Variety (February 1961)

50 TELEVISION REVIEWS t'SstlPFr 'Wednesday, February 1, 1961 SING ALONG WITH MITCH With Mitch MUIer Oreh * Chen*, Gloria Lambert, Plata Traek, Leslie Usrasw Producer-director: Bill H»M» Choreographer: James Starhuck €0 Mins., FrL, 9 pJtt BALLANTINE NBC-TV, from N. Y. (color) (Wm. Esty) When Mitch Miller launched his first “Sing Along" album of the Columbia Records label several years ago, he started something that many in the industry attempt¬ ed to carbon but which none was able to duplicate in sound or sales. His 11th “Sing Along" LP is on Columbia’s February release sched¬ ule and the total sales of his 10 previous “Sing Along” sets .have topped the 4,000.000 mark for a $20,000,000-plus sales rackup. That’s a hefty record and one which would obviously tempt a sponsor for a try at transferring the formula io tv. With the aid of some simple but effective production trappings and some snappy choreographic items developed by James Starbuck, a delightful tv adaptation of a disk original has been made. On an alternate week schedule with the “Bell Telephone Hour," Bal- lantine looks like it has a solid buy in “Sing, Along With Mitch" in the eastern region. Show is still avail¬ able for sponsorship in other areas. Miller’s formula apparently is to keep it simple and popular. The arrangements of the favorite oldies are handled in a way that fall into the range of any parlor performer. The beat has a zing and the choral group has a boom that draws in the viewer without too much per¬ suasion. As a host Miller put on ‘ his best folksy manner and is sure to become the pet of a majority of rural viewers. The background dressing for the numbers, for the most part, were presented in a way that didn’t in¬ terfere with, the singing matter at hand but occasionally, such as in the production of the “Hey Betty Martin Number," the kiddie chore¬ ography was charming and brought added delight to the whole turn. In addition to his big “Sing Along" chorus, Miller brought in three femmes for change of pace solo stints. Gloria Lambert had a winning spng-and-dance turn with “Put On:a Happy Face," Diana Trask brought a brisk peppy style to “Waltzing Mathilda" and Leslie Uggams was winsome but often too mannered in “Sixteen Going On Seventeen." It’s homespun entertainmeent but it’s spun out with slick show¬ biz savvy. Gros. . . . AND NO BELLS BING With Hugh Downs, host; Wanda Mitchell, Henry Bissex, George Grodahl Writer: Jacqueline Xosenfeld Producer: Don Meier 30 Mins., Sun.; 10 a.ra. WABC-TV, N. Y. (film) How to solve the teacher short¬ age was interestingly probed Sun¬ day (20) in the initial episode of a special two-part education film aired via WABC-TV, N. Y. The film was produced by the National Assn, of Secondary School Princi¬ pals under a grant from the Ford Foundation. Various aspects of the subject were ably covered by host Hugh Downs who interviewed three teachers. He pointed out that so¬ lution to the problem comes not only from obtaining more teachers but in making better use of the teachers who are already available. Illustration pf this point was made through scenes in which stu¬ dents could be seen receiving in¬ struction in groups up to 150. This way, it was claimed, more pupils could be exposed to better quality teachers. In handling units this large the instructor often relied upon such devices as projectors, slides, tape recorders, etc. No disciplinary problems were said to arise from the large class¬ room units. It' was also noted that another method of “spreading the teacher” would be to relieve her of non-instruction duties. The val¬ ue of individual instruction in small student groups was touched upon as well as the need for more “independent" study on the pu¬ pil’s part. In putting this film together, the NAASP had a rambling approach, but ultimately its; points became clear. However, the association’! recommendations may touch ®ff sharp controversy since in the edu¬ cational field practically everyone has his own idea oil how his child should be taught. $ Gilb. FACE THE NATION—DEBATE! j With Howard K. Smith, moderator; j Sen. Engeao McCarthy, Sea, j Barry Goldwater Executive Producer; Fred W. Friendly Associate Producer: Leo Coney Director: Ar Westin ] SO Mins., Thurs„ 19 *m. j CBS-TV. from Washington Television journalism, proudly strutting its stuff these days, lifted its professional IQ another notch with CBS’ new, revised “Face the Nation—Debater’ Thursday (28) in the 10-11 p.m. slot. It was a public sendee program of rare excellence. There was nothing new in the idea or the format. What was new was that CBS was willing to do¬ nate an evening hour without spon¬ sorship for public enlightenment. Give the net a big hand. CBS brought