Quatermass and the Pit (1967)

(This post is part of the 12th Annual Rule, Britannia Blogathon hosted by A Shroud of Thoughts)

Today Hammer Film Productions is best known for their successful Gothic horror movies they made from the late Fifties into the early Seventies As well known as their Gothic horror movies are, Hammer also made films in other genres, including film noir, psychological thrillers, and even science fiction. Among their science fiction films is Quatermass and the Pit (1967), based on the 1958 BBC television serial of the same name. The television serial Quatermass and the Pit was a sequel to two earlier BBC serials, 1953's The Quatermass Experiment and 1955's Quatermass II. Both of those films were also adapted as Hammer movies. In fact, their adaptation of The Quatermass Experiment, subtly re-titled The Quatermass Xperiment (1955), was the first horror movie ever made by Hammer Film Productions.

In Quatermass and the Pit (1967), an ape man dating far back far earlier than previous specimens along and a mysterious metal object, initially thought to be an undetonated bomb, are uncovered by workers on the London Underground. Professor Quatermass becomes involved after his project to colonise the moon is taken over by the military (namely Colonel Breen, played by Julian Glover), and Colonel Breen is brought in to help with the "bomb." As it turns out, the bomb isn't a bomb at all, but actually something much more dangerous.

As mentioned above, Quatermass and the Pit (1967) was an adaptation of the TV serial Quatermass and the Pit, which aired from December 22, 1958 to January 26, 1959 on the BBC. The origins of both go back to the original serial, The Quatermass Experiment, which aired on the BBC in 1953. Nigel Kneale was a member of the BBC writing staff when he was assigned the task of coming up with a six-part serial to air on the BBC in July and August. The result, The Quatermass Experiment, proved enormously popular. It led to a sequel, Quatermass II, which aired in 1955. It also proved successful, leading to Quatermass and the Pit.

It was only two days after The Quatermass Experiment concluded its run on the BBC that Hammer Film Productions asked the BBC about the film rights. The BBC initially turned Hammer down, favouring either the newly formed Group 3 Films or the production team of Frank Launder and Sidney Gilliat. Fortunately, Hammer won out in the end, picking up the rights to The Quatermass Experiment by offering the BBC £2,000 and 20% of all profits from the film. The fact that Hammer had no objections to the film receiving an "X" Certificate, unlike the other production companies, helped them cinch the deal (for those who do not know, the "X" certificate was a film rating created by the British Board of Film Classification (BBFC) in 1955 for films were were deemed only "Suitable for those 18 and over"). Hammer titled their adaptation of the serial The Quatermass Xperiment in hopes of taking advantage of the publicity surrounding the new "X" certificate.

The Quatermass Xperiment proved to be a success for Hammer, so that they immediately made a similar movie, X the Unknown (1956). After the serial Quatermass II aired on the BBC, Hammer immediately picked up the film rights and adapted it as Quatermass 2 (1957). Hammer optioned the movie rights to the third Quatermass serial, Quatermass and the Pit, in 1961. At the time, the plan was for the movie version of Quatermass and the Pit to go into production in 1963 with Val Guest, who had directed The Quatermass Xperiment (1955) and Quatermass 2 (1957), as director, and Brian Donlevy, who played Quatermass in the first two movies, to play the character again. Unfortunately for Hammer, it would take a bit longer for Quatermass and the Pit to go into production.

Quite simply, Columbia Pictures, which distributed Hammer movies in the United States at the time and served as a co-producer for Hammer's movies, was not interested in providing money for what could be a very expensive science fiction movie. Hammer tried to arouse Columbia's interest by shortening the title to The Pit and lowering the £180,000 budget. Even this did nothing to sway Columbia.

Regardless, work would continue on the project. Nigel Kneale completed the screenplay on March 26, 1964. It was in July 1966 that the movie version of Quatermass and the Pit began to see the light of day after it was added to a list of films that would be co-produced by Seven Arts and distributed by 20th Century Fox.

