pears to be that of making up its ‘mind just what kind of a show it wants to do and then doing it: Chai. TALES OF THE TEXAS RANGERS With Willard Parker, Harry Lauter, others Producer: Colbert Clark Director: Lew Landers Writers: Various 30 Mins.; Sun., 5 p.m.. ABC-TV (film) (Harry Eisen, Ruthraff & Ryan) The new generation of moppets growing up to television are the only ones who haven’t seen this | show before, but where the spon sors of ‘Tales of Texas Rangers”. are concerned that’s probably okay ‘because this half-hour vidfilm is directed at just such an atdience. This tired story of Texas Rangers, mistreated Iand rushers, and evil gunmen was anxious to balance the scales of violence and gunplay with homely sentiments -about us all being Americans, and big guys shouldn’t pick on little guys: ‘Willard: Parker and Harry Lauter were the stalwarts of the cast. Neither is a bad actor and the kids Should eat ’em up. ~ Art. More Television Reviews On Pages 40 and 41 ~ Gardner-created unorthodox With Raymond Burr, Barbara Hale, Whitney Blake, Ray Collins, William Hopper, William Talman, others Producer: Ben Brady ‘Director: William Russell 160 Mins., Sat., 7:30 p.m. | PUREX, LIBBY-OWENS-FORD CBS-TV (film) (Edw, Weiss; Fuller, Smith & Ross) It’s now “Perry Mason’’ vs. Perry the former, a 60-minute filmed series on CBS, getting the jump on Como by a half-hour. The $2,064,000 sponsor question ¢multiplied by two clients) is: Can the Erle Stanley Gardner sleuthing keep ’em_ glued. to the .Columbia channels tlear through the first half of Como?, That, of course, will depend on the excitement and suspense generated by these video adaptations out of the Paisano Ptoductions shop. Whatever it takes, it’s just barely possible, judging from the initial presentation, that “Perry Mason” can deliver the goods and the desired audience. True, there are variations thereof (and at.a better time} that look more like the million they cost, off the Metro-WB “Late Night Show” library shelves, but within its own made-éspecially-for-tv framework, “Mason” showed a little class of its own. . . There’s no question about CBS’ gamble in slotting an hour mysterioso series so early in the evening (usually considered naturals for the post-10 p.m. segments), and at a time when the kids and the teeners (and Como fans). are: monoplizing the sets. But once having made the decision, CBS has backed it up with what shaped up on the initial installment as a qualitative entry of sorts. In content and format it approximates a junior-size feature méller, and considering the 100G cost of these tv cinematics, that’s turning a neat trick. This is the first time that the a torey has hit the video screens and, in the portrayal by Raymond Burr in “The Case of the Restless Redhead”, he comes off as an appropriate reincarnation. There may perhaps have been-a tendency to overdo the gentleness, with’ the voice and manner too tempered. But once the courtroom performance gets in full swing he assumes the stance of the attorney. _ “Restless Redhead” involved a jewel theft, a murder, a frarieup, two identical guns, a rich playboy ‘and movie star, all of which ‘provided the premise for a Jampacked story lirie. Yet it was deftly handied, never far-fetched and unravelled with simple clarity. -Barbara Hale gets billing as the Girl Friday but on the premiere stanza wag virtually limited to .a: walk-on role. Other members of the cast include William Hopper as a private dick; William Talman as district attorney and. Ray Collins as a police lieutenant, all generally patterned:.to the w.k. stereotypes, but acquitted themselves adequate ly if without any particular distinction. . : Rose, RIN TIN TIN With Lee Aaker, Jim L. Brown, Joe Sawyer, Rand Brooks, William Forrest, Tommy. Farrell, others , Producer: Herbert B. Leonard Director: Robert G. Walker Writer: Jennings Cobb 30 Mins.; Fri., 7:30 p.m. NATIONAL BISCUIT CO. ABC-TV (film) (Kenyon & Eckhardt) In what appears to be a new twist in fall programming a western is given back to the kiddies. “Rin Tin Tin” amid bows and ar rows shot its ‘way in over ABC Fri-_ day. night: (20). ‘ Fare geared:to the juve set was {labeled “Return to Fort Apache,” and dealt with the exploits of a scout dog. with the mythical U. S. Cavalry in dealing with the reds. skin Action was fast paced and the camera work better than average, but there. were holes in the scrip which caused one to wonder. In one scene, for instance, the canine was assigned the task of finding an entrance to