together In the his¬ toric Old Supreme Court Room of the U. S. Capitol (the same room earlier housed the Senate) two of the nation’s most intelligent and eloquent advocates of directly opr posite political philosophies: Sen. Barry Goldwater (R-Ariz.), the con¬ servative; and Sen. Eugene McCar¬ thy (D-Minn.), the liberal. With Howard K. Smith as moderator (permitted only a few interrup¬ tions), the two Senators were given an hour to debate the good and bad of “big" centralized government The issue certainly is a basic one, and it affects every American. It is also of such a sweeping nature, encompassing countless details, that it leaves plenty for discussion in the long stretch of one hour of talk The format is almost the same as “The Great Debates" of the' 1960 campaign, except that there was practically no questioning. Smith did ask two or three questions. CBS has made the new program more debate-like than the Kennedy-Nix- on encounters, and it is therefore better. Further, the disagreement be¬ tween Goldwater and McCarthy is philosophically greater than was the case between Kennedy and Nix¬ on. This made the program a natur¬ al success in advance. CBS’ problem in the weeks ahead is to find subject matter and per¬ sons to debate able to hold audi¬ ence interest for 60 minutes. As plans now stand, there will be an hour program only once a month, relieving some of the pressure. “Face the Nation—Debate!" will be televised on alternate Thursdays, meaning two programs a month. One will be an hour, and the other only “30 minutes, leaving the re¬ maining half hour for a local pub¬ lic service program by the affiliate. CBS got off to a tine start Carp. OPEN MIND j With Prof. Erie F. GoMbub, Rich¬ ard H. S. CroMaiam, Mrs. Rose Halpria, Dr. Joachim Prim Producer; ElcaBor Biger Director: Dick Gillaspie 39 Mins., Sat, Jaa. 39, It fJi WNBC-TV.N.Y. WNBC-TV moved its Sunday dis¬ cussion show, "Open. Mind," up to Saturday night as a local supple¬ ment to the “Nation’s Future" web debate between Charles P. Taft and William F. Buckley Jr. on the question, “Should Church Pulpits Be a Political Rostrum." The NBC flagship localized the issue with a roundtable on “The Relation of American Jewry to IsraeL" The four notables wres¬ tling with the subject were-happily (or unhappily, if controversy is nec¬ essary to lively tele discussion) in virtual total accord all the way. As could be expected, the central issue revolved around Israeli Premier David Ben-Gurion’s criti¬ cism of American Jewry for its lack of allegiance to the new Jewish state. Panelist were unanimous in the opinion that American Jews— even U. S. Zionists—were beholden to America first in any showdown issue, but should, and do, fake an active interest in the “place where Jewish genius can flower, again." Above quote was from Mrs. Rose Halprin. member of the executive committee of the Jewish Agency for IsraeL With her on the panel were Richard H. S. Crossman, chairman, National Executive Com¬ mittee. British Labor Party; and Dr. Joachim Prinz. president, American Jewish Congress. Eric F. Goldman, Princeton U, history pro¬ fessor, moderated. Bill. HORSE RACING (Bougainvillea Tprf Handicap) With Tommy Roberts, Fred Capo- oella , Exec. Producer: Cliff Evans I Producer-Director: Clay Dopp 39 Mins., Sat, Jan. 28, 4:39 pjn, , RHEWGOLD WNEW-TY N. Y., from Miami 1 (F. CAB) Sports. Network, which pipes Saturday horse racing to a 22-city hookup, has done a fine Job of building a few minutes of actual racing into a half-hour show. Color man Tommy Roberts han¬ dled the fore and aft vidtape re¬ runs and interviewed with sure au¬ thority. Fred Coposella, “The Voice of Hialeah," called the running for the Bougainvillea Turf Handicap, fourth In the web’s weekly series. Preceding the big race, Roberts conducted a jockey interview, which covered the pros and cons of turf vs. dirt-track racing, and also got the background on the favorite. Harmonizing, from the next best source to the horses mouth, the owner. And there was a vidtape ruhbff of the day’s second event. As interesting a highlight as the ; (Continued on page 54) Gleason’s Apology for a Bum Show “Last week we did a show called ‘You’re In the Picture, 4 " said Jackie Gleason on Friday (27), “that laid without a doubt the biggest bomb in history. (It) would make the H-bomb look like a two-inch salute." Gleason, who the week before served as emcee of the new panel program, this time sat alone in a bare studio (“there Is nothing here except the orchestra and myself") and armed otherwise only with reinforced coffee, and turned the second half-hour into one big apology. The announcer for CBS-TV, just before Gleason took the air, declared: “Stay tuned in for a special surprise half-hour