Variety (October 1958)

P'AitlETf TELEVISION REVIEWS Vcdneiday, October 8, 1958 ADVENTURES OF OZZIE AND! HARRIET j With Onie, Harriet, David- wad Rick Nelsee; Janet lake. Skip Young, James Stacy, Bob Berg* dahl, Chris Olsen, Stuart Wilson, Rosemary Ace , Writer - Producer - Director; Ozzie Nelson Associate Producer: Leo Pepin 30 Mins., Wed., 8:30 p.m. EASTMAN KODAK, QUAKER OATS, (Alt.) , ABC-TY, (film) (J. Walter Thompson) The Nelson family-—Ozzie, Har¬ riet, David and Ricky—have been been combining their -talents in family comedy for many years on radio and ♦ tv. They’ve brought much amusement and a sense of personal identification to parents as well as growing tots ’n’ teens. With a laugh-generating- format that’s paid off generously- in the past, there’s no point in changing it now. Thus, for the start of the show's seventh ty season Wed. (1) via the ABC net Chez Nelson again was faced with a problem of paramount proportions. More accurately, the difficulty was that of son David who found himself in some em¬ barrassing situations because of his shyness in asking fellow student Janet Lake for a date. Curiously, brother Rick has no trouble with his dates but when David tries to line up a slick chick it seems that everything goes wrong. Head writer Ozzie Nelson, who also produces and directs the half- hour filmed series, tossed in such mirth provokers as having young David walking into a post while dancing with Miss Lake, stepping on. her foot and losing her coat check. Aiding and abetting the season’s initialer aside from those already mentioned were Ozzie and Harriet as the easy-going parents and several college students headed by Skip Young* Rick Nelson, a top disk star in his own right, is spotlighted in one vocal, " Till I Fell in Love with You." With wavy black hair, pen¬ cilled eyebrows and sideburns plus the inevitable guitar, he appears to be going out of his way to re¬ semble Elvis Presley. That's one way to snare pony tellers’ attention for sure. While ‘‘The Adventures of Ozzie and Harriet" undeniably is pleas¬ ant entertainment, producer Nel¬ son would do well to make less use of the laugh track. Sharing the tab this season on an alternate basis are Eastman Kodak and Quaker Oats. Latter is a returnee to the OAcH stable, having been a mem¬ ber of the fold several years ago. Gilb. LEAVE IT TO BEAVER With Barbara Billingsley, Hugh Beaumont, Jerry Mathers, Tony Dow,. Rusty Stevens, Doris Packer Producers: Joe Connelly, Bob Mosher Director: Norman Tokar Writers; Connelly, Mosher, Dick Conway, Roland MacLane 30 Mins.; Thors., 7:30 p.m. MILES LABS, RALSTON PURINA ABC-TV (film) IGoeffrey Wade, Gardner ) "Leave It to Beaver" relies more on the soft chuckle than the yock for its laughs, but occasionally producers-writers Joe Connelly and Bob Mosher overdo it and the result is a relatively flat show. Relatively is the key woFd, since they've developed "Beaver” into the kind of property that can never go far off base; it’s just that some shows don’t generate the mileage that the series as a whole does. Such is the case with the sea¬ son^ opener, which though posing a typical childhood situation, falls somewhat short of the standard of humor that’s been set for "Beaver." This time out, Hugh Beaumont overdoes the homework hit for Jerry Mathers, the Beaver, and comes up with a prizewinning poem which Beaver must then recite in assembly. Naturally Beaumont and Barbara Billingsley don’t want him taking credit for something he didn't do, and it’r this problem that keys the situation. Though director Norman Tokar got in some, good scenes, particu¬ larly the segment where Beaumont is trying s to cpmpose the poem with- an overactive. Beaver at his aide, show as a whole tended to be one of the mor e'disappointing "Beaver’'* segments, particularly as this was the seasonal opener in the show’s switch to ABC. Jerry Mathers is a fine Beaver, with a bland Innocence that befits the part perfectly; Beaumont and Billingsley have the right measure of wryness as the parents, and Tohy Dow ' as Wally, the older brother, mixes the perfect degree