In 1963, CBS has several problems.
The big one is George C. Scott, a Broadway actor turned
electrifying film sensation. For some baffling reason, somebody at CBS decides
to try and get Scott to commit to doing a TV show. Under normal circumstances,
getting a solid character actor to make a show for you isn’t a bad idea, but
Scott has been very vocal about his
derision for TV. And he is what is euphemistically known as “difficult.”
They send him a series overview about a war correspondent
having dramatic adventures.
He hates it.
Meanwhile, there’s James T. Aubrey, a man nicknamed The
Smiling Cobra, and president of CBS from 1959 to 1965. Aubrey is the man who thinks
busty country girls falling in streams is the best thing ever. His shows
include Petticoat Junction, Gomer Pyle USMC, and The Beverly Hillbillies. His motto is:
“broads, bosoms, and fun.” And that is an actual quote.
Unfortunately for Aubrey, it can’t all be talking horses and
exploding toilets. CBS is still holding on to a reputation for high quality,
intelligent programming. A reputation that goes all the way back to its radio
days, and one that’s guarded by network chairman William Paley. (Picture the old knight at the end of Indiana Jones and the Last Crusade faced
with the undeniable ratings crush of Gilligan’s
Island.) Paley’s tenure has brought us Perry
Mason, The Defenders and Route 66.
It usually goes something like this: William Paley happily
greenlights The Twilight Zone. Jim
Aubrey, noticing the lack of jiggling mountain girls, takes away all of its
money and gives it to Andy Griffith, who doesn’t need it because nobody ever
leaves Mayberry and all the sets are already built. Everybody thinks Andy is
happy as a clam, but they don’t know that he’s started going to all of the
production meetings to make sure his show isn’t hijacked by Ellie May 2.0 moving
into town and holding a beauty contest to raise funds for a water tower. Rod
Serling is bitter, Andy Griffith is working seventeen hour days, and nobody is doing what they really want.
And now, into the mix, comes the potential for a serious
legal case with George C. Scott, if they don’t figure out something – anything
– to fulfill the terms of this contract.
A show is put together. It’s like Naked City, but with social workers instead of cops. Social workers
in Harlem. Scott’s character answers to a female boss and shares and office
with a black co-worker, played by none other than Cicely Tyson. (This was the
first time a black actress was co-starring in an hour long drama. She’s
magnificent, of course, but she’s Cicely Tyson, so obvs.)
Scott wants realism. He wants it so badly, he’s being as
obnoxious as possible at all turns. Aubrey wants a harem of beautiful women and
Park Avenue mysteries. The pilot script is written in five minutes flat, and
looks like a pretty conventional social drama, with a courtroom scene and a
tidy finish. It’s called East Side/West
Side. It gets the go-ahead, despite not really having a plan for a full
season, or a functional production team.
Other scripts don’t come in. The people assigned to write
them are, uh, I don’t want to say
flake-tastic beatniks, but history implies that that’s what they were. The only
solution CBS has time for is to just film whatever script they get, with almost
no revisions.
This was the collision of reckless mistakes, strange clashes
of personality, and desperate scrambling that allowed this show to twice make
episodes that were masterpieces. And, almost impossibly given the realities of
the era, both stories are about black lives.
“Who Do You Kill?” is upsetting and raw. It stars James Earl
Jones, then unknown outside of theatrical circles, and Diana Sands. Sands had
played Cicely Tyson’s role in the pilot episode of the series, but had quickly
dropped out because of all the backstage drama. They play Joe and Ruth Goodwin,
a couple doing their best to get by with limited job opportunities for Joe.
Their struggle is intensified when a rat bites their sleeping infant. They
can’t get her to the hospital, and the bulk of the story concerns the aftermath
of their loss.
The cut of the episode available on YouTube is missing the
section that actually contains the rat, but it’s the best anybody can do. MGM
has yet to release the series on DVD.
In “No Hiding Place”, Ruby Dee and Earle Hyman play a couple
who have made it out of the slums, only to face a different set of problems.
They move in to Maple Gardens – “A Friendly Community” – to find mistrust and
cruelty from their white neighbours. Not only that, they become the center of a
blockbusting scheme. (I feel like it would be responsible to warn you that this
one has a more depressing ending than the above episode about a dead baby, so you are now warned.)
These high points couldn’t last, of course. In an era of
limited channel selection and fervent letter writers, the worst of humanity
alerted Jim Aubrey to his biggest fear. He had accidentally created edgy,
controversial television that unflinchingly tackled social issues. This had to
be stopped.
The hounds were released in the form of directors from the
rural comedies taking out all of the serious content, finally moving George C.
Scott’s character to Park Avenue, and having giggling debutants turn up for no
reason. Some people weren’t comfortable with Cicely Tyson’s character being so
prominent, so Aubrey’s people demanded she be turned into a hat stand. No
longer a professional equal, no longer the kind of character who places
autistic children in specialized education programs, she was now a token. Ten
episodes in, there was talk of renewal only if Tyson was replaced with a white
actress.
By episode nineteen, they were all out of Harlem.
In a twist that sounds like it came from a Simpson’s episode
about cynical television executives, George C. Scott’s character gets a job
with a congressman. The show becomes about how a hotheaded cynic has to conform
to bureaucracy and learn to appreciate Kennedy era political optimism.
It should come as little surprise that there was no second
season.
No comments:
Post a Comment