Noble failure: The Richard Boone Show

Logo for The Richard Boone Show

On occasion, television shows attempt to punch above their weight. They may not succeed, but they deserve a salute for the effort.

That applies to The Richard Boone Show, which ran for one season (1963-64).

Boone (1917-1981) was at his height of popularity in the early 1960s.

He had starred for six seasons as Paladin in Have Gun — Will Travel. With the end of that popular Western, Boone pretty much could write his own ticket.

The actor was not a typical star. He had quirky tastes. What he wanted to do was the television equivalent of a theater company performing different plays each week.

Boone had a receptive audience in Mark Goodson and Bill Todman. The duo supervised popular game and panel shows such as What’s My Line?, Beat the Clock and To Tell the Truth. But they also wanted to break out of the genre.

In that regard, the Goodson-Todman track record was mixed. They produced a Philip Marlowe series that lasted one season. They also produced The Rebel, a Western series that ran for two series today best remembered for a Johnny Cash title song.

Goodson-Todman was determined to turn The Richard Boone Show into a prestige series.

As producer, Goodson and Todman hired Buck Houghton, the producer of the first three seasons of The Twilight Zone. Clifford Odets was brought on as story supervisor, to line up scripts for the new anthology show. Odets, unfortunately, died in August 1963 during production of the series.

For the “company of players,” the regulars included the likes of Harry Morgan, Robert Blake, Jeanette Nolan, Ford Rainey, Lloyd Bocher, Laura Devon, Warren Stevens and other familiar faces on early 1960s television.

Many of the episodes starred Boone, but not all. When Boone wasn’t the lead player, he would portray a secondary character. Meanwhile, the cast had plenty of opportunities to display their acting abilities.

In many ways, the “company of players” was like an actual theater company with the actors playing around with makeup, include bald caps, fake mustaches, putty noses, wigs and such.

In terms of music, the production team hired Henry Mancini to come up with a theme while episodes were scored by composers such as Bernard Herrmann, Fred Steiner and Lalo Schifrin.

Today, in the 21st century, it’s easy to image an undertaking like The Richard Boone Show being televised on Netfilix or Hulu as an original series (depending on the headliner). But, during the 1963-64 series, the series ran for a year before disappearing.

In a commercial sense, the show was a failure. Artistically, it was a noble failure. What follows is the unusual opening and end titles of the show.

 

John Wick 2 and Logan: Peckinpah for the 21st century

John Wick Chapter 2 poster

John Wick Chapter 2 poster

The name Sam Peckinpah (1925-1984) doesn’t come up much these days. But somewhere old Sam has to be amused that two films following in his footsteps are among the best reviewed movies of 2017.

Those movies would be John Wick Chapter 2 (with a 90 percent fresh rating on the Rotten Tomatoes website) and Logan (at 93 percent).

Peckinpah, meanwhile, became known mostly for film violence in movies such as The Wild Bunch and The Getaway. Monty Python in the 1970s did a Peckinpah parody titled “Salad Days,” where a party is the English countrywide becomes an orgy of blood and severed limbs.

Peckinpah was more than that, of course. One of his earliest films, Ride the High Country, is a mix of ode to classic Westerns with key updates in the movie’s middle section. The 1962 film also lacks the kind of violence he’d be known for later.

There’s an edge to Peckinpah’s work. In a 1956 episode of Gunsmoke scripted (but not directed) by Peckinpah titled The Guitar, citizens of Dodge City manage to lynch two villainous types. But there’s nothing Matt Dillon (James Arness) can do about it. It’s also strongly implied his assistant Chester (Dennis Weaver) was in on it.

Hugh Jackman in Logan's poster

Hugh Jackman in Logan’s poster

Also, there are a few of James Bond-related things related to Peckinpah.

Tomorrow Never Dies was directed by Roger Spottiswoode, who had an “editorial consultant” credit on Peckinpah’s The Getaway and was an editor on the director’s Straw Dogs and Pat Garrett & Billy the Kid.

Spottiswoode favored a slow motion technique similar to Peckinpah’s in Tomorrow Never Dies. Years later, the climax of the Sam Mendes-directed Skyfall was compared by some to Straw Dogs.

Anyway, Peckinpah’s name tends to be overshadowed by classic director such as John Ford and Howard Hawks as well as directors who started their career later, such as Steven Spielberg.

Still, in 2017, John Wick Chapter 2 and Logan seem to dip deep into Peckinpah techniques and themes.

In the two R-rated movies, the title characters kill dozens of people in messy ways. John Wick’s violence is a bit more stylized, akin to Peckinpah’s work. Both feature characters who are drawn into their situations reluctantly but don’t back down, not unlike Peckinpah’s Steve Judd (Joel McCrea) in Ride The High Country.