of sympathy and occasional detach¬ edness. Rusty Stevens is good as a neighborhood youngster. ‘-Beaver" is consistently a sound show, but this Was just one case i where the writing could have been a .little sharper. Chan, j RED* SKELTON SHOW ' WRk Lfteraee, Jack Boyle Dancers, Sandra Giles, Robert Eyer, Hec-] , tor Torre*, others Producer: Cecil Barker Director: Seymour Berns Musical Director: David Rose Writers: Sherwood Schwartz, Jesse Goldstein, Dave O’Brien 30 Mins., Tues., 9:39 p.m. PET MILK, JOHNSON'S WAX CBS-TV, from Hollywood ( Gardner; Foote, Cone It. Belding) In the case of Red Skelton, fa¬ miliarity breeds contentment. Lay¬ out ushering in the new season (Skelton’s sixth on CBS-TV) dif¬ fered neither structurally nor styl¬ istically from those of last year. It was a pleasantly diverting show —not smasheroo, just comfortable and warm. There must be a reason why, when other comics burn out from excessive video exposure, a funny¬ man like Skelton is not withered by age nor his variety staled by custom. Possibly it is because his show does not try for too much. The gags and puns are profuse and mostly corny, but the vet comic tosses them off crisply with appar¬ ent unconcern whether they get a big laugh or a small one. He can deliver a bad one-liner as well as anyone, and if it lays an egg—well, on to the next one. Fortunately, he is also a sight comic, a clown versed in mimicry and in the art of the pratfall. First outing he got off a brilliant panto tour-de-force, screwing his face into six different characterizations of fans at the ballpark passing down hot dogs to a small boy. It was his top contribution of the evening. Warmup talkalog was very successful and was studded with Several rich gags. A* was the case last year, the season starter pegged itself on the World Series theme. Freddie the Freeloader skit, which seemed to -take up most of the show, had the tramp scrounging for the price of a raffle ticket, winning the prize (a ticket to' the World Series), and. then donating the ducat to a boy who was heartbroken at not being able to go. Liberace assisted In the sketch as Skelton’s partner in pauperdom, and he carried off his part as the foil with some comedy flair. Pianist managed to ripple off a few bars after the skit but gave in to a hasty close, during which Skel¬ ton was unintentionally funny in flubbing several plugs. He : brought on, for a quickie introduction in connection with a Johnson’s Wax promo, young Hector Torres, win¬ ning pitcher of the Monterey, Mex¬ ico bezbol team, champs of the Littie League world series. The camera work was erratic on several occasions,- but the show bore up in : spite of it. Les. LORETTA YOUNG SHOW With Mark Dana, others Producer: John London Director: Richard Morris 30 Mins., Sun., 10 p.m. PROCTOR. & GAMBLE NBC-TV (film) (Benton & Bowles) Loretta Young was as dress conscious as ever in her preem (5) of "The Loretta Young Show” on NBOTV, also marking her sixth consecutive year as mainstay of the highrated Sabbath night series. Opeiier had Miss'Young portray¬ ing two parts in a somewhat suspenseful vehicle tagged "The Near Unknown”, in which she tried to scram) from gangster friends and also as a respectable girl who looked like her and could be rubbed out instead. How¬ ever. the gun moll' had' conscience pangs before the 30 minutes were up and both love ; and justice final¬ ly trlumped. Mark. Dana played a Small bit.'well but the brunt of the two-role performance was carried by Miss Young with skilL Richard Morris did a swift di¬ recting job and Norbert Brodine’s photography, especially of the Gotham streets and montage ef¬ fects, was of a superior stripe. In the hostess bit at the opening Mtn* Young came on wearing a drOsa with, a loose panel starting at the neckline and caught just below the bosom with a satin rib¬ bon and a rose to dorm sunburst gathers and an Empire look. It was *. stunner,- but too bad she to shed it in Order to get into the inajor roles of the evening. John- London, as producer of “The Lol'etta Young Show,” also gave the preem somewhat of a re¬ ligious flavor, with effective in¬ terior church scenes in the Toreto Films package. Bans. • ALFRED HITCHCOCK PRESENTS {'Strange Tale ef/Poison’) With Hitchcock, host; Wendell Corey, James Donald,. Arnold Mow, Weaver Levy Producer: Joan. Harrison Assoc. Producer: Norman Lloyd Director: Hitchcock Writers: Casey Robinson, Roald Dahl 30 Mins.; Sun., 9:30 p.m. BRISTOL-MYERS CBS-TV (film) (Young & Rubicam) In. good chiller-diller style, "Hitchcock Presents” began its fourth season Sunday (5) at 9:30 p.m. with a tale of a poisonous snake on CBS-TV. At this late date, it’s hardly, news that "Hitchcock” is head and shoulders above many of . the murder and mayhem series pop¬ ping into the living room. When "Hitchcock” commits murder, it has class. He gets some believable pyschological motives, creates sus¬ pense and leavens the proceedings with prosaic tilings, like getting the wrong number for a crucial phone call. And the 30-minute format is just perfect for his vehicles, scenes clicking away for the final time- bomb explosion. There have been better episodes in the series than this fall’s opener “Strange Tale of Poison.” But, the preem too, had its moments* Initialer concerned the plight of a man with a poisonous snake lying on his stomach. Story took place on the outskirts of Singapore and involved only four actors, discount¬ ing Hitchcock’s tongue - in - check hosting chores. Jamgs Donald played the British plantation owner caught in the predicament while lying in his bed. Wendell Corey portrayed his partner, who begrud¬ gingly goes to his aid after ad¬ ministering some mental torture* Arnold Moss was the doctor who ■ effects the rescue; and Weaver] Levy, in a bit part, as the Moss i houseboy. j Suspense was created right from the start, but it simmered down about midpoint. The teleplay by Casey Robinson from a story by Roald Dahl could have illuminated the conflict between the two busi¬ ness partners better. The viewer was given only bare hints of the enmity between them. Direction by Hitchock had the master’s touch. The series should still command attention. Horo. MASQUERADE PARTY With Bert Parks, Dane Clark, Audrey Meadows, Jan Murray, Laraine Day Producer: Herb Wolf Director: Lloyd Gross 30 Mins.; Thurs., 10:30 p.m. P. LORILLARD CO. NBC-TV, from N.Y. (Lennen & Newell) "Masquerade Party,” a summer! perennial, is now being carried over NBC-TV as part of its fall and winter programming sked.. Only a. couple of months ago, the show, which has been moving around the networks with the same basic for-! mat for years now, was a CBS-TV entry as a fill-in for Arthur God- J frey’s vacationing "Talent Scouts." j This time it moves in as replace¬ ment for the -axed “$64,000 Chal-! lenge.” j The offering clings to the simple formula of having a panel of celebs attempt to identify guest personali¬ ties, who appear on the program in costumes, supposedly designed to provide a clue as to who they actually are. The audience is let in on the secret, but the panelists have to make identification through the familiar question-and-answer process. On the overall, the presentation stacks up as okay entertainment. However, to realize its full poten¬ tial, the show is dependent prin¬ cipally on the breeziness . of its panelists, guests and emcee. That was demonstrated last Thursday night (2) mainly by panelist Jan Murray, who tossed off some good quips, and the disguised team of Olsen Sc Johnson, whose zany antics gave the show its biggest boost. Actually, the big change In the program over the years has been emcee and panelists switches. Ably hosting the current program is Bert Parks, while the panelists on the opener, besides Murray, com¬ prised Dane Clark, Audrey Mea¬ dows add Laraine Day. Masqueraders, besides Olsen Sc Johnson,, were Pier Angdi and 4 vet and contemporary from .the baseball field, Rogers Hornsby-and Richie Ashburn, who appeared* .as a team. As is usually the case with pro¬ grams of this nature, most.of the individuals appearing on the show got in plugs for their latest pro¬ jects. Jest, WALT DISNEY PRESENTS (The Nine Lives of Elfego