Tributes To Your Favorite Classic TV Stars (8 Viewers)

[ScottRE]

KEVIN McCARTHY BIRTHDAY TRIBUTE
February 15, 1914 – September 11, 2010

Due to the nature of this series, there will be SPOILERS. You may wish to watch this episode first, if you haven’t seen it.

THE TWILIGHT ZONE
Season One
Episode Twenty Four
Written by Charles Beaumont
Directed by Tony Leader

“Long Live Walter Jameson”

Starring Kevin McCarthy, Edgar Stehli, Estelle Winwood and Dodie Heath
Narrated by Rod Serling

NARRATION: You're looking at Act One, Scene One, of a nightmare, one not restricted to witching hours of dark, rainswept nights. Professor Walter Jameson, popular beyond words, who talks of the past as if it were the present, who conjures up the dead as if they were alive.


In the view of this man, Professor Samuel Kittridge, Walter Jameson has access to knowledge that couldn't come out of a volume of history, but rather from a book on black magic, which is to say that this nightmare begins at noon.

Walter Jameson, a college professor, is engaged to a young doctoral student named Susanna Kittridge. Susanna's father, Sam Kittridge, another professor at Jameson's college, becomes suspicious of Jameson because he does not appear to have aged in the twelve years they have known each other and seems to have unrealistically detailed knowledge of some pieces of history that do not appear in texts. Jameson at one point reads from an original Civil War diary in his possession.

 

[ScottRE]

Later, Kittridge spots the diary's author, Major Hugh Skelton, in a Mathew Brady Civil War photograph and finds Jameson looks exactly like Skelton.

After Kittridge presents these pieces of evidence, Jameson ultimately reveals his real life history. Agelessness (but no immunity to injury) was imparted to him by an alchemist more than 2,000 years ago. Jameson does not know what was done to him, only that the alchemist was gone when he recovered, and he then stopped aging. Soon, he had to become a constant refugee. He tells Kittridge he has learned from living for so long that the point of death is to make life meaningful. He keeps a revolver in his desk drawer, but does not have the courage to use it.

Realizing that if Jameson marries his daughter, she will grow old, and Jameson will eventually abandon her in order to keep his secret, Kittridge refuses permission for Jameson to marry his daughter. Jameson defies him and proposes to Susanna, and they plan to immediately elope.

Briefly stopping at his study, Jameson is accosted by a woman named Laurette, who identifies him as Tom Bowen, her husband. Laurette claims she cannot allow Jameson to abandon Susanna as he abandoned her years ago. She discovers Jameson's pistol lying on his desk and shoots him. Shortly after Bowen leaves, Kittridge enters Jameson's study and finds him bleeding, but seemingly at peace.

 

[ScottRE]

Jameson rapidly ages and collapses on the floor. Susanna enters the house. Kittridge tries to stop her from seeing the aged Jameson, saying only that he is gone. He is unable to keep her out of the room, but inside she discovers only an empty suit of clothes with a white substance near the collar and sleeves. When Susanna asks what is on the floor, the professor replies, "Dust, only dust."

Last stop on a long journey, as yet another human being returns to the vast nothingness that is the beginning and into the dust that is always the end.

The scenes of Walter Jameson's aging were performed by using an old movie-making trick. Age lines were drawn on actor Kevin McCarthy's face in red make-up. During the beginning of the scene, red lighting was used, bathing the scene in red and hiding the age lines. As the scene progressed, the red lights were turned down and green lights were brought up. Under the green lights, the red age lines were prominent. The lighting changes were unseen by the audience because it was filmed in black-and-white. A subsequent episode, "Queen of the Nile", used a similar effect.

Thanks Wikipedia...

As a kid, my first exposure to Kevin McCarthy was in a showing of the classic Sci-Fi film, Invasion of the Body Snatchers. Eventually, I caught this classic episode and he brings to the role of Walter Jameson a wonderfully understated weariness. There’s nothing flashy or showy about the performance and his commitment to reality grounds this episode and makes the larger than life fantasy concept easier to accept and more memorable.

This episode is little more than an extended conversation between two men, almost like a pitch meeting for a larger story. In fact, the story by the great Charles Beaumont is so rich in detail that this would have worked even better as one of the one hour episodes.

The rest of the cast is fine, but McCarthy takes center stage and keeps audiences fully enthralled until the memorable finale. As Walter Jemeson is shot and quickly ages, the transformation is perfect. The sounds he makes as he draws his final breaths is disturbingly realistic. In a classic Twilight Zone twist, the death of Jameson is no defeat. It is exactly what he wanted all along. But it doesn’t make the final image of “dust…only dust” any less chilling.

Kevin McCarthy had a long and varied career primarily in television and was a popular guest star for decades. In his final years, he made rounds at the convention circuit as a welcome and friendly guest. He had said that he received more fan mail for this episode than anything else, other than Invasion of the Body Snatchers. When he made a sly cameo in the 1978 remake, it looked as if he’d hardly aged. Much like Walter Jameson.

In fond memory, we wish Kevin McCarthy a happy birthday.

 

[Jeff Flugel]

Happy 82nd Birthday, Sherry Jackson!​

Gorgeous, 5' 4" brunette Sherry Jackson got her start in showbiz as a child actress in mostly uncredited roles in various B-pictures, with the occasional larger part in more memorable fare, such as The Breaking Point (with John Garfield) and Trouble Along the Way (as John Wayne's precocious daughter). She also appeared in one of my favorite films, the little-seen, heartwarming slice of Americana, 1956's Come Next Spring, co-starring Steve Cochran, Ann Sheridan, Walter Brennan, Edgar Buchanan, James Best and Richard Eyer. (Here's a link to a nice blog article on this underappreciated gem).

Simultaneously, Ms. Jackson was making a name for herself on television, starring on Make Room for Daddy, a.ka. The Danny Thomas Show, as Thomas' daughter, Terry. She left that show early in its sixth season, and thereafter bacame a familiar guest star on many other TV series for the next three decades, including appearances on Surfside 6, 77 Sunset Strip, Riverboat, The Tall Man, The New Breed, Hawaiian Eye, Gunsmoke, Perry Mason, Wagon Train, Rawhide, The Virginian, Lost in Space, My Three Sons, Batman, Love, American Style, The Streets of San Francisco, Barnaby Jones, The Incredible Hulk, Fantasy Island, Vega$, Charlie's Angels, and ChiPS, among many others. Probably her most famous TV role is on the original Star Trek first season episode "What Are Little Girls Made Of?", where she rocked one of designer William T. Theiss' most iconic (and revealing) costumes, which barely clung to her fabulous figure.

So to commemorate Ms. Jackson's birthday, here are some reviews covering a spectrum of her prolific television work:

The Rifleman - 1.9 "The Sister"
Dan Blocker shows up (with amusing mustache) alongside Mort Mills, as two wild but well-meaning brothers who mistakenly assume Lucas McCain (Chuck Connors) is romantically interested in their pretty younger sister (Sherry Jackson). Meanwhile, three gunslingers lurk around, plotting revenge on McCain. This fun episode moves deftly between humor and tension, and was written by Montgomery Pittman, who always seemed to gift his step-daughter Sherry Jackson a plum role in his scripts. The more stuff I see by this guy, the more impressed I am with his work...he had an unusual and fresh perspective, and a real feel for earthy, plainspoken characters. Such a pity his life was cut short prematurely.

The Twilight Zone - 3.23 "The Last Rites of Jeff Myrtlebank"
Young Jeff Myrtlebank (James Best, especially good) opens the lid and climbs out of the coffin at his own funeral, three days after he was pronounced dead by the local doctor (Edgar Buchanan). All the townsfolk, even his family and sweetheart, become fearful and suspicious. Is he still human? Or is something else now possessing Jeff Myrtlebank's body? Gently ambiguous mountain folktale, capped by a nice little flourish of a twist. Also with Dub Taylor and super cute Sherry Jackson as Jeff's intended, the aptly-named Comfort. Written and directed by Jackson's stepfather, Montgomery Pittman, who also wrote two more strong Twilight Zone episodes, "Two" and "The Grave," this aired just a few months before he died from cancer at the tragically young age of 45. Poor Charles Beaumont's fate was even worse. Two extremely talented men, gone too soon, but both leaving a lasting mark. (For more on Pittman, who was so crucial to helping along Ms. Jackson's career, check out this terrific, well-researched article about him).

Maverick - 4.25 “Red Dog”
Maverick (Roger Moore) just happens to bed down for the night near a mountain cave, inside of which is scrawled the message: “This is the place – J.” Turns out that the spot is a rendezvous for a rogue’s gallery of criminal types, summoned there to team up for some kind of big job. Maverick at first pretends to be an outlaw named “Red Dog” to play along with the gang, but soon finds himself their prisoner, and must exercise those old Maverick wiles to break free.

Moore’s last outing as Cousin Beau features a much more "straight down the line" script from the usually idiosyncratic pen of Montgomery Pittman, but is helped greatly by its game cast of rascals, including a cool, laid-back Mike Road as an honorable gunslinger, Lee Van Cleef as (what else?) a taciturn killer, and John Carradine as the loquacious brains of the operation. Pittman’s daughter-in-law, Sherry Jackson, is on hand as the flirtatious young wife of a hotheaded "Billy the Kid" type (Joseph Gallison). One look at handsome, gentlemanly Beau and she’s on the make, causing Maverick no end of trouble.

Ms. Jackson is quoted in Ed Robertson’s book, Maverick: Legend of the West, as fondly recalling her 17-years-old-at-the-time self kissing Roger Moore in this episode. It's obvious that the anecdote is true, judging from the publicity still below, but the scene itself must have been cut, as it doesn’t appear in the episode proper. Another production oddity is the occasional dubbing of John Carradine in certain scenes, by a voice actor who has the cadence down but doesn’t sound at all like the venerable character actor. Perhaps there was a recording snafu of some type in those few scenes and Carradine was unavailable to overdub them. At any rate, it’s the guest cast that makes this episode work, as Moore isn’t given too much to do other than react to his co-stars. Just as well that he became fed up and left the fading Maverick, as it freed him to return to England shortly thereafter and begin filming his signature role as Simon Templar, a.k.a. The Saint.

The Lieutenant - 1.16 "Gone the Sun"
After a grenade accident results in the death of the young soldier responsible, Lt. Rice (Gary Lockwood, doing fine dramatic work here) is tasked with bringing the dead man's body back to his home town for burial. It just so happens that the deceased soldier's hometown is also his own, and Rice's return is an awkward one. His father (John Beal) happens to be the editor of the local paper, and highly critical of his son's decision to join the Marines. On top of that, Rice is met with hostility by the dead soldier's grieving father (John Anderson), and turns for temporary solace to the younger sister of a childhood friend, now fully grown into a lonely divorcee (Sherry Jackson). A very well acted, sensitively written and at times moving piece of work, which concludes on a somber but satisfyingly realistic note. Look for brief turns by Strother Martin as a cabbie, and Ray Teal as the director of the local funeral parlor.

Mr. Novak - 1.6 "The Risk"
This episode features a terrific performance from Alexander Scourby, as an experienced teacher and recovering alcoholic who gets hired at short-staffed Jefferson High. Mr. Novak (James Franciscus) is his former pupil, and soon discovers that his mentor has remarried to a sexy young wife (Sherry Jackson) with a full-blown drinking problem. The producers try to frowse up the stunning Ms. Jackson, but are unsuccessful in dimming her high-wattage sex appeal; it's funny to watch everyone (especially the boys) rubber-necking at her tight capri pants-wearing figure as she staggers drunkenly through the school hallway.

Death Valley Days - 14.26 “Lady of the Plains”
A swift, easygoing little tale from the second of the two Ronald Reagan-hosted years (1964-1966) of this long-running syndicated western. “Lady of the Plains” sees DeForest Kelley as a gambler on a wagon train en route to Salt Lake City, who takes a liking to Katherine Turner (Sherry Jackson), the spirited daughter of a famed pioneer who’s forced to divest herself of her haughty society ways when the wagonmaster is killed in an Indian attack. She summons what her pappy taught her and takes charge in order to get the survivors to their destination. This one is fun, mostly to see the then 46-year-old "Bones" from Star Trek suck face repeatedly with the delectable, 24-year-old Miss Jackson, who seems to be having a ball in a fairly meaty role. And it's obvious that, when Ms. Jackson is written a kissing scene, she gives it her all and then some.

