Morton Stevens: Obscure composer, famous tune

Morton Stevens (1929-1991)

Morton Stevens (1929-1991)

Another in a series about unsung figures of television.

The name Morton Stevens is barely known by the general public. Yet his signature piece of work — the theme to Hawaii Five-O (or Five-0 as it’s spelled for the revival series that began in 2010) — is almost universally recognized.

In the 1950s, Stevens worked for Sammy Davis Jr. as his music arranger. Then, in 1960, Davis had the chance to perform a dramatic role in The Patsy, an episode of The General Electric Theater, an anthology series.

According to television and film music historian Jon Burlingame (in an audio commentary for the DVD set for the Thriller anthology show hosted by Boris Karloff), Davis wanted Stevens to score the episode. Stevens got the assignment and made a career switch.

Stevens quickly began scoring a variety of genres, including Westerns, crime dramas and horror (the aforementioned Thriller series). And then there were his espionage-show efforts.

Stevens was the first composer to follow Jerry Goldsmith with The Man From U.N.C.L.E. In fact, the very first piece of U.N.C.L.E. music — a few seconds accompanying the U.N.C.L.E. global logo at the start of The Vulcan Affair, first broadcast on Sept. 22, 1964 — was composed by Stevens.

When Goldsmith did the pilot, the show was to be titled Solo. When the show began production of series episodes, the name was changed to The Man From U.N.C.L.E. With that change, the globe logo was devised and it would be shown at the very start of each episode.

Stevens’ “insignia” U.N.C.L.E. music (as it’s known) led off the first 14 episodes of the show. Stevens also did the first new arrangement of Goldsmith’s theme, which first appeared with the 15th episode, The Deadly Decoy Affair. It would be used for almost all of the second half of the second season.

In all, Stevens did four original U.N.C.L.E. scores but his music was frequently re-used in first-season U.N.C.L.E. episodes without an original score. Often, these “stock scores” paired Goldsmith music (composed for three episodes) with that of Stevens. Their styles melded well.

In April of 1965, Stevens became the head of CBS’ West Coast music operation involved with the network’s in-house productions. As a result, he assigned other composers on CBS productions while taking on some jobs himself.

In that capacity, he scored the 1968 pilot for Hawaii Five-O. In that production, Steve McGarrett (Jack Lord) locked horns with Chinese spy Wo Fat (Khigh Dheigh), giving the crime drama a spy twist from the start.

In the first season of the show, Stevens was only credited for an episode’s score (“Music by”) or, on some episodes for “music supervision.”

However, if another composer was credited for an episode, Stevens didn’t get a mention. That was consistent with CBS policy at the time, which denied theme credits for many series, including Gunsmoke, which ran on the the network for 20 years.

A Morton Stevens title card for a first-season episode of Hawaii Five-O

A Morton Stevens title card for a first-season episode of Hawaii Five-O

Early in the show’s second season, Stevens did get a “theme by” credit for episodes where he didn’t provide the score. (When Stevens did provide an original score, he still got a “music by” credit.).

Eventually, the theme had to be turned into a song. Appropriately, Sammy Davis Jr. performed it.

Still, despite how famous the theme became — decades later, it’s regularly performed by marching bands — fame eluded Stevens.

Stevens never moved in a major way into scoring movies unlike contemporaries of his such as John Williams (who, ironically, received the job of scoring the 1969 Steve McQueen film The Reivers from Stevens when CBS was releasing films, according to the Burlingame Thriller commentary track) and Lalo Schifrin.

Stevens died in 1991. His Five-O theme outlived him, however. When the 2010 version of the show debuted, its pilot originally had a “rock music” arrangement that made the rounds on social media before the new show’s debut.

It wasn’t received well. The new series quickly commissioned a more traditional sounding version, which debuted at the 2010 San Diego Comic Book Con. Some of the musicians who performed the theme had worked on the original 1968-80 series.

While Stevens gets a credit on the current series, unfortunately it’s during the end titles. Stevens’ credit flashes by so quickly, you can’t really see it. Regardless, his legacy continues.

 

Stephen Kandel: Have genre, will write

Stephen Kandel from an interview about The Magician television series.

Stephen Kandel from an interview about The Magician television series.

Another in an occasional series about unsung figures of television.

Stephen Kandel, now 89, was the kind of television who could take on multiple genres and do it well.

Science fiction? He wrote the two Star Trek episodes featuring Harry Mudd (Roger C. Carmel), one of Captain Kirk’s more unusual adversaries.

Espionage? His list of credits included I Spy, The Wild Wild West, Mission: Impossible, It Takes a Thief and A Man Called Sloane.

