1966: Bob Hope’s spy parody

Cover to a home video release of Bob Hope television specials

In 1962, the final Bob Hope-Bing Crosby Road film, The Road to Hong Kong, provided a kind of preview to what would soon be seen in James Bond movies.

Four years later, in October 1966, Hope devoted most of one of his NBC specials to a parody of James Bond films and other spy entertainment titled, “Murder at NBC.”

In it, Hope plays a mad scientist who has developed a “chemical spray” that can shrink objects or people. He’s demanding $1 billion from the United States or else he’ll sell it to a foreign power.

To be honest, the special is more noteworthy for the comedians assembled than it is for the extended skit itself.

Among the performers: Jonathan Winters, Rowan & Martin, Dan Adams (as Maxwell Smart), Bill Dana (as Jose Jimenez), Johnny Carson (as himself), Don Rickles, Red Buttons, Soupy Sales, Bill Cosby (not playing Alexander Scott fro I Spy), Dick Shawn, Jimmy Durante and Milton Berle (in drag, an old Berle bit).

Some of the misfires: Jack Carter as detective “Charley Chin” (using just about all Asian stereotypes) and Wally Cox as the diminutive Mr. Big, a gag previously used in the pilot for Get Smart when a character by that name was played by Michael Dunn). Finally, there are plenty of Mexican stereotypes in the final sequence.

Put another way, it’s roughly on par with the Eon Productions comedy Call Me Bwana, which also starred Hope.

Toward the end of the story, the mad scientist confronts Mr. Big.

“Who are you with?” Hope’s character asks. “Smersh? KAOS? SPECTRE? What’s your network?”

“NBC,” Mr. Big replies.

If you really want to see it (and how it turns out), a video is embedded below. “Murder at NBC”  begins just after the 8:00 mark following an opening monologue by Hope.

Thanks to Craig Henderson for the tip about this.

 

Don Rickles dies at 90; credits include ’60s spy TV shows

Don Rickles with Don Adams in Get Smart

Comedian and actor Don Rickles has died at 90, according to an obituary posted by The Hollywood Reporter.

Rickles’ insult humor kept him in the public eyes for decades. In the 1960s, he was already well known and became a guest star on a number of spy series of the era.

His spy TV credits include a two-part Get Smart story, The Little Black Book, where he played Sid Krimm, a Korean Army buddy of Don Adams’ Maxwell Smart; a first-season episode of The Wild Wild West where Rickles’ character appears to be the primary villain; and an episode of I Spy, Night Train to Madrid.

Veteran television director Ralph Senensky helmed Rickles’ appearance in The Wild Wild West, titled The Night of the Druid’s Blood. Here is how Senensky described Rickles in a post on his website about the episode.

“Don was a fanatically conscientious actor, deadly serious about his craft. But that was only during rehearsals and filming,” Senensky wrote. “Rickles between shots was the funnyman in charge. Between takes those final four and a half days seemed more like a Las Vegas showroom than a film set.”

That included insult humor aimed at the show’s star, Robert Conrad, according to the director.

“Robert Conrad was not the tallest creature on the planet, but according to Rickles, even with lifts in the shoes he wore, he barely reached the height of Billy Barty,” Senensky wrote.

“Rickles was merciless, but funny….For some reason Don never targeted me. I wonder if it was because he realized which side of the bread his close-ups were buttered on.”

UPDATE (3:35 p.m., New York time): Roger Moore noted the passing of Don Rickles on Twitter.

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A director reflects on making episodes of spy TV

From The Night of Big Blast directed by Ralph Senesky

From The Night of Big Blast directed by Ralph Senensky

Ralph Senesky directed a lot of episodic television, including installments of 1960s spy-related television series. In 2009 and 2010 ON HIS BLOG, Senensky described some of the episodes he helmed in detail.

For example, there was The Night of the Druid’s Blood, a first-season episode of The Wild, Wild West. At this point, the series producer was Gene L. Coon, who “told me that because of the uniqueness of the series, he rewrote most of the scripts; that he used the writer’s first draft submission as a frame for him to build on.”

One of the guest stars was Don Rickles. “Don was always on, with his incredibly sharp wit and acute skills of observation. It seemed almost no one was safe. Robert Conrad was not the tallest creature on the planet, but according to Rickles he barely reached the height of Billy Barty.” However, the director also wrote all that ended when the cameras started to roll. “he was fanatically serious about his work.”

Senensky was back a few months later for a second-season West episode, The Night of the Big Blast. Gene Coon was gone, with Michael Garrison (who had been executive producer) in the producer’s chair. There was one other big change: the series was now being made in color.

To save money during those early years of filming in color, not all of the daily rushes would be printed in color. For each sequence only one setup would be printed in color (it was usually the master shot for the scene). The rest of the takes for that sequence would be printed in black and white. Therefore the work print of the film would bounce back and forth from color master to black and white closeups. It wasn’t until the final answer print that we got to see the entire film in color.

Senensky also describes the work habits of old Hollywood (guest star Ida Lupino) and the then-newer variety during the first day of filming.

The crew reported at the usual 7:30 am; filming was scheduled to begin at 8:00 am. Five minutes before 8, Ida Lupino reported to the set, in costume and makeup, ready to film. At 8:25 am our Miklos, MIchael McCloud, arrived; at 8:50 am Robert Conrad showed up and we were able to start filming. Allthough these late arrivals were not standard practice throughout the television industry, they also were not sole occurrences.

(snip)

But studios and production companies, in the age of television were at a disadvantage. Once an actor was established as a bona fide star of a successful network series, they seemed to hold the stronger hand. If the studio fired Vince Edwards, how does BEN CASEY continue on the air? Or Peter Falk on COLUMBO? Or Robert Blake on BARETTA? It was a different world. I know of a show (which shall remain nameless) where the producer challenged one of the show’s stars. Guess who was the one dismissed! I remember the stunned look on the face of the show’s story editor when he came into the office of the production manager (I was present) and announced, “I’ve just been made the producer.”

At the same time, Senesky describes how Conrad and the stuntmen arranged and rehearsed fights, with Conrad not needing a double being a big help. As for co-star Ross Martin, his “wide range as an actor proved invaluable for Ross to assume many, various identities. In this episode he had the rare chance to be the romantic hero, since Jim West has allegedly been eliminated from the story.”

You can read Senensky’s full posts about Druid BY CLICKING HERE and Big Blast BY CLICKING HERE.

There’s also a post about a late first-season episode of Mission: Impossible (filmed as star Steven Hill was being phased out) that you can view HERE and a second-season episode of The FBI involving an espionage story HERE. Senensky also directed an I Spy episode, but didn’t write about it on the blog.