As to casting the film, Nigel Kneale had never been happy with Brian Donlevy playing Bernard Quatermass. He had been originally cast in The Quatermass Xperiment to interest American audiences. Hammer would consider several actors to play Professor Quatermass. James Carreras, Hammer's chairman, suggested another American actor, Van Heflin. Producer Brian Lawrence suggested Peter Finch. Ultimately, Harry Andrews, Jack Hawkins, Trevor Howard, Kenneth More, André Morell, and Anthony Quayle were considered. In the end, Scottish actor Andrew Keir was cast in the role. He had earlier appeared in the Titanic movie A Night to Remember (1958) and the Hammer movies Pirates of Blood River (1963), The Devil-Ship Pirates (1964), and Dracula: Prince of Darkness (1966). While The Quatermass Xperiment and Quatermass 2 had been directed by Val Guest, Roy Ward Baker would direct Quatermass and the Pit. At the time Val Guest was busy with Casino Royale (1967). Roy Ward Baker had directed A Night to Remember and The Valiant (1962), as well as episodes of such shows as The Human Jungle, Gideon's Way, The Avengers, and The Saint.

Not only would Quatermass and the Pit (1967) have a different star and a different actor than the first two, but it would also be the first to be shot in colour. Of course, this was nothing unusual for Hammer at the time, who had been shooting their horror movies in glorious Eastmancolor since The Curse of Frankenstein (1957).

At the time, most of Hammer's films were shot at the Associated British studios, later renamed Elstree Studios, where The Avengers was occasionally shot and later such films as Murder on the Orient Express (1974) and Star Wars (1977) would be filmed. Requiring more space, Quatermass and the Pit (1967) was instead shot at the MGM Borehamwood studio. With nothing else being shot there at the time, Hammer had the studio all to itself for Quatermass and the Pit (1967). This ensured that the film would not exceed its budget of £275,000.

It should come as no surprise that the BBFC certified Quatermass and the Pit "X." This would change over the years. In 2012, the BBFC certified the film 12A, which means that a film is "suitable for those aged 12 years and over" and "children under 12 may see a 12A film in a cinema unless accompanied by an adult. " As to home video, it was certified "15" in 1992, which was changed to "12' in 2003.

Qutatermass and the Pit (1967) premiered in the United Kingdom.on November 9, 1967. It went into general release in the UK on November 19, 1967, as part of a bill with Circus of Fear. In the United States, it was released on February 7, 1968. Since the Quatermass serials had never aired in the U.S., 20th Century Fox renamed the movie Five Million Years to Earth.

Quatermass and the Pit (1967) received most positive reviews, even if at times critics didn't take the film too seriously. Paul Errol in the Evening Standard wrote that it was a "well-made, but wordy, blob of hokum." Dilys Powell at The Sunday Times, wrote of the movie, "Let me hasten to separate myself from any tendency to scoff. The film is produced and directed with dash--and an absolutely straight face." She also said the film was "pretty smart." Some American critics were much less impressed. The Variety Staff wrote, "Routine, somewhat distended development blunts impact of this British-made programmer." Renata Adler of The New York Times was even harsher, writing "All of its pseudo-scientific talk seemed to short-circuit the audience's interest--in it and in themselves."

Over time the reputation of Quatermass and the Pit has improved. It is currently rated 88% Fresh at Rotten Tomatoes. It is regarded by many as one of Hammer's best productions from the late Sixties. It was certainly one of Hammer's more intellectual films. Indeed, the film raises questions about the nature of good and evil and it ties into human evolution. What is more, these intellectual arguments actually drive the plot forward. Andrew Keir is brilliant as Bernard Quatermass.

As it is, Quatermass and the Pit (1967) would have a lasting impact. While based on Colin Wilson's novel The Space Vampires, some have viewed Tobe Hooper's movie Lifeforce as a loose remake of Quatermass and the Pit (1967). John Carpenter's movie Prince of Darkness (1987) shows influences from Quatermass and the Pit (1967) and the earlier Quatermass movies. John Carpenter even wrote the screenplay as "Martin Quatermass." While Hammer remains best known for their Gothic Horror movies, Quatermass and the Pit shows they could do science fiction horror as well.