Crime dramas? Hawaii Five-O and Mannix, among too many to list here. His work included a Cannon-Barnaby Jones crossover, The Deadly Conspiracy, a 1975 two-part story airing as an episode of each series.

Not to mention the occasional Western, drama, super hero series (Batman and Wonder Woman) and some shows that don’t easily fit categories (The Magician, MacGyver).

Writer Harlan Ellison in 1970 referred to Kandel as “one of the more lunatic scriveners in Clown Town.” In a column reprinted in The Other Glass Teat, Ellison wrote that Kandel was assigned to write an episode of a drama called The Young Lawyers that was to introduce a new WASP character.

According to Ellison, ABC opted to tone down socially conscious stories among other changes. Kandel wasn’t a fan of the changes. He initially named the new WASP character “Christian White.”

“It went through three drafts before anyone got hip to Steve’s sword in the spleen,” Ellison wrote.

Other in-joke humor by Kandel that did make it to television screens.

One was a 1973 episode of Mannix, Sing a Song of Murder. Kandel named a hit man Anthony Spinner. Kandel had earlier worked for Spinner on the QM series Dan August.

Presumably Spinner didn’t mind. Kandel ended up working for Spinner on Cannon.

Another bit was Kandel’s script for A Man Called Sloane episode titled The Seduction Squad. Robert Culp played a Blofeld-like criminal, except he carried around a small dog instead of a cat.

Kandel wrapped up his television career with MacGyver. Today, somewhere in the world, there may be an episode of some series written by Kandel being shown.

 

Joseph Gantman: On the ground floor

Cover to the first season MIssion: Impossible DVD set

Cover to the first season MIssion: Impossible DVD set

Another in a series about unsung figures of television.

Joseph Gantman in the 1960s found himself on the ground floor of notable television shows.

His primary legacy was as the day-to-day producer for the first two seasons of Mission: Impossible.

Gantman came aboard after the pilot was produced. Series creator Bruce Geller supervised the show, but it was up to Gantman to get things going, including securing a steady stream of scripts that could be filmed. He would end up winning two Emmys for his efforts.

Those two seasons featured some of the show’s best stories, such as Operation: Rogosh (the IMF tricks an “unbreakable” Soviet Bloc operative into thinking it’s three years later so he’ll give up where he’s planted germ cultures that will poison the drinking water supply of Los Angeles).

Gantman was worn down by the time he left the series at the end of its second season. His successors, William Read Woodfield and Allan Balter, who wrote many of the best stories of the first two seasons, bolted after disagreements with Bruce Geller. That was an indication that Gantman’s work wouldn’t be easy to duplicate. M:I was tough on producers generally. Gantman’s tenure was almost a marathon by comparison.

Before Mission, Gantmen worked on the pilot of The Man From U.N.C.L.E. with the vague tile of “production assistant,” but his title card in the television version featured his credit in the end titles on the screen by itself. Presumably, that was an indication he was a key contributor of the pilot.

During the 1964-65 season, Gantman was associate producer for 16 of the 32 episodes of the first season of Voyage to the Bottom of the Sea, when that Irwin Allen-produced shows emphasized espionage over monsters.

Later, during the 1968-69 season, he was producer for five episodes of the first season of Hawaii Five-O, including three of the first five telecast by CBS (excluding the pilot, which aired as a TV movie). Five-O’s initial campaign was rough (it was the first series actually filmed in Hawaii) and it chewed up producers.

Gantman isn’t remembered much today. U.N.C.L.E. is remembered, behind the camera, for the efforts of Norman Felton and Sam Rolfe. Voyage is seen as what launched Irwin Allen’s 1960s shows. M:I is recalled for Bruce Geller’s concept. The original Five-O is remembered for creator-executive Leonard Freeman, who guided the show for six of its 12 seasons before his death in early 1974.

Yet, Gantman was a key lieutenant, at one time or another (just one episode in U.N.C.L.E.’s case) on all of them. That’s why TV shows have title cards.

 

In praise of the 2-part (or more) episode

In the 21st century, many television series are serialized, featuring a story line, or arc, that lasts an entire season. However, there was a time when a story that lasted two (or more) episodes was special, something to savored.

For viewers of the era, such multi-part episodes could be special. Because it wasn’t the norm, such story lines drew attention to themselves. What follows is a sampling.

Poster for One Spy Too Many, movie version of Alexander the Greater Affair

Poster for One Spy Too Many, movie version of Alexander the Greater Affair

The Man From U.N.C.L.E.: In the first-season of the 1964-68 series, extra footage was shot so two episodes could be re-edited into feature films for the international market. Starting with the second season, the show produced two-part episodes that could be more easily be turned into movies.