Gomer Pyle, USMC - 1.20 "Sergeant Carter Gets a 'Dear John' Letter"
Sgt. Carter (Frank Sutton) worries that other horndog G.I.s will muscle in on the action when he is forced to cancel a date with his hot-to-trot new girl, Geraldine (Sherry Jackson), so he asks the one man he can supposedly trust to not steal her away, good-natured Gomer (Jim Nabors), to take her out in his place. Soon afterward, Carter is shocked to receive a kiss-off letter from Geraldine. Fuming, he orders Gomer to go out with her again, to find out which rat stole her away from him. It won't take a rocket scientist to figure out that it's sweet-natured Gomer who has temporarily caught Geraldine's fickle eye. All grown up from her days on The Danny Thomas Show, Sherry Jackson was one world-class head-turner, and is shown to good effect here. We're talking babe city all the way...and as usual, when she has to kiss someone on camera...well, golllllllleeee, she really goes for it. Fun episode, capped by an amusing if undeniably sexist final gag.

The Wild Wild West
2.20 "The Night of the Vicious Valentine"
This episode garnered guest villainess Agnes Moorehead a supporting actress Emmy award. Several of the richest and most influential men in America are being murdered shortly after getting married to much younger, beautiful women. James West (Robert Conrad) and Artemus Gordon (Ross Martin) soon find out that famous matchmaker, Emma Valentine (Moorehead), has concocted a dastardly plan to seize control of the country by setting up her lethal ladies-in-waiting to seize their deceased hubbies' assets. The show's set decorators and costumers go hog wild in this episode, and the colors really pop. We also get appearances by Diane McBain and Sherry Jackson, several good fights and an ingenious final deathtrap, plus a great disguise for Artie (as a Jewish tailor).

4.5 "The Night of the Gruesome Games"
Jim and Artie infiltrate an invitation-only party at the home of an eccentric millionaire (played in fun if over-the-top fashion by William Schallert, in his second of three appearances in the series), in order to find a stolen vial of deadly germs. The supposed fun games their host forces his guests to play grow increasingly deadly, and we get more narrow escapes, fights and stunts, including Conrad taking a punch and performing an unbelievable fall and roll straight on his neck that looks highly painful and dangerous. What's even more unbelievable, though, is how the usually predatory West doesn't indulge in even a single smooch with smoking hot co-star Sherry Jackson...something unthinkable for the Jim West of seasons one and two.

The Immortal - 1.1 "Sylvia"
We've got a new gruff millionaire after Ben Richards' blood now in the form of Maitland (David Brian, who's fine, but not a patch on Barry Sullivan), but the truly valuable new addition to the cast is Brit Don Knight as Fletcher, Maitland's efficient, reptilian head henchman, who has promised to capture Richards for a princely sum. The cutely elfin Carol Lynley returns as Richards' love interest from the pilot, now engaged to a wealthy industrialist (Glenn Corbett) but still pining for Ben. Another plus is a brief but memorable appearance by sexy Sherry Jackson as Corbett's sister.

Richards crashes Sylvia's engagement party to see her and spends the rest of the episode evading bad guys and roaring around in Jackson's sweet red convertible. Christopher George is a good fit for this role: serious, tough and just heartfelt enough to gain sympathy (and smooches) from the female guest stars. Looking forward to watching more of this fun and exciting show, especially now that we have a worthy adversary in the form of Fletcher.

Starsky and Hutch – 1.23 “Bounty Hunter”
The unscrupulous owners of a bail bonds agency kill a crook and try to cover up his death to collect the $65,000 bounty. The flinty brains of the operation (Lola Albright), sends her male partner (Ramon Bieri) out on a crime-and-arson spree to make it look like the criminal is still on the loose. In the process, a cop is shot, and Starsky and Hutch are soon hot on the trail. Sherry Jackson plays the exotic dancer girlfriend of the dead con. Pretty good episode of this famous ‘70s buddy cop series. Glaser and Soul have an easy, bantering camaraderie going, and there’s some amusing stuff with Starsky teasing Hutch about he and his girlfriend's hippie dippy health food obsession. Plus we get Ms. Jackson in a teeny bikini, so what’s not to like?

The Rockford Files 2.7 - "The Real Easy Red Dog"
Has there ever been a TV star as easygoing and likeable as James Garner? He's very good in Maverick and Nichols, but he really fine-tuned his smooth-talking persona to perfection as cagey private eye Jim Rockford. I tend to prefer these earlier seasons that feature more noir-ish detection and less of Rockford's annoying friend, Angel (Stuart Margolin). This is a typically diverting and fun little mystery, with lots of Rockford's tricks of the P.I. trade on display...not to mention a high degree of pulchritude, with guest stars Stephanie Powers (rockin' the tight denim a mere few years before Hart to Hart) and Sherry Jackson in a bikini.

So here's wishing the lovely and talented Ms. Jackson a very happy birthday. May she have many more!

 

[The 1960's]

Sherry Jackson (February 15, 1942) 82nd Birthday Tribute ​

Happy 82nd Birthday to the lovely Sherry Jackson! It would have been very easy to choose one of Ms. Jackson’s 133 appearances from The Danny Thomas Show, obviously her signature role, but I wanted to use something that hasn’t been seen for some time, or perhaps has never been seen by most. So I’ve chosen the Thirty-First Episode from the Sixth Season of the long-running comedy sitcom, My Three Sons, entitled ‘The Wheels’ (April 21st, 1966).

My Three Sons (1960-1972)

Series Theme

S06E31 The Wheels (Apr.21.1966)

Directed by
James V. Kern
Writing Credits
John McGreevey

Stars
Don Grady - Robbie Douglas
Sherry Jackson - Linda June Mitchell
David Macklin - Brad Parmenter
Fred MacMurray - Steve Douglas
William Demarest - Uncle Charley O'Casey
Stanley Livingston - Chip Douglas
Barry Livingston - Ernie Thompson Douglas

Produced by
Don Fedderson executive producer
Edmund L. Hartmann producer
Fred Henry associate producer
Cinematography by
Robert H. Planck director of photography
Editing by
Robert K. Richard
Casting By
Virginia Martindale
Art Direction by
Duncan Cramer
Set Decoration by
John Brown
Makeup Department
Florence Bush hair stylist
Grant Keate makeup artist
Production Management
John G. Stephens production supervisor
Second Unit Director or Assistant Director
Sid Sidman assistant director
Art Department
Don Bernarducci construction supervisor
Carl Nugent property master​

With dad Steve Douglas away on a business trip, Robbie Douglas and Brad Parmenter (David Macklin) vie for the attention of Linda June Mitchell (24 year-old Sherry Jackson). Both are eagerly awaiting her appearance inorder to give her a ride home from school.

​

Robbie: How about a ride home with me? Hey Parmenter, get lost! Mitchell’s riding home with me, aren’t you!
Brad: How about a ride home with me? Hey Douglas, get lost! Mitchell’s riding home with me, aren’t you!

Robbie offers to let Linda June drive his car. Within moments they’re pulled over for speeding and Linda June is given a ticket.

​

Robbie asks Uncle Charlie to borrow $16 dollars to help pay Linda June’s fine. Uncle Charlie agrees to the loan but declares that Robbie is grounded without a car for a week. The next day Robbie strikes out as soon as Linda June finds out he has no wheels. Brad ends up taking her home.

​

Robbie goes to his dad and pleads for mercy citing the 8th Amendment. Steve tells him he must convince himself that being without wheels isn’t the end of the world and as soon as he does that he’ll be able to convince Linda June as well.

​

Robbie must come up with a scheme to make walking sound attractive. At first Linda June thinks he’s teasing her. “Who wants to walk when you can ride”, asks Brad, but Robbie convinces her that wallking is like being back in grade school. Ice Cream and Puppies and all that good stuff, which earns Robbie and invite inside. Success!

Success

Next day Robbie takes Linda June on a picnic.

​

Back at school, Brad invites Linda June to the fancy new Drive-In for lunch but Robbie is coming over. With Dawes Hanipy on his side how can Brad lose? That night it’s more romance as June and Robbie spend the evening looking at the stars. Going steady is now a thing!

​

But before we go, Chip shows the family what a jerk he looks like dancing with radio in hand.

​

Grumpy crotchety Uncle Charlie agrees.

Sherry Jackson Related Media

The Danny Thomas Show (1953-1965)

S05E21 Terry's Crush (Feb.24.1958)
Stars Danny Thomas Marjorie Lord Rusty Hamer​

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Danny is alarmed to learn that Terry has been spurning classmate, Donald Cooper, in order to swoon over Dean Martin. Danny enlists Dean to figure out a way to place his wayward teenager back into the arms of the hapless, but far more suitable, Donald.




Jim Longworth interviews Sherry Jackson (2012)



Sherry Jackson Remembers Maverick! Range Rider! Riverboat! Danny Thomas!! A WORD ON WESTERNS (2012)



John Wayne! Trouble Along the Way with Sherry Jackson - A WORD ON WESTERNS (2020)



Happy 82nd Birthday Sherry Jackson + Many Many More!​

Thank you all for so many outstanding Tributes over just the past 5 days.

JohnHopper for Leslie Neilson & Kevin McCarthy!
Ashley for Lorne Green!
John for Tennesse Ernie Ford!
Scott for Kevin McCarthy!
Jeff for Sherry Jackson!
Scott @ ponset for his magical imagery!

​

Upcoming Tributes February-March 2024

February 16th Hugh Beaumont Birthday Memorial
February 18th Dane Clark Birthday Memorial
February 24th John Vernon Birthday Memorial
February 26th Marta Kristen 79th Birthday Tribute
February 26th Jackie Gleason Birthday Memorial

March 1st Vitina Marcus 87th Birthday Tribute
March 1st Robert Conrad Birthday Memorial
March 2nd BarBara Luna 87th Birthday Tribute
March 18th Peter Graves Birthday Memorial
March 23rd Barbara Rhoades 78th Birthday Tribute
March 31st Richard Chamberlain 90th Birthday Tribute

 

[The 1960's]

Hugh Beaumont (February 16, 1909) Birthday Memorial

Eugene Hugh Beaumont (February 16, 1910 – May 14, 1982) was an American actor. He was best known for his portrayal of Ward Cleaver on the television series Leave It to Beaver, originally broadcast from 1957 to 1963, and as private detective Michael Shayne in a series of low-budget crime films in 1946 and 1947. He was born in Lawrence, Kansas, to Ethel Adaline Whitney and Edward H. Beaumont, a traveling salesman whose profession kept the family on the move. After graduating from the Baylor School in Chattanooga, Tennessee, in the class of 1930, he attended the University of Chattanooga, where he played football. He later studied at the University of Southern California and graduated with a master's degree in theology in 1946.

In the early 1950s, Beaumont secured television work, often with guest roles on series such as Adventures of Superman, City Detective, Crossroads, Fireside Theatre, Ford Theatre, The Lone Ranger, Medic, The Millionaire, and Schlitz Playhouse of Stars. From 1951 to 1953, he narrated the Reed Hadley series Racket Squad, based on the cases of fictional detective Captain John Braddock in San Francisco. In 1954 and 1955, Beaumont appeared in The Public Defender, Hadley's second series, appearing in three episodes as Ed McGrath. That year, he guest-starred in the Lassie episode "The Well", one of two episodes filmed as pilots for the series. He also portrayed a sympathetic characterization of the Western bandit Jesse James on the series Tales of Wells Fargo... Continue @ Wikipedia

Leave It To Beaver (1957 -1963)

Series Theme

​

Hugh Beaumont was so convincing in the role of Ward Cleaver, father to Theodore (The Beaver) and Wally Cleaver that I believe many of us felt as though he were our second father while watching the Leave It To Beaver series. I know I did. There were a few episodes that struck a gentle cord in all of us. Season Two, Episode Thirty-NIne entitled, Most interesting Character from June 25th, 1959 was most certainly one of those. This is the episode I’ve chosen today as a Tribute to this man on the date of his birth, back in 1909.