The 12th Annual Rule, Britannia Blogathon

The 12th Annual Rule, Britannia Blogahon is here! While many think of Hollywood when they think of movies, the fact is that many classic films originated in the United Kingdom. From the Gainsborough melodramas to the Ealing comedies to the Hammer Horrors, the United Kingdom has made many contributions to classic film. The Rule, Britannia Blogathon will run from Friday, September 19 to Sunday, September 21 2025.

Without further ado, here are this year's entries.

Realweeegiemidget  Reviews: "FILMS: Dancin' Thru The Dark (1990)"

Liberal England: "Jack Hawkins hunts for Michael Medwin: The Intruder (1953)"

Smoke in the Library: "Salt and Pepper/One More Time"

The Wonderful World of Cinema: "An Unexpected Twist: Too Many Crooks (Mario Zampi, 1959)">

Crítica Retrô: "A Importância de ser Honesto (1952) / The Importance of Being Earnest (1952)"

Silver Screenings: "Alec Guinness vs. the British Textile Industry"

18 Cinema Lane: "Take 3: Kind Heats and Coronets"

A Shroud of Thoughts: "Quatermass and the Pit (1967)"

Speakeasy: "The Passionate Friends (1949)"

Moon in Gemini: "The 12th Annual Rule, Britannia Blogathon: Far from the Madding Crowd"

Cinematic Scribblings: "The Shaping of a Man: Hobson's Choice (1954)" 

The Best Laid Plans...

"The best-laid schemes o' mice an' men
Gang aft agley..."
(Translation: "The best-laid plans of mice and men
                      often go astray.")
"To a Mouse," Robert Burns

This week I had planned to write posts for the anniversaries of several classic television shows, starting with The Golden Girls on Sunday. My annual "Rule, Britannia Blogathon" begins tomorrow. If all had gone according to plan, I would have written about Gidget, Hogan's Heroes, and Honey West as well. Unfortunately, one of my favourite composers, Bobby Hart of Boyce & Hart fame, died, and so I preempted my Golden Girls post. I thought that I could possibly write The Golden Girls post later this week. Unfortunately, two of my other all-time favourites have died: Pat Crowley and Robert Redford. As a result, I had to change my plans. I went ahead and wrote my posts on Gidget and Honey West. I also wrote my eulogy for Pat Crowley, an actress I have admired since childhood. The "Rule, Britannia Blogathon" will begin tomorrow and I will write my post for it. I will eulogize Robert Redford early next week. Robert Redford is one of my favourite actors and directors, and a man I admire immensely. I would prefer to take time and write a eulogy worthy of him than rush and get one out right away. I will also write my Golden Girls and Hogan's Heroes posts next week, as well as a post on The Rocky Horror Picture Show (which turned 50 this year). Anyway, I hope your week has been less hectic than mine!

The 60th Anniversary of the TV Show Honey West

Today female action heroes are commonplace, but this was not the case in 1965. At that time, they were generally unknown outside of comic books, paperback novels, and old movie serials. When Honey West debuted on September 17, 1965, it was then unusual on American television.  Possibly the only female action heroes on television in the Anglosphere at the time were Sheena (Irish McCalla) in reruns of the syndicated show Sheena, Queen of the Jungle from the 1955-1956 season and Mrs. Cathy Gale (Honor Blackman) of the British show The Avengers, who predated the TV show Honey West by about three years.

Honey West starred Anne Francis as Honey West, a female private eye who operated her own detective agency. She was skilled in the use of martial arts, as well as the use of firearms. She also relied on several gadgets, everything from exploding compacts to lipstick tube radio transmitters. She also drove a Shelby Cobra. Her partner at the agency was Sam Bolt (John Ericson). Honey also had a pet ocelot named "Bruce."

Honey West was not an original creation for television, but instead the character had originated in the 1957 novel This Girl for Hire by Gloria and Forest Fickling writing as "G.G. Fickling." As to how Honey West made the transition from the printed page to the television screen, according to Anna Gough-Yates in Action TV: Tough-Guys, Smooth Operators and Foxy Chicks, the popularity of Cathy Gale on The Avengers in the United Kingdom had come to the attention of executives at the American Broadcasting Company (ABC). They decided they wanted their own female action hero. Like Anne Francis, John Ericson was also well-established in his career, having appeared in such movies as Bad Day at Black Rock (1955) Pretty Boy Floyd (1960), and The 7 Faces of Dr. Lao (1964), as well as guest appearing on a number of TV shows.