Fort Apache occupied by the Indians. Rin Tin Tin succeeds, but how viewers will never know, and the bluecoats entered the fort, beat down the injuns and ;recapture the homestead. “Rin Tin Tin” not enough use was made of the dog who, except for two small -bits, was almost nonexistent, . Otherwise format was pretty should please the youngsters, combining the necessary ingredients, i.e. bluecoated soldiers, bad in juns, a hero-boy, and Rin Tin Tin, man’s best friend. Como Saturday nights on tv, with much the Same as in years past and. Wayne, Ella Logan, Eddie Cantor, Sal Mineo, Hoagy Car, michael, Tony Bennett, ,Mitch Miller, Michiko Hamamura, Jane Morgan, Ed Gallagher, Billy Ward and Dominoes, others | Executive Producer: Lester Gott Heb Producer: Leo Cooley Director: Jerome Shaw Musical Director: Victor. Schoen 60 Mins.: Wed., 8 p.m. KELLOGG, PILLSBURY, OLDS MOBILE, ARMOUR CBS-TV, from N.Y. (color) (Leo Burnett, D. P. Brether, FC&B) “The Big Record,” CBS-TV’s $100,000-budgeted songfest, premiered last week as the network's major bid for Wednesday night tv supremacy. It cou'd he rough going in the face. of the “Disneyland” and “Wagon Train” competition considering the early evening audierce composition with its predominantly teenage appeal; which could throw the weight in favor of the half-hour-earlier starting time for the ABC and NEC entries. On its own merit, divorced entirely from the three-network intramural sweepstakes, “Big Record” as a 60-minute program toncept has much in its favor. Yet for all ifs ambitions, not the least of which was a bagful of top guestars, it was a concept that was approached on. the premiere with somewhat indifferent resuits. . Perhaps the job of turning in a full hour show of unrelieved singing, no matter how swift-paced the tempo or how “tricked up” the production, is herculean, for essentially “Big Record” in establishing its premise must {Inevitably wind up as a variation of sorts of “Hit Parade.” Thus the “difference” in setting off “Big Record” from other entries would of necessity lie in a distinctiveness and a style peculiarly its own, or an imaginative approach in this live and costly disp!ay of top disk artists. Unfortunately, the premiere presentation had neither. True, in Patti Page “Big Record” has. a winner—and since much of the show’s success will rest on her trim little shoulders, her emceevocalizing contribution is all in the show’s. favor, for she handles herself and her guests with consid erable finesse. It’s true, also, that there was no stinting on the fuest talent, for signing in for the preem. entry were Tony Bennett, Eddie Cantor, David Wayne, Ella Logan, Sal Mineo, Hoagy Carmichael, Jane Morgan, Mitch Miller, Billy Ward and the Dominoes quartet and a fetching 18-year-old Japanese girl, Michiko Hamamura. . That’s a formidable lineup, even for an hour show. Yet if there was one basic flaw in rounding up such diverse talents in considering a ratirg potential, it can be attributed to the failure to capitalize on the § p.m. “ptaying-to-the-teenagers.” Certainly Miss Page can pull ’em in. So can Mineo and Tony Bennett. And Miss Hamamura’s “Ba‘mana. Boat” was geared to such appeal. : Buf what about Eddie Cantor, Dayid Wayne, Ella Logan, Hoagy | Carmichael? This is not to mini mize either their status as major league personalities or their individual contributions to the show. Since “Big Record,” as Miss Page put it, can encompass those who “had big records, have big records or expect’ big records” the format is flexible enough to be all things to all people. Hence Cantor's appearance for his “Whoopee” solo and medley dusting with Miss Page was cued to his upcoming Vik album; the Ella Logan-David Wayne tune reprises from ‘“Finian’s Rainbow” stemmed from the someyears-back album click. Similarly t} the Carmichael tag and Mitch Mil ler fronting a band as Colurmbia’s Mr. Record Man could, for better or worse, easily fit into the framework. But (as with the current week’s slotting of Jeanette McDorald and Nelson Eddy), where does that leave the teenager in terms of luring him to the CBS channel? _. | Perhaps with a 9 to 10 p.m. show. ‘Although the fare was billed as casing it would not be faced with this problem, but the problem does e “Big Record” was endowed with some fine trappings, not the least of which was Charles Lisanby’s settings {particularly for Miss Hamamura’s turn). And the color was a distinct asset. But what Lee Cooley’s production lacked was individuality, charm and style. ose.