S02E39 Most interesting Character (Jun.25.1959)

Directed by
Norman Tokar
Writing Credits
Joe Connelly Creator
Bob Mosher Creator
Joe Connelly Writer
Bob Mosher Writer
Mathilde Ferro Writer
Theodore Ferro Writer

Stars
Hugh Beaumont - Ward Cleaver
Barbara Billingsley - June Cleaver
Tony Dow - Wally Cleaver
Jerry Mathers - Theodore (The Beaver) Cleaver
Sue Randall - Miss Alice Landers
Robert 'Rusty' Stevens - Larry Mondello
Jeri Weil - Judy Hensler
Stanley Fafara - Whitey Whitney

Produced by
Joe Connelly Producer
Bob Mosher Producer
Cinematography by
Mack Stengler Director of Photography
Editing by
Richard Belding
Art Direction by
John Meehan
Set Decoration by
Ralph Sylos
Makeup Department
Jack Barron makeup artist
Florence Bush makeup artist
Second Unit Director or Assistant Director
Dolph Zimmer assistant director
Sound Department
William H. Lynch assistant director
Costume and Wardrobe Department
Vincent Dee assistant director
Editorial Department
Richard G. Wray editorial supervisor
Music Department
Mort Greene composer: theme music
Frederick Herbert composer: theme music
Melvyn Lenard composer: theme music
Dave Kahn composer: theme music
[Crew believed to be complete]​

Miss Landers gives the class a new assignment. Write a 100-word composition about "The Most Interesting Character I Have Ever Known”. It’s due the following Monday.

Miss Landers: Now, have we all finished copying the assignment?
All: Yes, Miss Landers.
Miss Landers: And do we all understand it?
All: Yes, Miss Landers.
Miss Landers: Are there any questions?
All: No, Miss Landers.
Whitey Whitney: Yes, Miss Landers.
Miss Landers: Yes, Whitey?
Whitey Whitney: What is an interesting character? [Class Chuckling]
Judy Hensler: Shall I tell him, Miss Landers?
Miss Landers: All right, Judy.
Judy Hensler: An interesting character is someone who goes around doing interesting things, and that's what makes him an interesting character.
Miss Landers: Thank you, Judy. Now—
Judy Hensler: You're welcome, Miss Landers.
Miss Landers: Now, are there any other questions? Yes, Beaver.
Beaver Cleaver: How many words must we gotta write?
Miss Landers: We must all write 100 words.
Beaver Cleaver: Thank you, Miss Landers.
Larry Mondello: Miss Landers?
Miss Landers: Yes, Larry.
Larry Mondello: Does "the" count as a word?
Miss Landers: Yes, Larry. Now, class—
Larry Mondello: Thank you, Miss Landers.
Miss Landers: Yes. Now, I want you to—
Larry Mondello: Miss Landers?
Miss Landers: Yes, Larry?
Larry Mondello: Does "a" count as a word?
Miss Landers: Larry, every word counts as a word.
Larry Mondello: Thank you, Miss Landers.
Miss Landers: Now, class, you must write on one side of your paper only. And remember that spelling and neatness count. And have your compositions in first thing Monday morning.
Larry Mondello: Miss Landers?
Miss Landers: Yes, Larry?
Larry Mondello: Does a comma count as a word?
Miss Landers: Larry, you know that a comma is not a word.
Larry Mondello: Well, it is if you spell it out.
Miss Landers: Larry, would you like to stay after school?
Larry Mondello: No, thank you, Miss Landers. I gotta go with my mother. A man's gonna look at me about goin' to summer camp.

Class Composition

​

The Beaver wonders about just who that person is. Judy Hensler mentions that she is going to write about her father, who she claims is a big game hunter in Africa.

Back home and after talking about it with Beaver, Ward is feeling a bit slighted that the Beaver doesn’t seem to be considering him as a potentioal candidate for his composition.

Ward Cleaver: Well, what plans do you guys have for the weekend?
Beaver Cleaver: Well, I gotta write a composition.
Ward Cleaver: Oh. Well, uh, what subject did Miss Landers give you?
Beaver Cleaver: The most interesting character I ever knowed.
Ward Cleaver: Well, that shouldn't be hard for you. You've known lots of interesting characters.
Beaver Cleaver: Yeah, but when I think of 'em, they don't seem so interesting anymore.
Ward Cleaver: Hey, Beave, why don't you write about Gus the fireman?
Beaver Cleaver: Well, he's on vacation, and I wouldn't write about him bein' interesting unless first I asked him.
Ward Cleaver: Well, uh, Beaver, who are the other kids in your class writing about?
Beaver Cleaver: Well, Larry was gonna write about Miss Landers, but he chickened out. And Linda Dennison, she was gonna write about Daniel Boone, but Miss Landers, she wouldn't give her permission to do dead people.
Ward Cleaver: Oh.
Wally Cleaver: Hey, who's that creepy Judy writin' about?
Beaver Cleaver: Oh, she's real dumb. She's writin' about her father.
Wally Cleaver: Oh. Yeah.
Beaver Cleaver: He had a garage in Africa and shot 50 elephants that were wild.
Ward Cleaver: Yeah, well, I, uh—I suppose a father could be an interesting subject.
Beaver Cleaver: Yeah, I guess so, if he shot elephants.
Ward Cleaver: Yes. Well, uh, let me know if I can be of any help to you, Beaver.

As the family prepares to go out for dinner and after discussing it with Wally, Beaver decides to make Ward the topic of his most interesting character composition.

Wally Cleaver: Hey, Beave, um, you know, I think Dad would like it if you made him your most interesting character.
Beaver Cleaver: Aw, who wants to be in a school composition?
Wally Cleaver: Well, I still think he'd like it.
Beaver Cleaver: No foolin'?
Wally Cleaver: Yeah. Well, you know, if you were a father and you had a kid, you'd like it if the kid liked you.
Beaver Cleaver: Yeah, 'cause I like Dad to like me.
Ward Cleaver: Come on, fellas. Mother's all ready.
Beaver Cleaver: Dad?
Ward Cleaver: Uh-huh?
Beaver Cleaver: I just decided to make you my most interesting character.
Ward Cleaver: Oh?
Beaver Cleaver: Yeah, that is, if you don't mind bein' in a school composition.
Ward Cleaver: No. No, I don't mind at all, Beaver. Well, uh, come on, fellas. Let's go.
Beaver Cleaver: Hey, Dad, in the restaurant, can I pick up my chicken?
Ward Cleaver: You bet you can.

Beaver decides to watch his Dad do interesting stuff, but it’s not quite what he was expecting to see.

Ward Cleaver: Do you want something, Beaver?
Beaver Cleaver: Uh-uh. I'm just waitin' for you to do something interesting.
Ward Cleaver: Oh. Well, I'm just cleaning these screens now.
Beaver Cleaver: I know, but Mom says you do something interesting every day.
Ward Cleaver: Oh. Well, this is, uh, just a household chore, Beaver.
Beaver Cleaver: Hey, Dad, are you gonna have to get the big, tall ladder out... and climb up way to the second story to put the bedroom screens up?
Ward Cleaver: Oh, uh, no, I won't have to do that, Beaver. I'll just put 'em on from inside. They just slip on.
Beaver Cleaver: Oh. Dad, did you ever ride in a "heliocopter"?
Ward Cleaver: A helicopter? No. I, uh—I did cross the South Pacific in a ship once though.
Beaver Cleaver: A water ship?
Ward Cleaver: Yeah. Navy transport.
Beaver Cleaver: And I bet it was torpedoed, and you saved a whole bunch of guys from "drowndin'." Oh. Did you ever shoot down any enemy planes?
Ward Cleaver: No. You know, uh... Uh, once at gunnery practice, we shot down four target balloons.
Beaver Cleaver: Boy, that's neat. How'd you do it?
Ward Cleaver: Well, uh, it was, uh, Saturday morning, and all of a sudden, they sounded a general alarm, and then we released the balloons from our ship, and, uh, we started banging away at 'em.
Beaver Cleaver: You mean the balloons were on our side?
Ward Cleaver: Yeah. They, uh— They were friendly balloons.
Beaver Cleaver: Oh. [Sighs] I think I'm gonna go in the house now, Dad.
Ward Cleaver: Okay, Beaver.
Beaver Cleaver: Call me if you decide to do anything interesting.
Ward Cleaver: I sure will, Beaver.

The Beaver reads his composition to Wally. Then asks for his help

Beaver Cleaver: Hey, Wally, you want to listen to my composition about Dad?
Wally Cleaver: Is it any good?
Beaver Cleaver: I don't know. I just wrote it. I haven't read it.
Wally Cleaver: Well, okay. Go ahead. Let's hear it.
Beaver Cleaver: [Clears Throat] "The Most Interesting Character I Have Ever Known, by Theodore Cleaver." You gotta write that, but it doesn't count in the hundred words.
Wally Cleaver: Yeah.
Beaver Cleaver: "The most interesting character I have ever known is my father, Mr. Ward Cleaver."
Wally Cleaver: Hey, what do you call him “Mister" for?
Beaver Cleaver: It counts as a word.
Wally Cleaver: Oh.
Beaver Cleaver: "My father was born right here in this town and still lives in it. "He has a very interesting job. "He goes to the office every day, "except Saturday and Sunday and Christmas and Thanksgiving... "and all the other holidays. "And he is also married to my mother... and has two sons, me and Wally."
Wally Cleaver: Boy, is that corny.
Beaver Cleaver: Well, is it, Wally?
Wally Cleaver: Well, uh—Well, go ahead. Let's hear some more of it.
Beaver Cleaver: "The interesting things he did today was put up screens. "He also took the car to get a new fan belt which was loose. He can fix sinks and take a pill without water." What do you think, Wally?
Wally Cleaver: I think it's dumb.
Beaver Cleaver: Well, I didn't write it dumb. Just came out dumb.
Wally Cleaver: Look, Beaver. Judy’s got a father who shot elephants in Africa. Alongside of that, fixin' sinks is nothin'.
Beaver Cleaver: But most likely, Judy's makin' that up. Dad really can fix sinks.
Wally Cleaver: Yeah, but when you're writin' a story, you gotta make it sound good.
Beaver Cleaver: Wally, you're a good story-maker-upper. Please?
Wally Cleaver: Well, okay.

 

[The 1960's]

June Cleaver: Dear, will you tell the boys to get ready for supper? Sure.
Ward Cleaver: [Yells] Boys, supper in five minutes!
June Cleaver: Ward, you're getting just like Wally.
Ward Cleaver: Well, anyone can walk upstairs. I'm just being an interesting character.

Wally rewrites The Beavers composition.

Beaver Cleaver: You got it finished, Wally?
Wally Cleaver: Yeah, most of it. Hey, you wanna read it?
Beaver Cleaver: No, you read it. I can listen better when someone else reads. "The most interesting character I ever knew was my father, Ward Cleaver."
Beaver Cleaver: "Mr. Ward Cleaver."
Wally Cleaver: Oh, yeah.
Beaver Cleaver: "The most interesting character I ever knew was my father, Mr. Ward Cleaver. "He was born at the mouth of the Amazon, which is a river, "and when he was a baby, he was stolen out of his crib by a crocodile, "and in the nick of time, he was saved... by a friendly headhunter with a blowgun."
Beaver Cleaver: Boy, Wally, you sure are good at makin' up stuff.
Wally Cleaver: During the war, he was a secret general, "where he had many interesting experiences. "Now he has a job in an office, but he really works for the F. B. I. And on Sundays, he goes to the beach and saves a lot of people from drowning. How do you like it, Beave?
Beaver Cleaver: Boy, that's keen.
Wally Cleaver: Hey, what's the matter?
Beaver Cleaver: I was just thinkin' how neat it'd be to have a father like that.
Wally Cleaver: Well, heck, Beaver, he'd be so busy being interesting you'd never even see him.
Beaver Cleaver: Yeah.