Of course, Honey West would make some changes in going from the printed page to the television screen. In the original novels, Honey was constantly losing her clothes. It also seemed as if every man who met her came onto her. Honey West was cleaned up considerably. She kept her clothes on. Honey West was also made more competent for the television series. While in the novels, she was often in need of rescue on the TV series she saved Sam Bolt nearly as often as he saved her.

Indeed, as mentioned above, Honey West was skilled in martial arts and with firearms. Like Cathy Gale in The Avengers before her, Honey went into combat clad in leather. A major change from the novels, in which Honey was more or less a straightforward detective, was the use of the aforementioned gadgets on the show. Honey West used such gadgets as earrings that sprayed tear gas, a lipstick case radio, exploding compacts, a smoke bomb garter, and yet more. In 1965 the spy craze was at its height, so it should come as no surprise that Honey West would incorporate gadgets of the sort seen in James Bond movies and the TV show The Man From U.N.C.L.E.

Producer Aaron Spelling's first choice to play Honey West was none other than Honor Blackman, who had left The Avengers in March 1964. It was after Honor Blackman turned the role down that Anne Francis was cast in the part. Anne Francis was already well-known, having appeared in such films as Blackboard Jungle (1955), Forbidden Planet (1956), John Ericson was cast in the role of Sam Bolt, a character who did not appear in the novels.

The character of Honey West would make her first appearance on television not on her own show, but on an episode of the show Burke's Law, "Who Killed the Jackpot?." In the episode, both Amos Burke, a captain in the homicide division of the Los Angeles Police Department, and Honey West find themselves investigating a case in which a banker was found dead atop a cheap hotel. Ultimately, Honey outsmarts even Amos Burke. "Who Killed the Jackpot?" aired on April 21, 1965. The debut episode of Honey West, "The Swinging' Mrs. Jones," debuted on September 17, 1965.

For the most part, Honey West received fair reviews. Variety wrote of the show, "This sliver of a private-eye series has the cool and sexy Anne Francis as a possible saver. . She very nicely underplays her role as a femme gumshoe, but the gimmick of her judo expertise--she bounces Muscle Beach type males off the walls with predictable regularity--shouldn't be overdone." Most critics agreed with Variety's assessment of the show that it was Anne Francis who made the show work. Cleveland Amory of TV Guide was one of the few critics who took issue with Miss Francis, referring to her as "James Blonde" and writing, "The very casting--or miscasting--of Miss Francis to begin with should set your mind at ease: Her unsuitability for the role is proof it's a spoof."

Initially, Honey West did well in the ratings. Its debut episode ranked no. 19 for the week in the Nielsen ratings. Its competition on NBC was certainly weak with regard to the ratings. The World War II drama Convoy came in 95th in the ratings upon its debut. Unfortunately, Honey West's competition on CBS was the phenomenally popular Gomer Pyle, U.S.M.C. It had come in at no. 3 for the 1964-1965 season. For the 1965-1966 season it would rise to no. 2. Facing such competition, Honey West eventually dropped out of the top forty.

Regardless of its ratings, Honey West did produce merchandise. The AC Gilbert Toy Company manufactured a Honey West action figure along with several accessories for the doll. Ideal put out a Honey West Game. Gold Key published a single issue of a Honey West comic book.

While Gomer Pyle, U.S.M.C. soundly beat Honey West in the ratings, Anne Francis told author Tom Weaver in They Fought in the Creature Features: Interviews with 23 Classic Horror, Science Fiction, and Serial Stars, "Cancellation had nothing to do with the ratings--it was doing very well. But ABC was able to buy The Avengers for a lot less than it cost to produce Honey West. Once they found that this genre would work, they dropped Honey West and bought over The Avengers, which did very well here."

While Honey West lasted only one season, it would be remembered. Anne Francis was nominated for both the Emmy Award for Outstanding Continued Performance by an Actress in a Leading Role in a Dramatic Series for Honey West and won the Golden Globe for Best TV Star--Female for the series. In the Nineties, it was among the first shows aired on TV Land. It would later air on MeTV and Decades. The show was released on DVD in 2006.