show with Jackie Gleason" After announcing that Liggett & Myers was bringing the viewers “You’re In the Picture," a second announcer said: “Jackie Gleason (will bring you) what will probably prove to be a very unusual program.” Obviously, everyone was being self-conscious, Including Gleason. He built his entire program around the failings of “You’re In the Picture,” and the premise, while novel (as they made sure to say), was not grounds for a full 30 minutes. Yet the monolog by Gleason was more often diverting than not “How can a thing like this (failure) happen?" asked the comedian. “Show business is a very strange and intangible endeavor.” He further explained how in the dry runs everyone connected, with “You’re In the Picture" howled with joy, and then how the show was panned. “I’m still on the critics’ side,” he said, “because you don’t have to be Alexander Graham Bell to pick up a phone and find it’s dead. The only compliment I received was the commercials were great. But that was ruined when somebody else said they were too short.” Gleason wound up his confession by observing “This isn’t a requiem for a heavyweight. I’m coming back next week. I don’t .know what I’m gonna do but I’m coming back.” The network had planned to resume the panel edition this week, with a new producer and some modifications in the format. Pro¬ ducer is Allan Sherman, veteran of Goodson-Todman. ^ But Gleason, with the web’s blessings, has decided to scrap the panel in favor of a “conversation” show with a weekly guestar, and by midweek was trying to line up Bob Hope or Art Carney. He intends to keep the Identity of the guest a “surprise” until air.time. Art. MMMMMM + M Tele Follow-Up Comment 4-H MM ► MM Play »f the Week Leonid Andreyev’s “He Who Gets Slapped" is no easy play to follow, even in the streamlined adaptation for “Play of the Week” by Joseph Iiss. highly allegorical, it contrasts the Innocence, of youth against the wisHom and weariness of the world in the dreamlike set¬ ting of a circus. For most viewers. It made tough sledding, relieved only by the lu¬ minous performances of Julie Harris and Richard Basehart, Lat¬ ter beats a retreat from the world and joins the circus, only to find that life’s tragedies can be escaped only by death. And when he sees the beautiful and innocent Miss Harris about- to despoil herself through a marriage for wealth to a baron she despises, ha takes her with him. — The symbolism was hard going, but Miss Harris, superb por¬ trayal of the girl conveys the sense of impending tragedy throughout and enlivens the occasionally mys¬ tifying proceedings. Basehart, as the title character, assumed a char¬ acterization of resignation rather anguish but his performance' had a gentle, poetic touch to it that lent perfect counterpoint to Miss Harris. Fine supporting cast, ably direct¬ ed by Canadian Harvey Hart, in¬ cluded Patricia Jessel in a coldly controlled performance as an un¬ happy lion tamer; David Opatoshu in an excellent ‘offbeat (for him) portrayal of a decadent epd im¬ poverished nobleman; L o r i n g Smith as a sympathetic circus own¬ er; Morgan Sterne as an equestrian who's the object of the female af¬ fections in the circus; and Caroll O’Connor as a properly repugnant baron. Pierre Olaf, Will B. Able and Stuart Germain were a fine trio of clowns, and Paul Stevens a frightening symbol of Basehart’s past. Chan . Twentieth Century The first of a two-part series on “Ireland—The Tear and the Smile" was presented on CBS-TV’s “Twen¬ tieth, Century” last Sunday (29) in what most certainly will be re¬ membered aa one of the more fas¬ cinating, interesting and revealing segments of the Prudential spon¬ sored showcase. This was a 30-minute' program lems relating to unification and partition, the mass emigration of her youth (“patriotism is okay, but you can’t eat If’),' her literary and religious traditions, the prob¬ lem of unemployment that’s al¬ ways with her and the thorny censorship issue (“which has op¬ erated in great stupidity.") While time limitations necessi¬ tated capsule treatment. It was wholly absorbing, vivid and point¬ ed in its presentation, and the half- houri capturing the feel of the starkness and the sadness that is Ireland, was treated to as skillful and beautiful an editing, directing and writing job (latter by Eliza? beth Bowen) that “Twentieth Cen¬ tury" has put together since going on the air. ) Both in the scenic footage and visual backgrounding and In the Walter Cronkite-Alexander Ken¬ drick interviewing of Trinity stu¬ dents, an Eamon De Valera. Robert Briscoe, a Premier Lemass, a Sean O’Faolaln, a Brendan Be¬ han, or a plain talkative pub client, it emerged as a swift, concise chronicling of a people — their charms and their