45th anniversary of TV spy mania part IV: Would you believe…Tom Poston was the first choice to play Maxwell Smart?

We conclude our look at the 45th anniversary of TV spy mania with Get Smart, which premiered in September 1965. Now, Don Adams as Maxwell Smart. A television classic. How could anything go wrong with that? You’re probably thinking that there could not have been any doubt about that casting.

Well, if you’re thinking that, you’re wrong. Not only was Don Adams not the first choice to play the lead in a parody of James Bond, NBC wasn’t the first network approached. ABC was.

The script was penned by Mel Brooks and Buck Henry. Producer Leonard Stern and actor Tom Poston take it from there:

Once Don Adams was on board, he incorporated his own comedic persona. This clip isn’t from Get Smart, but The Bill Dana Show, where Adams appeared as a hotel detective, Byron Glick. The clip contains a familiar gag that’d be a regular part of Get Smart:

In the pilot, Maxwell Smart and agent 99 (Barbara Feldon) encounter Mr. Big of KAOS, played by an actor who’d shortly make a big impression on CBS’s The Wild, Wild West:

45th anniversary of TV spy mania part III: I Spy’s touch of reality

The television spy mania of September 1965 had a mostly escapist flavor. The primary nemesis of The Man From U.N.C.L.E. was Thrush, a “band of renegades” out “to rule the world.” The Wild, Wild West’s pilot concerned a plot to take over much of the western United States and its third episode would introduce a dwarf mad scientist named Dr. Loveless who had ambitions far beyond that.

I Spy was different. U.S. agents Kelly Robinson (Robert Culp) and Alexander Scott (Bill Cosby) dealt with, well, Soviet and Chinese agents. In other words, it was a series grounded in the Cold War. It wasn’t exactly John Le Carre. We still got exotic locations (or at least exotic for most viewers in the mid-1960s). Like other spy shows of the era, it had its share of challenges to get on the air.

The series was created by writer-producers Morton Fine and David Friedkin. They would be denied a creators credit until the 1994 television movie I Spy Returns, which didn’t air until both men had died. They joined forces with executive producer Sheldon Leonard, who cranked out popular half-hour sitcoms for CBS such as The Andy Griffith Show and The Dick Van Dyke Show. Leonard was looking to expand his customer base (with NBC agreeing to air I Spy) and wanting to do something other than a sitcom.

Robert Culp, however, wasn’t pleased with the Fine-Friedkin scripted/Leonard-directed pilot. In a DVD commentary recorded many years after the series, Culp described locking himself away to work on his own scripts for the show, without knowledge of the producers. Before production began, he had four completed scripts. He took one of them to the producers who, while admitting it was quite good, said he couldn’t just drop off a complete script. Culp was told he’d have to do a “treatment,” or outline, before submitting another.

Culp went back worked up a treatment for the second of his already-completed scripts. The producers liked it and said to write it up. He dropped off a copy the same day. Realizing they’d been had, the Fine-Friedkin team asked just to see what Culp had.

NBC evidently agreed with Culp. The network wouldn’t air the pilot until midway through the 1965-66 season. For the first episode to be broadcast, NBC chose So Long Patrick Henry, one of the Culp-scripted episodes. Here’s the entire episode on YouTube.

I Spy was a landmark show because it featured a white man and a black man as equals while the civil rights movement was in full swing. It also helped make Bill Cosby a huge star. The premier episode can also be enjoyed for Culp’s script (including a bit of dark humor but is also politically incorrect toward Asians, it should be noted), the performances its guest stars. Composer Earle Hagen even managed to drop “The James Bond Theme” in the show’s epilogue. It’s easy to understand why NBC selected So Long Patrick Henry to kick off the series.