This isn’t to say the similarities are intentional. Logan cites a classic Western (and it’s about as subtle as a heart attack) not directed by Peckinpah (don’t click if you’re spoiler adverse).

Nevertheless, Peckinpah enthusiasts may find themselves amused if they sample either movie.

2017: Spielberg’s future arrives

Title card for The Name of the Game episode LA 2017

Title card for The Name of the Game episode LA 2017

Some time back, the blog examined the television series The Name of the Game, about a publishing empire.

It’s now appropriate to take a look at the show’s most unusual episode:  LA 2017, a dystopian tale about, what seemed in 1971, a far-off year in the future.

It was also one of the early directing credits for Steven Spielberg. LA 2017 originally aired Jan. 15, 1971, less than a month after the director’s 24th birthday.

The Name of the Game tackled current events as experienced by key personnel at Howard Publications, headed by Glenn Howard (Gene Barry).

For LA 2017, the production team decided to address the environment — but in a way the series hadn’t previously attempted.

Producer Dean Hargrove commissioned a script by science fiction writer Philip Wylie. As the episode begins, Glenn Howard is driving in Southern California. The publisher is planning a campaign across his magazines to highlight environmental issues.

As Howard drives, he uses a tape recorder to dictate a letter to the president. “Priorities have to be established or this may very well be the beginning of the end for Earth as we know it,” he says.

Howard has an accident, and ends up in a ditch. He also, seemingly, is now in 2017. An ecological disaster has forced people to live underground. National governments have been replaced by corporate ones.

Despite being a CEO, Glenn Howard doesn’t like what he sees and sides with those resisting the corporate order. The episode eventually ends with it being revealed that it (probably) was a dream. Spielberg’s last shot is of a dead bird. presumably not to let the audience off too easily.

The episode’s title card, primary actors and the writer, producer and director credits are in a font used a lot at that time because it seemed futuristic.

Wylie turned the story into a novel, Los Angeles: A.D. 2017. He died late in 1971 at the age of 69. Spielberg’s career, meanwhile, was still gearing up.

Mary Tyler Moore’s noir beginnings, role as TV mogul

Mary Tyler Moore's unusual title card for an episode of the Thriller TV series

Mary Tyler Moore’s unusual title card for Man of Mystery, an episode of the Thriller TV series

Mary Tyler Moore died Jan. 25 at the 80, The New York Times and numerous media outlets reported. Quite understandably, the obituaries focused on how she, in the words of the Times, “helped define a new vision of American womanhood” with The Dick Van Dyke Show and The Mary Tyler Moore Show in the 1960s and ’70s.

That’s because a woman wearing pants (as her Laura Petrie did in Van Dyke) or being an independent career woman (as her Mary Richards was on her namesake show) were considered big deals at the time.

The purpose of this post is to highlight other parts of her lengthy career: Her start on black-and-white TV and her later role as television mogul.

Her early credits included Sam, the woman answering service during the third season of Richard Diamond, Private Eye. She also made the rounds in guest appearances on other detective shows of the era such as 77 Sunset Strip, Hawaiian Eye, Bourbon Street Beat and Checkmate. This was a time that television was almost entirely filmed in black and white.

The actress also appeared in two episodes of the Boris Karloff-hosted anthology show, Thriller. She was more prominent in her second appearance, Man of Mystery. That episode ran during the 1961-62 season, which coincided with the first season of The Dick Van Dyke Show. CLICK HERE for a review at a Thriller fan website.

Moore, in 1969, formed MTM Enterprises with her then-husband Grant Tinker. MTM produced The Mary Tyler Moore Show but it would quickly expand.

Initially it stayed with situation comedies (including Mary Tyler Moore Show spinoffs) but branched out into drama and other formats. Its hour-long shows included the medical drama St. Elsewhere and Remington Steele. The latter made Pierce Brosnan a star in the United States and put him in position to take the role of James Bond.

MTM would change ownership a number of times before eventually dissolving in the late 1990s. But it left a significant mark on U.S. television.

Tinker and Moore divorced in 1981. Tinker died in November at age 90.

 

Ringling Bros.’ demise and movies they don’t make anymore

Poster for The Greatest Show on Earth

Poster for The Greatest Show on Earth

Ringling Bros. and Barnum & Bailey Circus will shut down in May, The Associated Press reported. Its demise recalls the kind of movie you don’t see in the 21st century: The Greatest Show on Earth (1952).

Greatest Show won the Best Picture Oscar, beating out High Noon, Ivanhoe, Moulin Rouge and The Quiet Man. It’s hard to imagine Cecil B. DeMille’s mix of spectacle, soap opera, comedy and other elements even being made today, much less nominated.

Gruff circus boss Charlton Heston tries to keep the circus rolling while circus acts Betty Hutton and Gloria Grahame are in love with him and new star attraction Cornel Wilde causes a lot of trouble. And there’s James Stewart’s mysterious clown who never takes his makeup off. DeMille himself is a presence, narrating the film.