Honey West would have a lasting impact. Emma Peel made her first appearance on The Avengers on September 28, 1965, in the United Kingdom, only eleven days after Honey West had first appeared on American television. Mrs. Peel first appeared on American television when The Avengers made its debut in the US on March 28, 1966. Both Honey West and Mrs. Peel, along with the earlier Sheena of Sheena, Queen of the Jungle,  would lead to further female action heroes on American television, including Batgirl, the television version of Wonder Woman, Xena: Warrior Princess, and yet more. Honey West was also only the second female professional detective on television after the 1957-1958 syndicated show Decoy starring Beverly Garland as undercover police officer Casey Jones and American television's first female private eye. Honey West was then the forerunner of Charlie's Angels, Laura Holt on Remington Steele, Maddie Hayes on Moonlighting, and every other female detective to appear on television ever since. It may have only lasted one season, but the influence of Honey West lasts to this day.

The Late Great Pat Crowley

Many may know Pat Crowley (also billed under her full name, Patricia Crowley) from the sitcom Please Don't Eat the Daisies, which ran from 1965 to 1967 on NBC. While I caught a few of its episodes when it was rerun on KPLR in the Eighties, for the most part I am familiar with Miss Crowley from her many guest appearances on television, everything from Maverick to The Closer. What is more, I adored her. Pat Crowley brought warmth and charm to many of her roles, so it was always a delight to see her when she guest-starred on a show, whether it was The Man From U.N.C.L.E. or Friends. Sadly, Pat Crowley died on September 14, 2025, just a few days shy of her 92nd birthday tomorrow, September 17.

Patricia Crowley was born on September 17, 1933, in Olyphant, Pennsylvania. Her father was a coal miner. Her older sister, Ann Crowley, was a singer and actress who appeared in the chorus of Oklahoma! and attended the High School of Performing Arts. Young Pat Crowley followed her sister into acting and to New York City. She was a senior in high school when she starred on Broadway in the comedy Southern Exposure in 1950. That same year she appeared on television in episodes of The Chevrolet Tele-Theatre, Kraft Television Theatre, and The Ford Theatre Hour.

In 1951, Pat Crowley starred as the title character on the Saturday afternoon show A Date with Judy, an adaptation of the radio show of the same name. In the Fifties, she guest-starred on the shows The Web, Suspense, Armstrong Circle Theatre, Inner Sanctum, The Philco Television Playhouse, Goodyear Television Playhouse, The United States Steel Hour, The Eddie Cantor Comedy Theatre, Lux Video Theatre, Climax!, West Point, Crossroads, The Frank Sinatra Show, General Electric Theatre, Studio 57, Westinghouse Desilu Playhouse, Wanted: Dead or Alive, The Loretta Young Show, Schlitz Playhouse of Stars, Bronco, Maverick, Cheyenne, Riverboat, The Dupont Show with June Allyson, Goodyear Theatre, The Tab Hunter Show, Hong Kong, Walt Disney Presents. and The Roaring Twenties. She made her movie debut in 1953 in Forever Female. She appeared in the movies Money from Home (1953), Red Garters (1954), The Square Jungle (1955), There's Always Tomorrow (1956), Walk the Proud Land (1956), Hollywood or Bust (1956), and Key Witness (1960). She appeared on Broadway in Four Twelves are 48 and Tovarich.

It was in 1965 that she began playing the role of Joan Nash on the sitcom Please Don't Eat the Daisies, based on Jean Kerr's 1957 book and the 1960 movie of the same name. She guest starred on the shows Michael Shayne; Tales of Wells Fargo; 87th Precinct; The Detectives; Cain's Hundred; Rawhide; Bonanza; The Twilight Zone, The Eleventh Hour; The Fugitive; Mr. Novak; 77 Sunset Strip; The Lieutenant; Arrest and Trial; The Alfred Hitchcock Hour; Dr. Kildare; The Man From U.N.C.L.E.; The Virginian; Insight; Judd for the Defense; Walt Disney's Wonderful World of Colour; and Love, American Style. She appeared in the movies The Wheeler Dealers (1960) and Send Me No Flowers (1964).