Bscs) With Robert Lends, Robert F. Simon, Lisa Tontell, Nestor Paiva, Leonard Strong, Charles Maxwell, others; Disney, host Producer: James Pratt Writer-Director: Norman Foster 60 Mins.,„Fri., 8 pjn. REYNOLDS METALS, KELLOGG, HILLS BROS. ABC-TV (film) (Clinton E . Frank, Buchanan, Leo Burnett, Ayer) Following an adventure formula which proved its incontestable value, Walt Disney proposes to capture Friday at 8 for ABC-TV in much the way he captured Thursday at 8 , Wednesday at 7:30 and many weekdays between 5:30 and 6 . For the time being, Disney has sublimated the animated car¬ toon for more of the dashing Elfego Baca and other live action fables. With Baca in tow, plus a clique of technicians and the talents of directors, writers and actors, trained in the automatic pursu¬ ance of the Disney method, the new show is likely to be very strong, not just with the kids, but also with adults. Yet the show is Without the pretentions, except the most deliberately transparent ones, of the “adult western,” “The Nine Lives of Elfego Baca,” the first of a multi-part series on “Walt Disney Presents," was about a man who, save for his chaps, could be Robin Hood, Zorro, Davy Crockett, et aL He is their twin in deed and spirit. First hour, consisting of many unrelated adventures, opened the range to all kinds of gallant make believe (despite all the information to the contrary in ABC press releases about this being a true story). Played with an exacting respect for the formula by the darkly Latin Robert Loggia, who has shown himself an actor of prof ounder di¬ mensions in motion picture and theatrical roles, the brave, devil- may-care Baca fought off a lynch mob of 80 men for 33 hours, beat the courtroom treachery of a law¬ yer, showed up a snivelling cousin, befriended a bunch of wild miners, stole a fortune in hard goods for his poor fellow Mexicans, out¬ fought bare handedly a surly giant, outdrew everybody, became sheriff by popular acclamation, and was well on his way to.not only be¬ coming a lawyer for the impover¬ ished, but to changing the statutes of all New Mexico. Throughout it all he smiled; and, in scripted deviation from the formula, he indicated an interest in the lus¬ cious Lisa Montell, who probably will end up Baca’s squaw by the time the season is over. The lightly handled love interest and the ordinary cowboys clothes were the most apparent transgressions in adapting—ever so faintly—the moppet show for adults. (Fully aware that 8 p.ln. is c- the time threshhold when the big folk are about to assume command of the dial, yet when the kids have not yet given up, Disney is even in- j troducing a romantic interest into "Zorro.”) ' . The name "Disneyland,” which hung over Disney’s former Wednesday night time slot, was just too airy-fairy to please adults as well as children. He is chasing down the overlap adult with the less emotionally eyocative title pf ^ “Walt Disney Presents” and in offering a shade more violence than children deserve but will not reject, it will not intrude upon the modus operand! for which he holds such affection; It appears as if the old master will walk his ambiguous path with¬ out once seriously faltering. . Art . WAGON TRAIN (Around The Horn) With Ward Bond, Robert Horton, William Bendix, Ernest Borgnine, Frank McGrath, Terry Wilson, Osa Massen, Sandy Descher, Mare Lawrence Exec Producer: Richard Lewis Producer: Howard Christie Ft Mins., Wed., 7:39 jmh. _ FORD, NATIONAL BISCUIT NBC-TV (film) 1 Walter Thompson, McCann Erickson) - The "Wagon Train" mob took to i the sea for the opening'episode of the 1958 season.