Beaver is having trouble finishing his composition, even stays home on a Sunday afternoon, until acquiring some valuable advice from his mom, June Cleaver.

June Cleaver: Sunday afternoon, you're not out playing?
Beaver Cleaver: I'm still working on my interesting composition for school.
June Cleaver: You having trouble with it, Beaver?
Beaver Cleaver: Well, I wrote up one, but it sounded dumb. And then Wally helped me write up another. It sounded okay, but it was all made-up stuff.
June Cleaver: Well, I know you're proud of your father, and it's only natural that you want to make him sound as interesting as possible, but you have to tell the truth.
Beaver Cleaver: Well, I tried that the first time, but it came out like dad isn't.
June Cleaver: Well, Beaver, you know, if you try to write down how you feel about your father... and what he means to you... instead of just trying to say what he does, it might come a lot easier.
Beaver Cleaver: I'll try it, Mom. But you know somethin'? I never knew before you had to do any thinkin' to be a writer.

---

The Leave It To Beaver series, amidst all it’s silliness, it’s writer’s perceptions of how children of the 50’s and 60’s interacted with one another and how we interpreted it all, would, upon occasion, strike the cord of universal love and magic within the famlly unit. About Father and Son, and how dearly that Father loved and cared for his two sons along with their dear mother too, and of course, how much he meant to them. That was the essence of this episode and as you will read, you will see, and you will hear in this final scene.

---

June Cleaver: Well, Beaver, where have you been?
Beaver Cleaver: I've been up recopyin' my composition, Mom. The first one had all kinds of fingerprints on it.
Ward Cleaver: Well, let's hear it.
Beaver Cleaver: Oh, you don't want to hear it, Dad.
Wally Cleaver: Uh, no, Dad, you sure don't.
Ward Cleaver: Well, of course I do. The least I can do is to check it for punctuation.
Beaver Cleaver: Well, okay. But don't get any fingerprints on it.
Ward Cleaver: Yeah.

Ward Cleaver: The most interesting character I have ever known is my father, Mr. Ward Cleaver.

Ward Cleaver: Mister"?
Beaver Cleaver: That counts as a word, Dad.
Ward Cleaver: Oh.

Ward Cleaver: He does not have an interesting job. He just works hard and takes care of all of us. He never shot things in Africa or not saved anybody that was drowning. But that's all right with me, because when I am sick, he brings me ice cream, and when I tell him things or ask things, he always listens to me. And he will use up a whole Saturday to make junk with me in the garage. He may not be interesting to you or someone else, because he's not your father, just mine.

Beaver Cleaver: I don't know if it sounds so good, Dad, but it sure made me feel good when I was writin' it.
Ward Cleaver: I'm glad it did, Beaver. It made me feel pretty good to read it too. Well, here. I don't think I got any fingerprints on it.
Beaver Cleaver: Uh-uh. Those two up there, they're mine.

The Most Interesting Character I Have Ever Known

​

---

Every single time I watch this it hits home and I think of my own father who passed away in 2019, and how so much of his life was devoted to making mine as rich as possible, and I think how much Hugh Beaumont nailed his role as Ward Cleaver! You can almost see the tears in his eyes. Rest in peace, Mr. Beaumont.

---

Closing Credits

​

Leave It To Beaver: The Complete Series BluRay - My overall rating: 7.8

Hugh Beaumont Related Media

Apology for Murder (1945)
Stars Hugh Beaumont Ann Savage Russell Hicks​

---

When a reporter helps his girlfriend murder her rich husband, an innocent man gets the blame and faces execution.

Apology for Murder (1945)
Stars Hugh Beaumont Ann Savage Russell Hicks​

---

When a reporter helps his girlfriend murder her rich husband, an innocent man gets the blame and faces execution.



Too Many Winners (1947)
Star Hugh Beaumont Trudy Marshall Ralph Dunn​

---

Michael Shayne accepts an assignment to investigate a gang of pari-mutual race tickets counterfeiters over the protests of his secretary, Phyllis Hamilton, who wants him to join her on a vacation. Shayne contacts Mayme Martin who offers him information, and sends his friend Tim Rourke to get it. Tim arrives to find Inspector Rafferty there as Mayme has been murdered. Shayne has gone to the race track to see Jim Payson and Al Hardeman, the operators. Two thugs, Joe and Punk, take shots at Shayne and he is wounded. He later learns that a printer, Madden and his engraving foreman Edwards served time for counterfeiting Irish sweepstake tickets and Shayne thinks he has the case solved... until Madden and Edwards turn up murdered.

Danger Zone (1951)
Stars Hugh Beaumont Edward Brophy Richard Travis​

---

A freelance private eye takes on two jobs: he's hired by a woman to bid on a locked suitcase at an auction, and on the second he works with another private investigator on a divorce case--unaware that the PI is setting up him to take the fall for a murder.

Pier 23 (1951)
Stars Hugh Beaumont Ann Savage Edward Brophy​

---

Private detective finds himself framed for the murders of a wrestler and a crooked referee, then for the murder of a mystery man posing as a new parolee from Alcatraz.

Roaring City (1951)
Stars Hugh Beaumont Edward Brophy Richard Travis​

---

A private detective is gets hired for two jobs: the first is to bet on a particular fighter during a fixed boxing match, and the second is to pose as a woman's husband for an evening. Both jobs turn out to be not quite as simple as they appeared to be at first.

Blonde For A Day (1946)
Stars Hugh Beaumont Kathryn Adams Cy Kendall​

---

A newspaper reporter, Tim Rourke (Paul Bryar) keeps writing articles attacking the police department for its failure to solve a chain of murders, and this nearly leads to the reporter's death. He calls in private-detective Michael Shayne (Hugh Beaumont), and Shayne turns up a blonde and a blackmailer.

Money Madness (1948)
Stars Hugh Beaumont Frances Rafferty Harlan Warde​

---

A murderous bank robber on the run from the law hides out in a small town, where he gets a job as a cab driver. He meets a young girl who is caring for her ill but wealthy aunt. He courts her and they eventually marry. She soon discovers exactly who he is, and finds herself enmeshed in a scheme involving murder and loot from a bank robbery.

Selling the 1949 Ford with Hugh Beaumont



Was HUGH BEAUMONT "WARD CLEAVER" the same kind of dad in REAL LIFE as he was on LEAVE IT TO BEAVER?



Wally & The Beaver Sell Fords [Leave It To Beaver & 1960 Fords]



Hugh Beaumont, Petticoat Junction (1966-67) (Sound at 10:30)



Happy Birthday In Memory of Hugh Beaumont.​

 

[Sky King]

Hi all,

Tony Dow and his wife Lauren, took Hugh out for his 70th birthday in 1980.

John

 

[timk1041]

Jameson rapidly ages and collapses on the floor. Susanna enters the house. Kittridge tries to stop her from seeing the aged Jameson, saying only that he is gone. He is unable to keep her out of the room, but inside she discovers only an empty suit of clothes with a white substance near the collar and sleeves. When Susanna asks what is on the floor, the professor replies, "Dust, only dust."

Last stop on a long journey, as yet another human being returns to the vast nothingness that is the beginning and into the dust that is always the end.

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The scenes of Walter Jameson's aging were performed by using an old movie-making trick. Age lines were drawn on actor Kevin McCarthy's face in red make-up. During the beginning of the scene, red lighting was used, bathing the scene in red and hiding the age lines. As the scene progressed, the red lights were turned down and green lights were brought up. Under the green lights, the red age lines were prominent. The lighting changes were unseen by the audience because it was filmed in black-and-white. A subsequent episode, "Queen of the Nile", used a similar effect.

Thanks Wikipedia...

As a kid, my first exposure to Kevin McCarthy was in a showing of the classic Sci-Fi film, Invasion of the Body Snatchers. Eventually, I caught this classic episode and he brings to the role of Walter Jameson a wonderfully understated weariness. There’s nothing flashy or showy about the performance and his commitment to reality grounds this episode and makes the larger than life fantasy concept easier to accept and more memorable.

This episode is little more than an extended conversation between two men, almost like a pitch meeting for a larger story. In fact, the story by the great Charles Beaumont is so rich in detail that this would have worked even better as one of the one hour episodes.

The rest of the cast is fine, but McCarthy takes center stage and keeps audiences fully enthralled until the memorable finale. As Walter Jemeson is shot and quickly ages, the transformation is perfect. The sounds he makes as he draws his final breaths is disturbingly realistic. In a classic Twilight Zone twist, the death of Jameson is no defeat. It is exactly what he wanted all along. But it doesn’t make the final image of “dust…only dust” any less chilling.

Kevin McCarthy had a long and varied career primarily in television and was a popular guest star for decades. In his final years, he made rounds at the convention circuit as a welcome and friendly guest. He had said that he received more fan mail for this episode than anything else, other than Invasion of the Body Snatchers. When he made a sly cameo in the 1978 remake, it looked as if he’d hardly aged. Much like Walter Jameson.

In fond memory, we wish Kevin McCarthy a happy birthday.

Thanks for posting. Weird episode. I couldn't post a reply to something on the Sherry Jackson birthday tribute due to all the images, so I am trying it here. I enjoyed seeing all the great pictures. On that Twilight Zone episode Sherry Jackson was in, that guy sitting up in the coffin reminded me somehow of Francis Lederer in The Return Of Dracula (aka The Curse Of Dracula) from 1958. James Best even resembles him a bit. Strange indeed! A wonderful tribute to Hugh Beaumont too.

 

[The 1960's]

Dane Clark (February 18, 1912) Birthday Memorial ​

Dane Clark (born Bernard Zanville; February 26, 1912 – September 11, 1998) was an American character actor who was known for playing, as he labeled himself, "Joe Average." In 1958 he was a guest star on the television series Wagon Train in The John Wilbut Story. Clark played John Wilbut, a man who some on the train believe to be John Wilkes Booth on the run from the assassination of Lincoln. In 1959, he reprised Humphrey Bogart's role as Slate in Bold Venture, a short-lived television series. He also guest starred on a number of television shows, including Faye Emerson's Wonderful Town, Appointment with Adventure, CBS's Rawhide in the episode "Incident of the Night Visitor", and The Twilight Zone, in the episode "The Prime Mover". In 1970, he guest-starred in an episode of The Silent Force and had a role in The McMasters (1970). That same year he appeared as Barton Ellis on The Men From Shiloh, rebranded name of the long running TV Western series The Virginian in the episode titled "The Mysterious Mrs. Tate." He also played Lieutenant Tragg in the short-lived revival of the Perry Mason television series in 1973, and appeared in the 1976 miniseries Once an Eagle…Continue @ Wikipedia

Bold Venture (1959)

​

There’s not a heck of a lot about this television series on the internet. There’s no shortage of info about the Bold Venture radio series (1951-1952), starring Humphrey Bogart and Lauren Bacall, but this series has intrigued me since I stumbled upon three episodes on YouTube, none of which were titled by the uploader.

Bold Venture is a 30-minute American adventure television series that was syndicated in 1959. It was based on the radio series Bold Venture. Set in the Caribbean, the series depicted the adventures of Slate Shannon, an expatriate American who owned a 60-foot sloop, The Bold Venture, and a hotel, Shannon's Place, in Trinidad. Slate was "a lighthearted tough guy who sallies 'round exotic Caribbean locales on missions of derring-do." Sailor Duval, a young woman who was Shannon's ward, accompanied him in his adventures. From week to week Shannon and Duval recovered treasures, fought gun-runners, rescued endangered people and encountered "smugglers, killers, and ... other shady characters”. King Moses was a singer whose calypso music was heard in the background. He also sometimes narrated to connect segments of the story. Philip Keith-Barker was the police inspector. Leta was a dancer at the hotel, and Tina operated the island's only dance hall.