The movie was also an early example of product placement. It was produced in cooperation with Ringling Bros, with circus executive John Ringling North playing himself. It also has cameos from the likes of Bob Hope and Bing Crosby watching a circus performance and Edmond O’Brien as a midway barker at the end.

In real life, the circus already was facing changing times when Greatest Show was released. One of the plot points is how some circus management want to end circus big tops and keep to major cities. The circus ceased staging performances in tents in 1956.

The demise of the circus was also due to changing times, according to the AP story.

The iconic American spectacle was felled by a variety of factors, company executives say. Declining attendance combined with high operating costs, along with changing public tastes and prolonged battles with animal rights groups all contributed to its demise.

Nothing lasts forever. Ringling Bros had a good run at 146 years.

For those who haven’t seen the 1952 movie, this extended trailer gives you a sense of what the film was like.

Sony says it won’t sell movie business

sonylogo

Sony Corp.’s chief executive officer said Friday that the Japanese electronics company is not selling its movie and entertainment business, according to a report in The New York Times.

The Times’ story is mostly about how Michael Lynton is stepping down as head of Sony Pictures Entertainment.

Lynton is departing effective Feb. 2. Kazuo Hirai, the Sony Corp. CEO, will take a more active role at the entertainment unit, according to The Times, including keeping an office at Sony Pictures offices in Culver City, California.

Here’s an excerpt from The Times’ story:

Mr. Hirai also emphasized that the studio was not for sale — a persistent topic of Hollywood speculation — calling movies, television and music “essential parts of Sony.”

Here’s why James Bond fans should care: Sony has released the last four James Bond films. Its most recent two-picture deal expired with SPECTRE. The company has said it wants to continue its 007 relationship with Metro-Goldwyn-Mayer, Bond’s home studio.

For now, MGM has no distribution deal for Bond 25. Under terms of its most recent Bond deal, Sony’s profits were low compared with MGM and Danjaq LLC, parent company of Eon Productions.

The departing Lynton was embarrassed by the 2014 Sony hacks. But he survived, unlike studio executive Amy Pascal. Pascal, in turn, had a close relationship with Barbara Broccoli, the Eon boss. Pascal ended up with a producer’s deal at Sony.

Pascal was a producer of last year’s Ghostbusters movies, which Sony hoped would become a franchise. That’s now considered unlikely after generating worldwide box office of about $229 million.

William Peter Blatty dies at 89

Poster for 1967's Gunn

Poster for 1967’s Gunn

William Peter Blatty, best known as author and screenwriter of The Exorcist, has died at 89, according to an obituary by The Hollywood Reporter.

Blatty’s death was disclosed by Exorcist director William Friedkin on Twitter.

Blatty won an Oscar for best adapted screenplay for The Exorcist. Prior to the 1971 novel and 1973 movie, Blatty was a collaborator with director Blake Edwards.

The two scripted 1964’s A Shot in the Dark, arguably the funniest of Peter Sellers’ Inspector Clouseau films, and 1967’s Gunn, a movie adaptation of the Peter Gunn series created by Edwards.

For the latter, Edwards and Blatty took the premise of the first Peter Gunn episode (a gangster who’s a friend of Gunn’s is murdered) and expanded it. One of the movie’s inside jokes was having composer Henry Manchini playing a piano at a bordello. The movie retained Craig Stevens as Peter Gunn while recasting supporting roles.

Here’s Friedkin’s post on Twitter:

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Author Stephen King also wrote a tribute:

 

Carrie Fisher, icon for Baby Boomers, dies at 60

Carrie Fisher

Carrie Fisher

Carrie Fisher, an icon for Baby Boomers as Princess Leia in the Star Wars films, has died at 60, according to an obituary in The New York Times.

Fisher suffered a “cardiac episode” during a London-to-Los Angeles flight on Dec. 23, the Los Angeles Times reported that day.

Fisher played Princess Leia for the first three Star Wars movies (but chapters IV, V and VI of the saga), released in 1977, 1980 and 1983. She again played the role of Leia, now a rebel general, in 2015’s Star Wars Episode VII: The Force Awakens. She had completed work on the untitled eighth episode, due out in December 2017, The New York Times said, citing Walt Disney Co.’s Lucasfilm unit.

In between, she emerged as writer as well as an actress. Her life was a public one. Fisher publicly discussed her bipolar disorder and addiction to cocaine. She was married briefly to singer Paul Simon.

Some of her writings, such as the novel Postcards From the Edge, were autobiographical. Fisher wrote the screenplay for the 1990 movie based on the Postcards novel.

Some of her non-Star Wars parts included a woman involved with an affair with a married man in 1989’s When Harry Met Sally.