- lt was an offbeat setting for Major Seth Adams (Ward Bond) and his boys and it didn’t work out too well . Main fault with the opener was that frontier heroics were mini¬ mized for a romantic tale with "ad¬ vice to Jhe lovelorn" overtones. Plot line had Bond and his aides ahanghied on a schooner bound for a cruise around the "Horn.” On the schooner they are confronted with William Bendix, a benevolent tyrant in charge of the ship; a ne’er-do-well first mate, Marc Lawrence; the captain’s daughter, S3 THE EDDIE FISHER SHOW With Jerry Lewis, Ernie Kovacs, Helen Gallagher, The Four . Saints, other; Buddy Bregman orch Producer: George England Directors: England, Grey Lock- wood Writers: Ken Englund, Bobby O’Brien 60 Mins., alt. Tues., 8 p.m. LIGGETT & MYERS NBC-TV, from Hollywood (color) ’ ’( McCann-Erickson ) Rarely has a television premiere been greeted with the publicity and curiosity accruing to the Eddie Fisher seasonal opener on NBC-TV Tuesday. For the more morbid of the on¬ lookers, the double-entendre or in¬ cident seekers, the show must have been a disappointment — Fisher played it straight down the middle. More to the point, however, the Fisher corps had a great opportuni¬ ty, considering the size of the. audi¬ ence, to make a solid impact and draw off some of those CBS and ABC followers on a permanent basis. Fisher and producer-direc¬ tor George Englund muffed it. Englund mounted a big, flashy, noisy production, but an empty one. When it was all over, one realized there were no high spots and a number of lows. The only excitement that the show engen¬ dered was a brief moment when Dean Martin popped through a curtain in the middle of Jerry Lewis’ routine and hustled right away on the arm of Bing Crosby, but so quickly that neither Lewis nor the audience had more than a glimpse of them. But other than that, show had an aura of flatness about it. Lewis, with “special guest star" billing, did his own turn with Fisher, but the other guests, Ernie Kovacs and Helen Gallagher, were worked into the "script,” and came off the worse for it. Kovacs was virtually wasted, first doing a set-dressing bit with Fisher straight-manning in song, then appearing as a beat- generation poet in a San Francisco boite, and finally as a German emcee in a Milwaukee brauhof. In no instance did he evoke the kind of mirth that’s par for the Kovacs course. Miss Gallagher, also as part of the script, worked in some fine vocals and dance turns with "Old Devil Moon" and a couple of other choruses but also could have been used to better advantage in the comedy vein. That “script,” prepared by Ken Englund and Bobby O’Brien, had an “autumn in America” motif and was the peg on which the show moved to the various nitery* for¬ mats. But it was weak, so were the formats and so were the perform¬ ers. Lewis, in his bit, in which he sought to sing instead of be funny, bad some good moments but over¬ all the turn was uninspired. Of the entire cast, Fisher himself came off best, showing plenty of poise and presence in his chatter end showing considerably more sharpness in his musical delinea¬ tion, particularly on rhythm num¬ bers. But it doesn’t speak well for a shdw of this type when the. guests come off poorly vis a vis the star. On the odds & ends side, Fisher inlroed Milton Caitiff and Dean Fredericks in a plug for Chester¬ field’s "Steve Car.yon” series, and Fred Davis to push Oasis cigs’ "Brains & Brawn.” Four Saints, Air Force quartet, did an okay "Fascinatin’ Rhythm." The double-director setup, with Englund acting as producer-direc¬ tor and Grey Lockwood (ex-Perry Como show) as co-director, didn’t work too well on the opener, with camera framing and switching often registering awkwardly. That ought to shake down quickly, though, and from here on it’s a matter of the seripters working out more satisfactory formatting and working harder with Jtbe guests to make better use of them. Musical¬ ly, show’s fine, with Buddy Breg- man’s backing sharp all the way. Cham Sandy Descher, and latter’s tutor, Osa Massen. Miss Mi>ssen, of course, is in love with the hard-hearted captain, and It isn’t until Bond, after a few stretches in the brig, straightens things otft, Sour note In the whole thing, at least for seagoers, was that Miss Massen, as the-soon-to- be-bride, convinced her intended" that life on the sea wasn’t a fit place for a family so they all joined Bond’s wagon-train west. Now that the troupers back on land maybe succeeding episodes will perk up because for this series it’s the braves and not the briny that makes the terror’s firmer. Grew.