Bold Venture was a product of ZIV Television Programs. David Friedkin and Morton Fine (both of whom wrote for the radio version of the program) were the producers. Fredkin also directed some episodes. Other directors included William Conrad, Walter Doniger, Bernard L. Kowalski, Anton Leader, and John Rich. Writers were Fine, Friedkin, Don Brinkley, and E. Jack Neuman. Ziv sold the show in 184 TV markets. Thirty-nine episodes were filmed at ZIV's Hollywood studios.

Newspaper columnist Eve Starr wrote about Bold Venture, "What makes the show stand out is its dialogue and its performances." She complimented Dane Clark's work in the show. Wikipedia

S01E23 Knock on Any Casket (1959)

Director
David Friedkin
Writers
Morton S. Fine
David Friedkin

Stars
Dane Clark - Slate Shannon
Joan Marshall - Sailor Duval
Bernie Gozier - King Moses
Luana Anders - Leslie
K.T. Stevens Roberta
Robert Cornthwaite - Howard
Edgar Barrier - Aubrey Forrest
Michael Masters - Male Model
Yvette Mimieux - Female Model

Produced by
Morton S. Fine
Cinematography by
Monroe P. Askins
Editing by
John B. Woelz
Casting By
Henry Rackin
Set Decoration by
Lucien Hafley
George Sawley
Makeup Department
George Gray
Production Management
Joe Wonder
Second Unit Director or Assistant Director
Bert Glazer
Art Department
Robert Kinoshita
Sound Department
Al Lincoln
Costume and Wardrobe Department
Tommy Thompson​

I’ve enjoyed the few available episodes watched. The scripts are quite clever and entertaining. The dialogue between the cast members is well written, witty, humorous, and ahead of it’s time.

Sailor Duval, (played by the beautiful Joan Marshall) is described as the “ward” of Slate Shannon, (Dane Clark), however, as the episode begins she finds Slate’s little “black book” containing the names of all his women friends, goes into a jealous rage and destroys it. In the story, Aubrey Forrest (Edgar Barrier), a rich man offers to donate $5000 to Slate’s favorite charity, Slate. Forrest explains that the day before he received a terminal diagnosis from his doctor, a slow creeping insufferable death and therefore has given three of his most intimate friends motive to violently murder him. Now he asks Slate to try and prevent that. Also in this episode we see a very early appearance by Yvette Mimieux, only her 2nd credited role, third overall, in a non-speaking role wearing a bathing suit, billed only as Female Model. I highly recommend watching this one. Yet another series never released on home video. Even the episode titles and info are spotty.

A huge thanks goes out to HTF member Brad Smith for restoring this print. Even with that restoration and my own modification I was unable to tell the story with strategically chosen images as I normally would, and thus I’ve only chosen a few good ones. Of course, all images have been inserted at the Thumb-Size to facilitate the best possible appearance.

The Morning Call Allentown, Pennsylvania · Monday, April 06, 1959

​

 

[The 1960's]

Variety Wednesday October 22, 1958



​

Episode Notes

A 16mm film print of this show is available for viewing at the Wisconsin Center for Film and Theater Research in Madison, WI.

You can also stream it here.



Episode Restored by Brad Smith

Series Notes

1. The series was based on the 1951 syndicated radio series of the same name starring Humphrey Bogart and Lauren Bacall.

2. The series' title refers to the name of Slate Shannon's sailboat.

3. The hotel/bar operated by Slate Shannon is called "Slate Shannon's Place" and is located in Port-of-Spain, Trinidad.

4. One episode, apparently titled Feathered Capes,featured Christopher Dark, Richard Devon, and Ned Glass.

Dane Clark Related Media

Whiplash (1948)
Stars Dane Clark Alexis Smith Zachary Scott​

---

A struggling artist becomes a New York City prizefighter in an attempt to win the affection of the ring promoter's night club singing sister.




Gunman in the Streets (1950)
Stars Dane Clark Simone Signoret Fernand Gravey​

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American army deserter turned criminal-on-the-run Eddy Roback must evade the French authorities in a nation-wide manhunt as he attempts to cross the border into Belgium.




Never Trust a Gambler (1951)
Stars Dane Clark Cathy O'Donnell Tom Drake​

---

A small-time gambler on the run from the law hides in his ex-wife's house, accidentally kills a drunken detective during a fight, and takes his ex-wife hostage during a shootout with the LAPD.




The Gambler and the Lady (1952)
Stars Dane Clark Kathleen Byron Naomi Chance​

---

A social-climbing American with a business in illegal gambling falls in love with a blue blood, but gangsters and a jealous ex-girlfriend stand in the way of happiness.




Go Man Go (1954)
Stars Dane Clark Patricia Breslin Sidney Poitier​

---

The story of Abe Saperstein and the creation of the Harlem Globetrotters.




Blackout (1954)
Stars Dane Clark Belinda Lee Betty Ann Davies​

---

A broke American in London meets a woman who offers to pay him for a marriage of convenience. He agrees, but awakes bloodied in a strange place, having unknowingly become entangled in her father's murder.




Paid to Kill (1954)
Stars Dane Clark Cecile Chevreau Paul Carpenter​

---

A failed business deal forces James Nevill to blackmail his weak-willed friend into murdering him so that his wife can collect his insurance, but circumstances suddenly change.




Massacre (1956)
Stars Dane Clark James Craig Martha Roth​

---

A gang of gunrunners is sought by both the Mexican Federales and the Yaqui Indians for different reasons - by the federal police to prevent the marauding tribes from preying on innocent farmers and by the Indians because the gunrunners' leader sold them bad medicine resulting in blindness for many of their children. The police capture the criminals, but both parties are surrounded in a ruined mission by the angry Indians.




Dane Clark and wife Geraldine, Rare TV Interview



Dane Clark, Happy Birthday In Memory.​

 

[Doug Wallen]

Living in Macon, Georgia - the home of Air Force General Robert L. Scott (formerly Col. Scott), my wife and I have watched the biopic about him.

Dane Clark had a co-starring role as the Colonel's wingman - Johnny Petach. We viewed this about a month ago.

I also caught him as a former Cop frenemy of Joe Mannix a few weeks back on Me-TV. I also remember some memorable appearances on Ironside.

Never heard of Bold Venture, thanks for highlighting.

 

[Jeff Flugel]

Good stuff on Bold Venture and Dane Clark, Neal! I'm familiar with the radio show starring Bogie and Bacall (which is great, BTW, highly recommended for OTR fans, availabe to listen here), but have never seen the TV adaptation starring Dane Clark. I'll be checking out the one you linked to above soon. Sure would be nice if Dave at ClassicFlix could put this series out someday...

I will say this, though - Joan Marshall (who was 28 at the time) looks a bit too mature to be cast as anyone's "ward."

 

[JohnHopper]

I like Dan Clark who played heavies and mavericks on many CBS series like Rawhide (the season 3 “Incident of the Night Visitor”), Mission: Impossible (the season 7 “Hit”), Mannix, Hawaii Five-O. Bold Venture features the one and only Luana Anders: just for the actress you must watch it.

 

[ponset]

Clark makes a guest appearance on SUSPENSE radio series.



Clark starred in his own radio detective series, CRIME AND PETER CHAMBERS.




Sherry Jackson.

Sherry Joins June Havoc and Jack Carson in "Trouble Along the Way" on The Lux Radio Theater.




I first saw Sherry on BATMAN.

From August 1967 Playboy.

 

[JohnHopper]

BIRTHDAY MEMORIAL • JOHN VERNON (February 24, 1932-February 1, 2005)

John Vernon Biography
John Keith Vernon (born Adolphus Raymondus Vernon Agopsowicz; February 24, 1932 – February 1, 2005) was a Canadian actor. He made a career in Hollywood after achieving initial television stardom in Canada. He was best known for playing Dean Wormer in Animal House, the Mayor in Dirty Harry and Fletcher in The Outlaw Josey Wales. Continue to read at Wikipedia.

MISSION: IMPOSSIBLE SEASON 5

Episode #19
“The Catafalque”
producer: Bruce Lansbury
executive producer: Bruce Geller
associate producer: Barry Crane
story consultant: Laurence Heath
script supervisor: Barbara Atkinson
writer: Paul Playdon
director: Barry Crane
cinematographer: Ronald W. Browne
theme music: Lalo Schifrin
music supervisor: Kenyon Hopkins

Quote:
“And I suppose the bastion has been a hoax. And my father… and Sanchez.”
—Minister of Propaganda Ramone Fuego (actor John Vernon).

Tape scene:
In an amusement park, Jim walks towards an automatic photo booth and enters. He sits down, unlocks a little lateral trap door, moves forward a mini reel player and activates it. He grabs two sets of four black and white pictures.

Prologue:
San Pascal, Central America: Ramone (actor John Vernon) and Miguel Fuego (actor Will Kuluva) step into the national mausoleum, followed by an officer who carries a funeral wreath and stops by. Ramone and Miguel come close to the glass casket of revolution hero Victorio Fuego. Ramone tells his uncle Miguel how he remembers his father: “I cannot think of him as a legend. I loved him as any boy loves his father. When he was killed, I thought the world had ended”. The officer moves forward and gives Ramone the wreath that he plants on the top of the glass casket and pays a last homage by saying: “Rest in peace”. The Fuego’s leave as well as the officer when they bump into the Captain of the Guards who leads four soldiers to change the guard. The new soldiers switch places by doing a martial ritual with their rifles (shot low angle from the butts of the rifles p.o.v.). The new detail moves behind the Captain and up in the attic room (diagonal pan shot from the Captain to the two IMFers’ hands), Doug and Barney slightly raise the stained glass ceiling and watch the detail leaving. They put the ceiling back and exit. The new guards on duty stand still like statues.

Summary:
To obtain a military “red” treaty signed with the East about nuclear missiles pointed against the USA, the IMF manipulates Minister of Propaganda Ramone Fuego (actor John Vernon) to make him believe that his father, the late revolutionary hero Victorio, used to be the victim of a conspiracy fashioned by his uncle Premier Miguel Fuego (actor Will Kuluva) and his right-hand man Colonel Rodriguez (actor Ramon Bieri).

Cast and details:
• Minister of Propaganda Ramone Fuego played by John Vernon
• Ramone’s Uncle Premier Miguel Fuego played by Will Kuluva
• Colonel Rodriguez played by Ramon Bieri
• The Captain of the Guards played by Johnny Bench

Guest IMFers
Featuring two extra IMFers who pose as military guards of Madrena’s Prison but also a phony nun (actress Arline Anderson) from “Our Lady of Sorrow - Sanatorium” and an old invalid Victorio Fuego under the name of Salazar (actor Sam Irvin).

The San Pascal Officials
At his office, Premier Miguel Fuego shows Colonel Rodriguez and his nephew Ramone the pictures and blue prints of the silos and announces the delivery of the missiles. Ramone reacts and displays his doubts concerning the missiles and refers to his own father’s approval. Ramone comes close to the bar and pours three glasses of Brandy and asks Colonel Rodriguez his opinion. Ramone then deals with the idea of destroying the Madrena Prison for public relation purpose (symbol of freedom). Colonel Rodriguez tells him the place has been closed for 60 years. Ramone makes an ambiguous and double-edged statement about exploiting the bastion to lock up political prisoners that he defines as “certain prisoners”. Ramone passes the glasses and Colonel Rodriguez agrees with him. Ramone makes a plea for his importance inside the government. Ramone is on his way to leave, his uncle reminds him the cabinet meeting the next day at 8:00 P.M. and Ramone asks Colonel Rodriguez about the capture of murderer Sanchez but he is ignorant of the case. Later, at his office, Premier Miguel Fuego notices the absence of his nephew Ramone at the 8:00 P.M. cabinet meeting to Colonel Rodriguez. The phone rings and Colonel Rodriguez answers it and orders to make thorough searches. Colonel Rodriguez informs Miguel Fuego that Ramone is reported missing at his usual places. The Premier finds strange the behavior change of his nephew that doesn’t match his dead punctial nature. Later, the phone rings and Colonel Rodriguez answers it. He reports to the Premier that the search party has found Ramone’s car at the Hotel Cristobal where he met Roxanne Phillipe who left the place after the murder of her husband by Ramone. The Secret police arrests him but Colonel Rodriguez figures it out that imposters pose as the real Secret police. At the mausoleum and in front of the broken glass casket, Colonel Rodriguez reports to Premier Fuego about the search party which finds the corpse of Victorio in the attic and the activities at Madrena’s Prison. Miguel Fuego figures it out that Ramone is manipulated and believes to be a fugitive and wonders the purpose of this scheme. Miguel Fuego orders Colonel Rodriguez to launch a house by house search in the Capital. A black limousine parks near the government house and a guard opens the door to Premier Fuego and Colonel Rodriguez. Premier Fuego and Colonel Rodriguez enter the office, see Ramone trying to rob the desk and are threatened by his gun. Colonel Rodriguez eases the demented nephew, tells him he is the victim of a hoax and asks him to put his gun down. Ramone reacts to Colonel Rodriguez’s use of the word “hoax” and refers to (his stay in) Madrena’s Prison, (the plot against) his father and (the revelations of) Sanchez. Ramone calls Sanchez as his witness. Colonel Rodriguez tells him that there’s no one named Sanchez. Ramone turns his back and sees no Sanchez and, worst, no treaty. He suddenly realizes his mistake. Premier Fuego stares at the opened safe (zoom in on the Premier’s face, cut to a zoom in on the opened safe, cut to an extreme close-up of the Premier).