Six such two-part episodes were made, two each for seasons two through four. One of the best was Alexander the Greater Affair at the start of Season Two. Industrialist Alexander (Rip Torn) was a fan of Alexander the Great and sought to control the world like his namesake. The movie version was titled One Spy Too Many. The television version, though, didn’t make the show’s syndication package and wasn’t seen again until 2000.

Mission: Impossible: The 1966-73 series included a number of two-part episodes. A second-season two parter was re-edited into a movie for international audiences called Mission: Impossible Versus the Mob.

M:I’s biggest multi-part adventure was a three-parter called The Falcon, which aired during the show’s fourth season. Arguably, The Falcon (written by Paul Playdon), was the series most intricately plotted story.

Hawaii Five-O: Another series with multiple two-part stories, some of which (FOB Honolulu, The Ninety-Second War) included Steve McGarrett opposing his arch enemy Wo Fat (Khigh Dhiegh). That includes the series’ pilot, which was re-edited into a two-part story at the end of the show’s first season.

What’s more, Wo Fat stories in the eighth and ninth season kicked off the season and were presented as two-hour episodes. The latter, Nine Dragons, featured extensive location shooting in Hong Kong.

Five-O’s fifth season also had a three-part episode where McGarrett took down the Vishons, a Hawaiian crime family. In the third part, McGarrett has been framed and doesn’t appear to have much chance to beat the rap. For one of its reruns on CBS, the story was re-edited into a two-and-a-half-hour presentation aired on a single night.

Also, a 1979 two-hour episode, The Year of the Horse, featured one-time 007 George Lazenby with “special guest star” billing, though he was a secondary villain. That installment included extensive on-location shooting in Singapore.

Poster for Cosa Nostra, an Arch Enemy of the FBI, movie version of a two-part episode of The FBI

Poster for Cosa Nostra, an Arch Enemy of the FBI, movie version of a two-part episode of The FBI

The FBI: The longest-running series from producer Quinn Martin had four two-part stories. The Defector, the show’s first-season two-parter, was an impressive espionage-themed effort.

The show’s two parter for the second season was The Executioners, which was edited into a movie for international audiences titled Cosa Nostra, an Arch Enemy of the FBI.

The series’ final two-parter, The Mastermind in the seventh season, featured three actors (Bradford Dillman, Steve Ihnat and Scott Marlowe), who were a kind of all-star collection of QM villains.

Mannix: The private eye drama featured a first-season story where Lew Wickersham (Joseph Campanella), the boss of Mannix’s detective agency, appears to freak out for no reason. Part I included a massive fight between Wickersham and Mannix (Mike Connors).

The series wouldn’t do another two-part episode until its seventh and eight seasons, when Mannix (Mike Connors) ran his own private eye agency. Both stories took Mannix out of the United States. The final two parter also included composer Lalo Schifrin’s final original score for the series.

The Wild Wild West: The 1965-69 series combined spies and cowboys. It only had one two-part story, The Night of the Winged Terror, but it was a doozy. It features Raven, a group trying to take over the world, which has demonstrated its power by programming officials into performing various destructive acts.

When the story (written by Ken Pettus) was filmed, co-star Ross Martin was recovering from a heart attack. So character actor William Schallert (1922-2016) played a substitute agent to work with Robert Conrad’s James West.

77 Sunset Strip: The show’s final season (1963-64) began with a *five*-part episode, simply titled “5.” Jack Webb, who had taken command of Warner Bros. television unit, ordered up a major revamp of the private eye series.

Only Efrem Zimbalist Jr. was retained, and his Stuart Bailey character was transformed into a lone wolf detective. “5” plunged Bailey into international intrigue, with an all-star cast of guest stars.

 

Character actor William Schallert dies at 93

William Schallert

William Schallert

William Schallert, a character actor with a long career, mostly on television, died on Sunday at age 93, according to an OBITUARY IN THE NEW YORK TIMES.

The Times’ obit leads off with how he played the father on The Patty Duke Show. But Schallert played in many genres and naturally had experience on spy television of the 1960s.

His roles included Frank Harper, one of the substitute partners for James West (Robert Conrad) in the fourth season of The Wild Wild West when Ross Martin was recovering from a 1968 heart attack. Harper’s appearance took place during the show’s only two-part story, The Night of the Winged Terror. Harper, like Martin’s Artemus Gordon, was a master of disguise. Schallert had appeared earlier in the series in other parts.

Another spy-related role for the actor took place in Get Smart, which gets a mention in The Times’ obituary.

While the typical William Schallert character was focused and serious, he expressed particular affection for an atypical role: the wildly decrepit Admiral Hargrade, a recurring character on the spy spoof “Get Smart” (1967-70), who operated in a perpetual state of confusion. (“He reminded me of my grandmother when she got dotty,” Mr. Schallert said.)