problems. Rose. handled “Nothing Can Be Done" and “Isn’t It Romantic" nicely. Roberto Igleslas dancers were fine with their flamenco stuff, and com¬ ic Wally BGag's balloon creations were an okay novelty. Youth was served, albeit with customary rock ’n’ roll mediocrity, by the new team of Hank 8c David and their “Lopsided, Overloaded" disk, and by Jimmy Darren with soso “Walking My Baby Back Home." Duo-pianists Ferrante Sc Teicher wound up the proceedings with the theme music from “Ex¬ odus." In between, Sullivan brought on Salvadore Dali to dem¬ onstrate a new splatter-gun which creates abstract painting effects and presumably speeds up their manufacture. An odd sidelight In an otherwise dull show. Chan. Age of Kings- A full, rounded, rich rendition of “Henry IV, Part 1." was rendered in the “Age of Kings” series on WNEW-TV, N.Y., last week. The second outing for this BBC- produced Shakespearean cycle un¬ derscored the high caliber of the players. Where the production faulted in spots was in the sound. Occasionally, there were almost unintelligible spots, which neither could be attributed to the diction of the players nor the complica¬ tions of the plot. “Henry IV, Part 1" isn’t .the most electrifying Shakespearean drama. It takes time for it to roll up power, to lay bare the plot and reveal the rifch facets of its char¬ acters. Yet, once It’s done, a color¬ ful tapestry of old England is un¬ furled, offering rewarding moments to the viewer. Last week’s 90-minute outing was confined to Acts 1 and 2, with the remainder of the drama being of¬ fered this week. The first chapter ended on the high note of Falstaff and Prince Hal holding court in a tavern. Frank Pettingell as Falstaff was as round, as earthy, as winning, as could be imagined. He lifted the drama to a lilting melody. Robert Hardy as Prince Hall captured the . reckless bounce of youth on a fling, yet sturdy within, aware of his station in life as heir to the throne. Tom Fleming,. as King Henry the This was a 30 -minute' program i fourth, had a regal bearing. Sean replete with tn tofomttote ^ ££*□» ing of Ireland s continuing prob- romance. Others in the company were worthy of the master. Producer Peter Dews and direc¬ tor Michael Hayes of toe BBC used a number of devices to get beyond the confines of the tv studio. The tavern had dimensions - and once or twice sounds were used to gain the dimension of space. Direc¬ tor Hayes could have slackened tot pace a bit in onfe or two spots for a clarifying thread to sink in before skipping along to the next situ¬ ation. These are minor reservations, though. The BBC production stood heads and shoulders above the “Henry IV, Part 1," vidtaped pro¬ duction wjth which National Tele¬ film Associates opened its “The Play of The Week" season on WNTA-TY this season. Horo. Ed Sullivan Show Sunday’s (29) Ed Sullivan outing was not up to his usual par. For one~thing, there was a dearth of the kind of names Sullivan has been outfitting his CBS-TV stanza with in recent weeks, the only real headliner being Carol Channing. And even her turn was far from the best of her offerings. She took her Sophie Tucker and Marlene Dietrich impressions from her current “Show Girl" Broadway revue, and though the Dietrich bit had funny moments, the takeoff on Miss Tucker wasn’t particularly The Witness Going off CBS-TV a week ahead of schedule, “The Witness" bowed out in a curiously flat, listless fashion. It Wasn’t that Talent As¬ sociates had given up the ghost ahead of time, for “Shoeless Joe Jackson," the swansong show, had been taped earlier, before the show was cancelled, and held off be¬ cause of legal complications. But this segment on the 1919 Black Sox Scandal lacked both ex¬ citement and dimension. Jackson, as characterized in the Eliot Asiqof script and portrayed by Biff McGuire, was a far less interesting and appealing figure than some of the criminal characterizations the show has fancified in the past. One mistake was in the decision to allow the committee itself to uncover the scandal through a vig¬ orous grilling of Jackson. In the past, “Witness" has examined its principals after they’ve been caught or their deeds generally known. Because of the decision to have the committee break Jackson ■ down, the progression of the show inspired. The balance of the show , _ was routine, without much excite-; and of the characterization was far men t too crude and simple, with McGuire Sullivan had a pair of capable! first defiantly denying any impli- performers in comic Guy Marks! cation, then suddenly spilling the and singer Carmen McRae. Marks’. beans ^ . ... series of impressions-with-plot line With this requirement, he didnt was a funny turn, and Miss McRae I (Continued on page 64)