The IMF Team
Barney and Doug go to a basement, get down the stairs and meet the rest of the team for a briefing. Barney informs Jim that at each hour, the guard is changed and it will take him at least 55 minutes to achieve the substitution. We learn from Jim, thanks to Paris’ question, that the bastion was sealed off 60 years ago. Jim asks Dana how is her approach to Ramone and she says: “Fast and physical”. Jim states to the team he doesn’t know the location of the hideout where the treaty is stored but only Ramone and Miguel can open it with a palm prints device. Later, inside the back of the olive drab van and near a radio unit, Jim, Barney and Dana stand still and listen to Ramone’s basement conversation with Paris-as-Alfredo Sanchez. Later on and still in the back of the van, they learn that Ramone is going to lead Paris to the office of Premier Fuego to get the treaty. Jim knocks on the wall of the back of the van to signal Doug to drive on. After coming out of the tunnel (off camera), Paris walks to the olive drab van, signals with his hand Doug who resumes his driver position, and gets into the back to give Jim the red treaty. Doug drive them out of there.

Jim Phelps
Jim poses as Secret Police Major Volta.

Jim and two extras, dressed as militaries, watch Ramone and Paris and he gives them the ok. Jim stops near the black Mercedes and introduces himself as Major Volta and asks him if he is safe. Jim informs that Paris is an escaped murderer and asks him if he talks to him but Ramone denies. Ramone tells Jim to be informed of his capture and Jim confirms his request.

Dana Lambert
Dana poses as teaser Roxanne Phillipe (carrying hippie extra-large rounded violet sunglasses and a pink/violet trousers outfit).

At the exit of the government house, Ramone witnesses Dana driving a fancy yellow convertible and bumping the back of his black Mercedes to get out of the lot. He whistles her to stop the massacre. She cuts her engine and he walks towards her. She smiles at him and Ramone tells her he will move his car forward. She comes out and moves to talk to Ramone and identifies him. He seems surprised. She asserts knowing him from the television, the speeches and even read his biography. Ramone feels flattered. She asserts that reading bores her and it’s too passive. He asks her name and she introduces herself as Roxanne Phillipe. Ramone tells her he likes to know her and allows her to call him by his first name. He invites her at his club. She accepts to have “drinks, dinner and polite conversation”. Dana concludes her seduction act by saying: “Ramone, I only learned one thing from all my years at school. The shortest distance between two points is a straight line”. And she bits her lower lip. Ramone is satisfied and says with a smile: “I’ll follow you to your place”. Dana replies: “Good”. Doug watches the adultary couple leave by car inside a phone booth.

Doug Robert
Doug poses as the deceived husband Paul Phillipe.

Paris
Paris poses as runaway criminal Alfredo Sanchez (with a hip look) and induces confusion in Ramone’s mind through the character of his father, locked in the Madrena prison. Paris carries a latex mask with a thick makeup to look like the old convict Martin Sanchez (a real mummy!), the father of Alfredo.

At night and coming out of his apartment, Ramone Fuego, carrying a parcel, gets in his black Mercedes. Paris pops up in the back seat and theatens Ramone with a gun and orders him not to turn around. Ramone asks him his identity so Paris introduces himself as Alfredo Sanchez. Ramone asks him what he wants, offers him money and tries to draw his gun but Paris orders him to keep his hands on the wheel. Paris refuses money but wants his father to be released from Madrena’s prison because he has spent over 20 years in the place. Paris tells Ramone a far-fetched story about his old father to create confusion in his mind: his uncle Miguel planned the assassination of Victorio Fuego in order to become the Premier of San Pascal and Sanchez’ father tried to prevent it and was emprisoned for it. Ramone asks him what happen to him after being captured by his uncle troops during the revolution and Paris tells him he’s escaped. Ramone asks him how does he know that his father is still alive and Paris answers he met a former guard at Madrena Prison one month ago who saw his father. Ramone offers him to warn Colonel Rodriguez about his case but Paris refuses because the Colonel tried to arrest him for a phony murder charge and escaped from him and run. They hear some noise, watch militaries checking cars and approaching. Paris gets out of the car and runs fast. Jim and two extras track him down. Later at Madrena’s prison, Ramone sees a block of stones moving forward and an old man with a pale face coming out of a tunnel. Paris-as-old convict Sanchez pretends to be scared by the sight of Ramone, turns back and says: “No. No, you’re dead. Go away! Go away! Go away!” Ramone reassures him and introduces himself as Victorio’s son. Ramone guesses the identity of Paris-as-old convict Sanchez owing to Alfredo. Ramone asks him to reveal informations about his father but he asserts he has forgotten. Ramone insists and asks him how his father was killed and he replies he was not and that he wrote down the whole event on a diary that he used to hide. He tells Ramone that he was questioned during years about it but forgot all. Ramone asks him a way out of the prison and Paris-as-old convict Sanchez shows him another moving block of stones on the other side of the cell. Ramone and Paris-as-old convict Sanchez have removed the block of stones and hears some noise coming from the guard. Paris orders Ramone to cover the second tunnel and he returns to the first one and uses a fabric belt to put back the block of stones but Ramone joins him in the tunnel to avoid the confession letter. The guard and Jim step into the cell and remain silent and watch the clean block of stones. Jim signals him to blow the whistle and yells to warn about the escape of Ramone. Jim closes the door and slightly opens the judas hole. Ramone hears them go out and resumes to his cell while Jim eavesdrops. He closes the judas hole. Ramone notices some light out there, rejects Paris-as-old convict Sanchez back to his tunnel and seal off the wall. After their prison’s escape, Paris-as-Alfredo Sanchez leads Ramone down to his basement shelter. Paris searches a dark corner and offers Ramone some food: a loaf of bread and two bottles of wine. Ramone refers to Paris-as-Sanchez’ late father that he met, lies about trying to help him and says: “I did all I could”. Learning that his father was alive, Paris pretends to be moved. Paris recites a bogus story to make Ramone believe his memories of his father working as a wax sculptor in a studio willing to open a museum featuring historical figures as Ceasar and Napoleon. Ramone extrapolates and figures it out the hideout of the diary. Arriving at the mausoleum, Ramone threatens with a gun the four guards on duty and orders them to drop their weapons and get on the other side of the room. Paris picks up a rifle and orders them to turn around. Ramone also grabs a rifle, throws out the wreath of the glass casket, stares at his father, breaks the upper glass of the casket with the butt (shot low angle) and also the hollow face of his father, removes a glass fragment and catches the little diary. They run. Back at the basement, Paris reveals to Ramone that his father was hired by his uncle and Colonel Rodriguez to create a wax likeness of Victorio Fuego. Ramone reads the old diary and learns that his father was emprisoned in a mental hospital to be lobotomized via drugs (“Rodriguez has arranged to destroy Victorio’s intellect medically, turn him into a vegetable…”, culled from the diary of Martin Sanchez) and transferred to “Our Lady of Sorrows” Sanitarium under the name of Salazar. Paris tells him knowing the place. Ramone and Paris enter “Our Lady of Sorrows” Sanitarium and meet a nun. Ramone asks her to see a patient named Salazar but she refuses so Ramone threatens her whith his gun and she leads them to a bedroom. Ramone faces an old silent man with a long scar (from the neck to the lower lip) sat on a wheelchair. Ramone calls him Victorio many times to get a reaction but he remains mute and still. Paris and the nun stare at Ramone who moves the face of the old man with his hand so that he recognizes him. Ramone takes his wrist and the old man cries at the sight of Ramone’s ring then touches it. Because of the identification of the ring, Ramone states he is his father. Ramone displays a feeling of bitterness: “They will pay for this”. He exits along with Paris and the nun watches them. Out of the blue, Jim appears in the bedroom and the two extras remove their disguises. In the streets of the Capital, standing on a jeep driven by a soldier (IMF extra), a policeman (IMF extra) warns, via a megaphone, the population that Ramone Fuego is wanted and any informations about his presence must be reported to the Security Police. From the basement, Paris and Ramone hear the official announcement. Paris worries and fears to be caught up because of Ramone and asks him a way out and some money. Paris suggests Ramone to blackmail Miguel and Rodriguez with some secrets. Feeling betrayed and willing to avenge, Ramone tells Paris he will get a compromising document in the office of his uncle but Paris refuses to go with him because of the Security. Ramone reassures him and reveals that he knows a secret passage. They travel a concrete tunnel (off camera) and Ramone stops to press a button that opens a wood wall leading to the office. Ramone walks straight to a little marbled table, switches on the detecting device and applies both palms on the surface which triggers the opening of a wall safe. Ramone composes the combinaison of the safe and takes the red treaty. On their way to leave, Ramone stops by to get some money, throws out the treaty on an armchair and tries to crack the closed drawer of his uncle’s desk with a tool. Paris discreetly takes the treaty and exits by the passageway.

Barney Collier
Barney supervises and executes the hidden work with Doug: the cells of Madrena’s Prison and the mauseoleum’s catafalque.

Willy Armitage
Willy is absent.

Characters’ Associations:

Barney and Doug
The main entrance of Madrena’s Prison (we can see a stock footage of a prison from the season 1 “Memory”) is showed and two men cut their way into a dense jungle followed by Barney and Doug, carrying flashlights and metal suitcases. They watch the Madrena pediment of the old bastion. Barney orders the two men to start clearing away the equipment. Doug lights Barney who adds and triggers with a lighter a fuse to the lock and open up a fence. They push a heavy metal door and enter a dark and desolated corridor filled with cobwebs and rats. They travel through the corridors and stop by a cell’s door that Barney unlocks with an old key. Barney kneels down to measure the size a block of stones from the wall. After digging the wall (off camera), Barney pushes a block of stones to the next cell. After returning in the first cell, Barney and an extra put the block of stones back in order. At the mausoleum, Barney and Doug lift down the cables and its hooks to the feet level of the glass casket under the nose of the four guards on duty. Barney and Doug aim at and catch the bottom of the glass casket. They do the same procedure for the face level. They raise up the glass casket by activating the cranks of two mechanical golden pulleys. All of a sudden, a metal part blocks the motion of Barney’s pulley and therefore unbalances the glass casket and the wreath slides towards the feet level. Barney orders Doug to knock off his pulley. The wreath is on the edge of the glass casket and on the verge of falling down. The wreath swings a little on the edge. Barney unscrews the brake from a metal bar of his pulley. The mechanism is free. Barney orders Doug to resume. They activate the cranks again. Once the glass casket is at the level of the attic room, they plant two planks under it. They substitute the late Victorio by a wax dummy. Doug takes a look at his wristwatch and informs Barney that the guard will change in two minutes. They lift down the glass casket and then take down the hooks and raise up the wire cables from the face level. They do the same procedure with the feet level when they hear the approaching footsteps. The Captain of the Guard walks in the corridor. They remove the last cables at the last minute and the Captain of the Guard changes the soldiers. They close the stained glass ceiling.