Get Smart actually ran from 1965 to 1970. Schallert’s appearances on the show were from 1967 to 1970, according to the actor’s IMDB.com entry.

Other roles of note for Schallert included: a doctor in a 1967 Mission: Impossible episode; an oily lawyer defending a medical “quack” in a first-season, two-part episode of Hawaii Five-O (the same reason he played Frank Harper on The Wild Wild West); and a guest part in the Sam Rolfe-created 1970s series, The Delphi Bureau.

Veteran TV writer featured in NPR feature story

morning edition logo

NPR’s Morning Edition on March 8 ran A FEATURE STORY about the Motion Picture and Television Fund retirement community and one of the interview subjects was a writer who kept busy on U.S. television.

Anthony Lawrence lives at the retirement community. His credits include nine episodes of the original Hawaii Five-O series, starting with the second season and running through the sixth.

On Five-O, Lawrence often penned stories that had unhappy endings. Among them was a two-part story, Three Dead Cows at Makapuu. In it, an idealistic scientist — who has gone missing after working on the U.S.’s germ warfare program — decides the only way to get the world’s attention is to unleash a potent sample that will wipe out all life on Oahu.

Eventually, the scientist (Ed Flanders) changes his mind and sacrifices himself to prevent the catastrophe. Lawrence, over the course of his career, wrote in various genres, including Westerns such as three Bonanza episodes that told the back story of each of Ben Cartwright’s three wives.

Here’s an excerpt of the text version of the NPR story as it relates to Lawrence:

More recently, a meeting at the campus was almost movielike: TV writer Tony Lawrence, 87, moved to the campus 11 years ago with his wife, Nancy, who had Alzheimer’s. They had been married 50 years when she died. “And that’s why it was so astonishing and such a miracle to find … someone like Madi in my life,” he says.

Madi is Madeline Smith, 75, a former NBC administrative assistant who moved to the campus in 2014. A year later, she and Lawrence got married in the rose garden. On the couch in their small cottage, the newlyweds sit so close together you couldn’t fit a piece of paper between them. This is what, in showbiz, you’d call a happy ending. Especially since neither wanted to move here.

“I thought, ‘Oh no, this is a bunch of old people. I don’t want to live here,’ ” Smith recalls

“Of course, everybody says that before they come here,” Lawrence adds. But then you arrive and, as Lawrence puts it, “You find out you’re one of the old people.”

To view the entire NPR story, CLICK HERE. To listen to the audio, CLICK HERE.

40th anniversary of Hawaii Five-O’s Nine Dragons

Wo Fat triumphs (for a while) over McGarrett in Nine Dragons

Wo Fat triumphs (for a while) over McGarrett in Nine Dragons

This year marks the 40th anniversary of one of the best episodes of the original Hawaii Five-O series, the two-hour Nine Dragons.

The first episode of the 1976-77 season was one of the best encounters between the original Steve McGarrett (Jack Lord) and the original Wo Fat (Khigh Dhiegh).

The episode also featured the most James Bond-like plot of the original 1968-80 series. Wo Fat intends to lead a coup of China, then launch a preemptive nuclear attack on the United States.

To ensure no other nations retaliate, Wo Fat abducts McGarrett. The lawman, under torture, is recorded as saying the U.S. was responsible for the deaths of Chinese leadership (that Wo Fat plans to accomplish). The film will be broadcast as the attack against the U.S. takes place, causing other countries to not attack China.

All of this, of course, is rather fantastic. Nevertheless, it features one of the best performances by Khigh Diegh as Wo Fat. The actor (1910-1991) essentially gets a chance to meld his two best-known characters: Wo Fat and the Chinese brain washing expert in the 1962 version of The Manchurian Candidate.

What’s more, Jack Lord’s McGarrett, for once in the series, is utterly defeated, at least for a time. Despite McGarrett’s resistance, he eventually gives in. McGarrett, naturally, rallies and escapes. McGarrett has no memory of the defeat until he gets a chance to view the film shortly before Wo Fat intends to use it.

Nine Dragons included contributions from one of Five-O’s best writers (Jerome Coopersmith, his next-to-last script) and directors (Michael O’Herlihy, his final effort for the series). Above all, it features one of the best scores for the show by Morton Stevens, who composed the classic Five-O theme.

Finally, the episode includes on-location filming in Hong Kong, a first for the show. To defray the cost, CBS struck a deal with Air Siam (everybody in the epiosde who takes a flight flies on Air Siam).

Five-O would not have such on-location filming until the end of the 11th season, where a two-hour episode was filmed in Singapore (The Year of the Horse), that included one-time 007 George Lazenby.

Follow

Get every new post delivered to your Inbox.

Join 256 other followers