“You’re right, you’re right. I know you’re right,” Marie, Fisher’s character, would respond when her friends said she end the relationship. The line became a catch phrase.

Fisher, born Oct. 21, 1956, was exposed to entertainment publicity from an early age. She was the daughter of actress Debbie Reynolds and singer Eddie Fisher. Both of Fisher’s parents were big stars at the time. Eddie Fisher later left Reynolds for actress Elizabeth Taylor.

She became an actress herself with 1975’s Shampoo, followed by the original Star Wars (now Star Wars Episode IV: A New Hope).

Tributes to Fisher were posted on media after her passing.

Batman v Superman: When being No. 1 isn’t enough

Batman v Superman poster

Batman v Superman poster

Batman v Superman: Dawn of Justice shows that these days being No. 1 isn’t enough — it’s by how big a margin and how you compare against expectations.

The Warner Bros. superhero movie was No. 1 at the U.S.-Canadian box office for the second weekend in a row. But its box office performance for the April 1-3 weekend plunged 68 percent to $52.4 million, VARIETY REPORTED.

Typically, movies fall off about 50 percent or so from their first weekend to the second. It should also be noted that Batman v Superman’s $166 million first weekend was fattened up with $27.7 million in Thursday night showings.

Still, a decline of almost 70 percent isn’t good news anytime it occurs. Pamela McClintock, senior film writer for The Hollywood Reporter, added more perspective in a tweet on Saturday:

So, yes, in its second weekend, Batman v Superman ($250 million production budget) didn’t do as well as the R-rated, much more modestly budgeted Deadpool ($58 million) did during the Feb. 19-21 weekend.

Variety’s Brent Lang explained why this is bad news for Warner Bros.

“The major problem facing the studio is it doesn’t just need “Batman v Superman” to be a hit, it needs it to be so fervently embraced that fans will show up to see sequels and spin-offs for years to come,” Lang wrote. “The film is intended to kick off an interconnected cinematic universe of DC Comics characters that Warner Bros. hopes will rival what Marvel has achieved with the Avengers films.”

BvS brushes off bad reviews, has $166M opening

Batman v Superman poster

Batman v Superman poster

UPDATE III (March 28): Actual U.S.-Canada weekend figures came in on Monday, March 28 for Batman v Superman: Dawn of Justice. The haul was a few million less but still large, at $166 million, according to Exhibitor Relations.

That means the movie was the seventh-best opening weekend of all time and No. 2 Warner Bros. opening, with Harry Potter and the Deathly Hollows Part II retaining the crown at $169.2 million.

ORIGINAL POST (March 27): For Batman v Superman: Dawn of Justice, all the bad reviews were like bullets bouncing off Superman’s chest. The superhero movie had an estimated opening weekend in the U.S. and Canada of $170.1 million.

It was the sixth-best opening weekend of all time, unadjusted for inflation, entertainment research and data company Exhibitor Relations said in a post on Twitter.  It was also the biggest Warner Bros. opening ever, Exhibitor Relations said.

The development was a welcome piece of good news for Warner Bros. The studio had a terrible 2015 at the box office, so having any hit would be a relief. However, Batman v Superman also represents the studio’s attempt to catch up to rival Marvel Studios and its extended fictional universe of superhero films.

Batman v Superman specifically sets up a Justice League movie scheduled to go into production next month for a November 2017 release.

The Justice League of America is DC Comics equivalent to Marvel’s Avengers super hero group. (The JLA was first and was a revamp of an even earlier group, the Justice Society of America.) Marvel has produced its own movies since 2008, including Avengers films in 2012 and 2015.

Batman v Superman, besides its title characters, includes Wonder Woman as well as cameo appearances by other characters who’ll be part of the Justice League.

The movie had some setbacks. It originally was set to come out in July 2015. Warners pushed it back to May 2016 but retreated after Marvel announced it was going to have the third Captain America movie in the same date.

That film ended up being Captain America: Civil War, which is almost like another Avengers film and will bring Spider-Man into Marvel’s film universe for the first time.

Then, came the reviews. Batman v Superman received so many pans, it has a 29 percent rating (as of this morning) on the Rotten Tomatoes website.

Variety has estimated Batman v Superman will need worldwide ticket sales of $800 million to break even. Given all the hype, it probably needs a $1 billion box office to be seen as a success. People likely be watching carefully how much next weekend’s box office falls off for BvS.

Regardless, after all the setbacks, Warner Bros. executives presumably are breathing easier about the expensive movie.

UPDATE: Batman v Superman’s estimated worldwide box office currently is $424.1 million, according to Box Office Mojo.

UPDATE II (7:50 p.m., New York time): Warner Bros. executives took a victory lap later Sunday, including a quote about there’s “a disconnect between critics and audiences,” according to ComicBookMovie.com.