Dana and Doug
At her flat, Dana and Ramone drink a toast and say “Salud” (as Eddie Lorca from the season 5 “The Killer”) sat on the coach of the living-room. Ramone asks her how long does she stay in the Capital of San Pascal? And she replies boldly: “as long as you want me here”. To proove her point, she removes both drinks and kisses Ramone directly. Ramone holds her too close and she hurts her chest against his gun. She removes the gun from his holster and puts it on a red velvet box of the table and says: “Haven’t you heard? Make love not war”. They kiss deeply. Dana’s foot goes searching a button on the table to be pressed and to switch the gun (via a rotating unit that we used to see in the lounge of the train from The Wild Wild West). Suddenly, Doug bangs and opens the door violently, Ramone is surprised by the intrusion and asks him his identity. Dana calls Doug by the first name Paul. And Doug introduces himself as his husband, warns Dana and, on his way to draw his gun from his pants, Ramone shoots him first twice and hits him the chest. Dana rushes to look at her husband who lies down on the floor. She declares him dead. Two policemen step into the room and examine the body. Ramone states his name and explains himself. They put him under a rest. Ramone insists and states his name again. One policeman holds his arm but Ramone walks to get a phone call to Colonel Rodriguez when the policeman stings him in the neck with the “slap golden needle ring”. Ramone collapses on the coach then bounces on the carpet. Jim as Major Volta comes out from the other room and Doug raises from the dead and takes off his bloody postiche from the inside of his pink shirt. Jim stares at Ramone.

Jim and Dana
Ramone is lying on the hard-packed surface, awakes painfully in a dark wet cell and watches the walls and its inscriptions. He stands up, examines the walls and knocks on the door and shouts to asks where he is. Ramone notices the Madrena graffiti and becomes aware of his vicious situation. One guard opens up and points a gun at him. Ramone complains and asserts it’s a mistake and asks to talk to a head. The guard orders him to move back and Ramone states his name with pride. Jim as Major Volta steps into the cell. Ramone questions him about his detention and Jim informs him of his murder charge (Paul Phillipe). Ramone justifies himself, pleads self-defense and demands to be released immediately. Jim informs him that his fate will be dealt with during his trial. And Ramone asks him the date of his trial. Jim obliges him to sign a full confession to obtain the trial. Ramone refuses cold and tears up the letter. Jim tells him he will remain in this cell until he signs. Ramone tells him he can proove his innocence and refers to his witness: Roxanne Phillipe. Dana makes her entrance and asserts, in a melodramatic way, that Ramone killed in cold blood her husband Paul. Ramone reacts and asserts she’s lying. Dana tells him a bogus story of a long term relationship between them. Furious, Ramone rushes to strangle her but Jim separates him at the last minute. Dana screams, highlights the savage behavior of Ramone and exits. Ramone senses a frame and tells it to Jim. Ramone asks Jim who signs the letter of his arrest and Jim tells him his uncle Miguel. Ramone accuses Jim of lying. Jim shows him the document and asks him one more time to sign his confession in order to get a life sentence. Ramone tells Jim he connects his arrest to Alfredo Sanchez’ revelations concerning his father. On his way to leave the cell, Jim informs Ramone that he will send someone later tonight to get his signed confession.

Jim and Paris
In the next cell, Jim watches Paris preparing his disguise. After being rejected by Ramone, Paris comes out the other way, helped by Jim and confirms that Ramone is a ruthless man: “Wow, just like you had him figured, Jim. The man is as cold as they come”. Paris does the mask’s peel-off when Jim calls by mini talkie-walkie the guard who listens to him via a earphone plug and learns about the escape of Ramone and must alert his colleague. Ramone comes out his cell and explores the place. A few minutes later, Jim and Paris leave the next cell very discreetly and run. Ramone hides and watches a guard standing near the cell’s doors for inspections. Jim orders another guard to travel and push a food trolley in the corridor. Outside Madrena’s Prison, Paris, dressed as Alfredo Sanchez, puts himself the handcuffs while Jim calls the guard to move out of the corridor. Seeing a free way, Ramone walks and follows the trail of the trolley guard. He catches the key hanged to the wall, unlocks the door and on his way to cross it, he faces Jim-as-Major Volta pointing a gun at and holding prisoner Paris-as-Alfredo Sanchez. Ramone steps back, Jim moves on and Paris knocks Jim unconscious from the rear. Ramone picks the gun and Paris grabs the key and unlocks his cuffs. They run by car. A few seconds later, Jim stands up and Dana and the two guards pop up.

Comments:
As in “Operation Rogosh”, the IMF used the phony prison ploy to trick Ramone Fuego in a cell and the intrusion of an eye witness in love: Dana (re-playing Cinnamon’s part); as Imre Rogosh, Ramone wakes up in a dirty cell, completely dizzy, watches the walls’ inscriptions (“God save my soul”, “Madrena”) and complains by knocking at the door. There is one detail in the plot that I find illogical: during his imprisonment in the Madrena’s Prison of Act 2, Ramone is told by Jim-as-Major Volta that he must sign his confession otherwise he will remain in the cell and then Jim states after his trial he will obtain a life sentence—in the end, his fate remains the same so why bothering about the confession? As Manuel Ferrar (actor John Colicos) in the season 5 “Flight”, Ramone undergoes the slap needle-ring by two extras (two phony policemen enter Dana’s room to arrest Ramone and one of them sting his neck), uses a passage through a stone wall and then escapes from a cave (the sordid cell). The famous scene of the catafalque’s substitution is a veiled reference to Jules Dassin’s Topkapi. As in the season 5 “Flip Side”, Dana plays a hot woman who must seduce an uptight foe and lead him into murder (her husband, played by Doug). Ramone Fuego’s neighbourhood set is recycled from the season 3 “Illusion”. As in the season 4 “The Double Circle” and the season 5 “The Missile”, the foe uses a palm prints detector. This is the last missiles-oriented plots (see “The Missile”, “The Field”). As in “The Rebel”, Barney and Doug handle a pulley to hoist a legendary character. This episode has no apartment scene due to an assignment in progress. Both John Vernon and Will Kuluva guest star in the season 3 “The Exchange”, written by Laurence Heath and in the same episode, one of them is fooled by the IMFers and finally face the other but, in the context of “The Catafalque”, it’s the other way around. Despite his knowledge of misinformations as a Minister of Propaganda, Ramone Fuego is the victim of a foreign power or, if you like, a foreign propaganda—moreover, Fuego refers twice to “unreliable” witnesses to save his neck: Dana and Paris. As in the season 4 “Submarine”, Ramon Bieri plays the same kind of Colonel who figures out the plan of the IMF but is unable to do anything. As in the season 5 “Hunted” and “The Missile”, the tape scene starts before the prologue. During Act 4, when the San Pascal patrol drives in a city block to warn the population, it is the 17 Paseo Verde backlot from Mannix.

Review:
Find another top episode with a Cuban missiles reference that is reminiscent of Alfred Hitchcock’s 1969 Topaz (also guest starring John Vernon) that is tightly plotted by young genius Paul Playdon who achieves his last script that is in the line of the season 4 “The Falcon” due to the highly guarded mausoleum (instead of the crown jewels room) and John Vernon’s Latin character whose first name is Ramone too but, above all, it is a variation on the season 3 “The Heir Apparent” (produced by William Read Woodfield and Allan Balter) due to the addition of the phony diary. The script also borrows elements from the season 1 “Operation Rogosh” (the prison con in Act 2) and the season 1 “Odds on Evil” (the Vaudeville act at Dana’s flat in Act 1). The past references don’t hurt the episode which distinguishes itself by his dark tone. John Vernon’s sincere and sentimental performance adds a layer of complexity to his character: keep in mind that “Fuego” means fire in Spanish—the fire of passion (love) and war (death). Find Leonard Nimoy’s last challenging performance as a dual character and both Sanchez are related to tunnels—his old convict Sanchez is a veiled and updated reference to French novelist Alexandre Dumas’ Le Comte de Monte-Cristo (The Count of Monte Cristo). One tiny detail in the seduction act of Dana that I adore is how she gently bits her inferior lip in front of a foe.

Actors Notes:
Canadian-born John Vernon used to be the leading character of the medical series Wojeck (1966-1968) as coroner Dr. Steve Wojeck, a prolific character-actor that you saw on many major Silver Age television series and telefilms (see Escape, The Questor Tapes, The Solid Gold Kidnapping), appeared in three QM series (The FBI, Cannon, Barnaby Jones), worked with producer Bruce Geller on Mission: Impossible, on Mannix (see the season 4 “Shadow Play”, the season 5 “Scapegoat”, the season 6 “To Kill a Memory”) and on the unsold pilot Hunter as the leading and title character and started his American cinema career with two films done by British directors (John Boorman’s 1967 Point Blank and Alfred Hitchock’s 1969 Topaz), collaborated thrice with director Don Siegel (Dirty Harry as the memorable mayor of San Francisco, Charley Varrick, The Black Windmill), appeared in two noteworthy 1972 feature films (the action-packed and car chase-oriented Fear is the Key and the experimental survival drama Journey) and one John Wayne vehicle (Brannigan), participated at Clint Eastwood’s Civil War western The Outlaw Josey Wales. This is the best of the four episodes performed by John Vernon that includes the season 3 “The Exchange” as East German Stasi Colonel Josef Strom, the season 4 “The Falcon” as General Ramon Sabattini and the season 7 “Movie” as Hollywood-based Syndicate executive Norman Shields. Woman-wise, John Vernon plays the opposite part of Topaz.

Stock music:
• “The Heir Apparent” by Lalo Schifrin (prologue: Ramone and Miguel pay homage to Victorio Fuego in the mausoleum; Act 1: Barney and Doug go the team’s basement; Barney removes a block of stones in the bastion; Act 2: Barney and Doug lift down the wires to raise up to the glass casket; Act 3: Barney fixes the mechanism of the pulley and orders Doug to resume the raising of the casket; after putting back the casket, Barney and Doug removes the hooks and the wire cables)
• “The Killer” by Lalo Schifrin (prologue: Doug and Barney watch the guards on duty; Act 1: Dana seduces Fuego in the parking lot; Act 4: in the basement, Ramone informs Paris of a secret document in his uncle’s office; the final showdown between Ramone, Miguel and Rodriguez)
• “The Contender” by Lalo Schifrin (Act 1: Paris threatens with a gun Ramone Fuego in his black Mercedes; Act 4: at Our Lady of Sorrows Sanitarium, Ramone visits the so-called Victorio Fuego)
• “My Friend, My Enemy” by Robert Drasnin (Act 1: the front gate of San Pascal prison; Act 2: Ramone awakes in a Madrena’s cell; Act 3: the guard arrives and Ramone joins in Sanchez in the tunnel; Ramone rejects Sanchez and seals off his cell; Ramone and Paris go to the mausoleum and Ramone break open the glass casket; Act 4: Colonel Rodriguez and Miguel stand in front of the glass casket and deal with his manipulation)
• “Operation Rogosh” by Lalo Schifrin (Act 1: Barney opens the Madrena prison along with Doug; Act 3: Barney and Doug lift down the glass casket back to its original place)
• “Memory” by Lalo Schifrin (Act 1: Ramone shoots down Doug in the chest and two policemen arrest him)
• “Pilot” by Lalo Schifrin (Act 3: after the departure of the guard, Ramone moves; Act 4: Paris returns safe to the back of the van with the red treaty)


Mission: Impossible | Flight | Main Titles/Trailer

Mission: Impossible | Flight | Dana teases Fuego

Mission: Impossible | Flight | Fuego kisses Dana at her Flat

Mission: Impossible | Flight | Fuego awakes in a Cell

Mission: Impossible | Flight | Fuego breaks the Dummy’s Face

Pictures of Minister of Propaganda Ramone Fuego (actor John Vernon).

 

[Doug Wallen]

John Vernon​

February 24, 1932


Birthday Tribute

​

From Wikipedia:
John Keith Vernon (born Adolphus Raymondus Vernon Agopsowicz; February 24, 1932 – February 1, 2005) was a Canadian actor. He made a career in Hollywood after achieving initial television stardom in Canada. He was best known for playing Dean Wormer in Animal House, the Mayor inDirty Harry and Fletcher in The Outlaw Josey Wales.

I seem to remember first seeing him as a recurring guest star on any number of drama shows in the late 60's and throughout the 70's (Tarzan, Bonanza, Cannon, Barnaby Jones, Mannix, The Felony Squad, Judd For The Defense, High Chaparral, Hawaii Five-O, The Name Of The Game, Mission: Impossible, Petrocelli, Gunsmoke, Ironside, Kung-Fu, Police Woman and on and on …) . Where did he find the time?

As if that wasn't enough, he was also finding time to appear in some truly excellent movies. Most of us of a certain age remember him as Dean Wormer, president of Faber College persecuting the Deltas in Animal House. So much fun to see him be “seriously” funny.

After seeing him in a comedy, I started noticing that he also appeared in some other very highly respected films. He played a Castro like resistance fighter in Hitchcock's Topaz – which is actually a pretty fair film (the 4k looks pretty good). He portrayed the Mayor in Dirty Harry who obviously disagreed with Harry's “style” of policing. He also appeared in Walter Mathau's Charley Varrick, he even made an appearance in a John Wayne film – Brannigan (not necessarily a good fim).

In my opinion, his best role was as the relentless Capt. Fletcher who chases/hounds The Outlaw Josey Wales. His singlemindedness is impressive. What a great performance.

During this period, John still kept working on more episodic series including Movin' On, Barbary Coast, Matt Helm, Switch, McMillan & Wife, Quincy M.E., The Sacketts, ChiPs, The A-Team, Faerie Tale Theatre, T. J. Hooker, The Greatest American Hero, Hart to Hart, The Fall Guy, McGuyver, Murder, She Wrote, Knight Rider, Airwolf, Scarecrow and Mrs. King and War Of The Worlds. This is not an all inclusive listing. The man has 212 listed credits.

All during his career he also lent his voice to many animated projects. I am not an animation guy so this aspect of his career was surprising.

From Wikipedia:
Vernon also did voice work, including voicing Tony Stark/Iron Man and Sub-Mariner in The Marvel Super Heroes, Rupert Thorne in Batman: The Animated Series, General Ross in The Incredible Hulk series, and Shao Kahn in Mortal Kombat: Defenders of the Realm.

Once again, this guy seemed to be on most all of the series that I watched. He was always watchable and his performances generally elevated the material.

I feel it is an honor to pay tribute to another familiar television “friend” who I was always eager to allow visits in my home growing up.

 

[ScottRE]

JACKIE GLEASON BIRTHDAY TRIBUTE
“THE GREAT ONE!”

February 26, 1916

Per Wikipedia:​

John Herbert Gleason (February 26, 1916 – June 24, 1987), known as Jackie Gleason, was an American actor, comedian, writer, and composer also known as "The Great One". He developed a style and characters from growing up in Brooklyn, New York, and was known for his brash visual and verbal comedy, exemplified by his city bus driver character Ralph Kramden in the television series The Honeymooners. He also developed The Jackie Gleason Show, which maintained high ratings from the mid-1950s through 1970. The series originated in New York City, but filming moved to Miami Beach, Florida, in 1964 after Gleason took up permanent residence there.

Among his notable film roles were Minnesota Fats in 1961's The Hustler (co-starring with Paul Newman) and Buford T. Justice in the Smokey and the Bandit series from 1977 to 1983 (co-starring Burt Reynolds).

Gleason enjoyed a prominent secondary music career during the 1950s and 1960s, producing a series of bestselling "mood music" albums. His first album Music for Lovers Only still holds the record for the longest stay on the Billboard Top Ten Charts (153 weeks), and his first 10 albums sold over a million copies each.[4] His output spans more than 20 singles, nearly 60 long-playing record albums, and more than 40 CDs.

And awayyyy we go!

Jackie Gleason!
THE HONEYMOONERS
With the stars Art Carney, Audrey Meadows, and Joyce Randolph




Episode 7
“Better Living Through TV”
Airdate: November 12, 1955

Written by Marvin Marx & Walter Stone
Directed by Frank Satenstein

​

Ralph presents Norton with a money-making idea to get rich. There’s a box of labor saving devices - "Handy Housewife Helpers" - available from a warehouse. The device opens cans, takes corks out of bottles, cores apples, and many other things. Ralph's plan is to borrow money from their wives to buy the box and pay for a live TV commercial. It's a "sure thing"

Alice refuses to loan Ralph the money, so he borrows it elsewhere.

Ralph and Norton work out a commercial in which the "chef of the future" shares the wonders of the kitchen gadget that does everything and makes housewives happy. During the rehearsal, everything goes well, but as the show goes live, Ralph develops stage fright and freezes up, while Norton tries to save the commercial.

Growing up, I knew of Jackie Gleason from two sources: one was as “Buford P. Justice, fearless law of Texas, the man who chased the Bandit coast to coast” in the Smokey and the Bandit Trilogy. The second was as Ralph Kramden. The Honeymooners was a staple of my late night TV viewing as part of a local lineup on WPIX. The Odd Couple, The Honeymooners, Star Trek and then The Twilight Zone. Never have four so dissimilar series worked so well together. To this day, for me these shows are connected.

The Honeymooners plots were simple. For the most part, they involved Ralph Kamden (the late great Jackie Gleason) coming up with some far-fetched scheme to better his financial position or reputation, usually roping in his dimwitted best friend Ed Norton (brilliantly played by Art Carney). His long-suffering wife, Alice (the drop dead gorgeous Audrey Meadows), would be ignored voice of reality. Gleason’s slow burns would erupt into bellicose shouting and threats of violence which never scared Alice even a little (which really takes the edge off the repeated threats of spouse abuse). Each attempt for more money would fail and Ralph would get his comeuppance very time. Even with the shouting and threats to both Alice and Norton, they would be patched up in the end. Ralph was always likeable and his love for Alice and Ed was usually on display as much as his anger.

While a great many “episodes” of The Honeymooners exist, it is the Classic 39 which most people remember and cherish. These are wonderful comedies that Gleason had the foresight to film on 35mm rather than merely save as Kinescopes of live broadcasts (ala the “lost episodes”). These episodes have been run and rerun continuously for nearly 70 years.

Because they’re still funny.

Gleason was a genius at physical comedy, slow burns, and reactions. He was also generous, making sure some of the larger laughs were given to others at his expense. He was also a demanding taskmaster with an eidetic memory. He knew his lines after a single read-through and needed far fewer rehearsals than his castmates.

This episode, one of the more famous and quotable, is a perfect example of the formula and Gleason’s comic ability. The first two-thirds of the episode are typical for the series, but the final act is a comic gem. With Ralph as “The Chef of the Future” and Ed as “The Chef of the Past,” they rehearse their commercial before they must perform it live. Ralph, the over confident braggart, belittling Ed for his nervousness, is suddenly stuck with crippling stage fright as soon as the commercial starts. His stammering delivery and awkwardness as he belts out “Chefadafutcha!” is comedy gold. As Carney and Gleason attempt to demonstrate the superiority of the "Handy Housewife Helpers" over typical kitchen tools, and failing miserably, Gleason literally brings the house down as Ralph falls through the set. The live audience explodes in response and the episode closes on Ralph’s latest failure.

A classic episode. Not without faults, though. Alice refuses to give Ralph the money to buy the stock of "Handy Housewife Helpers" and make the commercial, but he does get the money from somewhere. And we never see Ralph face the music, but it happens often enough, we know he’s going home, contrite and ashamed until the next time.

 

[ScottRE]

JACKIE GLEASON BIRTHDAY TRIBUTE
Part Two!​

Gleason’s chemistry with his cast is magical. The long scene where he and Meadows argue over the scheme is blistering, filled with emotion and insults until Ralph goes just one step too far over the line.

Alice: “Listen, Ralph, I'm getting pretty sick and tired of this. Every week you come home with some new, crazy, harebrained scheme. That's all I've heard for the past 14 years. One crazy, harebrained scheme after another. That is all I have heard since the day that we got married.”

Ralph: “You heard one of my harebrained schemes before we got married...I proposed to you!”
Alice: (pause): “Don't you ever say that again, Ralph.”
Gleason’s entire body language changes as his face sinks.
Ralph (softly): “All right, I'm sorry.”

The characters are a large reason why the series endures and the love between Alice and Ralph is what keeps them together. This is one of the most well drawn and hysterically funny episodes in the run of the series and arguably one of the best of the 50’s. Jackie Gleason’s comedic genius and his gift for casting made this episode, the series, and the characters television legends.

One of the most legendary appearances Gleason made was as the host of a new series called You’re in the Picture. It was a massive failure, a show so badly received, the following week’s installment consisted of nothing but Gleason on a bare stage apologizing to the audience for being part of such a disaster. It was an incredibly funny half hour of mostly ad-libbed stand up comedy.





After that, the series was retitled The Jackie Gleason Show and became an interview program for the remainder of its 13 episode run.

Honestly, I have to admit to a real guilty pleasure. Gleason’s utter train wreck of a film…Smokey and the Bandit Part 3. Originally written and conceived as a Gleason dual role to make up for the fact that Burt Reynolds was not interested in a third “Bandit” film, the movie was originally titled Smokey IS the Bandit.



Yep, Gleason was to somehow play both roles. However, it seems a rough cut (long discarded) was so utterly terrible, it was reshot and re-edited into a barely acceptable sequel with Jerry Reed stepping in as Cletus taking the place of the original Bandit.

This film is just insanely awful, but it’s still my favorite of the three films because Gleason just gives it everything. And it also has a killer soundtrack with some of the best songs in the series.



I cannot recommend the film, but it was a staple of the early days of HBO and it was rerun often. It’s so bad, it’s good. Like The Room or Plan 9 from Outer Space.

Gleason was also a composer of romantic mood music and, as stated in part one, his first album “Music for Lovers Only” still holds the record for the longest stay on the Billboard Top Ten Charts (153 weeks).



While Gleason was a multitalented man, I will always cherish Ralph Kramden and, in particular, the Classic 39 primarily because the late night run came at a time in my life when I needed comfort the most. Not to mire this in maudlin memories, but from 7th through 12th grades, I had a horrible time at school socially. It was a lonely and dire existence and my only escape came from my friends in the Boy Scouts and in time filled with fantasy such as comics, music, movies, and – most prominently - TV. During the day, we had lots of great 60’s reruns. At night, since it was the 80’s, there was a plethora of escapist programming. As I mentioned previously, at night was my favorite local lineup of The Odd Couple, The Honeymooners, Star Trek and The Twilight Zone. I would stay up as late as I could so I could sop up as much comfort and joy as possible before suffering through the 9 months of 7 hours of misery per school year.

The Honeymooners end credits (reportedly composed by Gleason) still hit me hard because of the joy the series gave me when I needed it most. That lovely, haunting music (“You’re My Greatest Love”), particularly the ending crescendo, can still bring a tear of warmth and nostalgia. It is a reminder that, as alone and solitary as I felt then, there was an escape and reasons to laugh. It got me through some rough times and I freely admit that television and music kept me alive.

Anyway…

All of this merely scratches the surface of the incredible career of The Great One, Happy Birthday, Mr. Gleason. You continue to entertain decades after your passing.

 

[Bryan^H]

Marta Kristen Birthday Tribute

The most lovely lady of classic TV Marta Kristen turns 79 today (WHAT??)
What can I say....she is absolutely stunning, and the Lost in Space release on BD is a miracle (I never thought I'd see it..in OAR no less). Although I wish she would have starred in more 70's tv series, I'm happy with what work she did in that time frame. Here she is in an episode of Mannix "A Game of Shadows" from 1972.
* sorry about the awful, arachaic DVD quality. This is one of the few that is not available in the gorgeous HD streaming.