In the Seventies, Pat Crowley was a regular on the show Joe Forrester. She guest starred on the shows The Name of the Game (1971); Marcus Welby, M.D.; Columbo; The Bold Ones: The New Doctors; Alias Smith and Jones; Owen Marshall, Counsellor At Law; Griff; Matt Helm; Police Story; Police Woman; Family; Tales of the Unexpected; The Feather and Father Game; The Eddie Capra Mysteries; The Rockford Files; Friends (1979); The Love Boat; The Wonderful World of Disney, Happy Days; Hawaii Five-O; and Charlie's Angels. She appeared in the movie The Biscuit Eater (1972).

In the Eighties, Patricia Crowley was a regular on the daytime soap opera Generations. She guest-starred on the TV shows Aloha Paradise, Today's F.B.I., The Love Boat; Matt Houston; Trauma Center; Fantasy Island; Falcon Crest; Hotel; Finder of Lost Loves; Blacke's Magic; Dynasty; Murder, She Wrote; and Empty Nest.

In the Nineties, Pat Crowley was a regular on the soap opera Port Charles. She guest-starred on the shows Fraise; Thunder Alley; Melrose Place; General Hospital; Friends; Pacific Blue; Beverly Hills, 90120; Love Boat: The Next Wave; Charmed; and Family Law. In the Naughts, she guest-starred on The Bold and the Beautiful; The Closer; and Cold Case. She made her last on-screen appearance in the movie Mont Reve (2012).

Pat Crowley was an incredibly talented actress. She had a particular gift for comedy, and I am guessing many will remember her best as Joan Nash, the freelance columnist and mother of four on Please Don't Eat the Daisies. In the Bonanza episode "The Actress," she played Julia Grant, a young mother who wanted to become a star on the stage. In the pilot episode of The Man From U.N.C.L.E., 'The Vulcan Affair," she played Elaine May Donaldson, a housewife who gets caught up in a THRUSH plot to commit an assassination. In the Maverick episode "The Rivals," she played Lydia Lynley, the sentimental, book-obsessed object of playboy John Vandergelt's (Roger Moore) affection.

As gifted as Patrica Crowley was with comedy, she did well with dramatic roles as well. In the pilot for The Untouchables, she played Eliot Ness's fiancée Betty Anderson. In "The Witch," an episode of The Fugitive, she played Emily Norton, a young teacher that many of the local mothers resent because she is attractive. In the movie There's Always Tomorrow, she played the somewhat serious ingenue Ann. Pat Crowley shined in comedy, but she could perform dramatic roles. Not only was she versatile, but she was also unforgettable. Pat Crowley always made an impression on the screen. 

The 60th Anniversary of the TV Series Gidget

Although not as well-known now as it once was, Gidget was a popular multi-media franchise in the mid-20th Century. It originated with the novel Gidget, the Little Girl with Big Ideas by Frederick Kohner in 1957. The novel proved to be very successful and was followed by five more original Gidget novels. The first novel was adapted as the 1959 feature film Gidget starring Sandra Dee, which was followed by two more theatrical movies. With such success, a television series was perhaps inevitable. It was on September 15, 1965, sixty years ago today, that Gidget, starring Sally Field in the title role, debuted on ABC.

Frederick Kohner based the character of Gidget on his own daughter Kathy, who as a teenager became part of the surfing scene in Malibu Beach, which was dominated by men at the time. The novel Gidget centred on a teenage girl named Franzie (short for Franziska), whom the older male surfers nickname "Gidget (a portmanteau of "girl" and "midget") due to her petite size. The novel followed Gidget as she learned how to surf and became part of the surfing subculture. The movie Gidget (1959) would Anglicize her given name as "Francine." The TV show would change it again, this time to Frances.

To a large degree, the TV series Gidget was faithful to both the first novel and the movies. The show centred on Frances "Gidget" Lawrence (Sally Field) and her widowed father, UCLA professor Russell Lawrence (Don Porter). Like the movies, Gidget frequented the beach and was an avid surfer. Unlike the movies, the TV show concentrated a bit more on her relationship with her father and her life at school.

In many ways, the TV series drew more upon the first novel than the movies. The character of Larue Wilson (Lynette Wniter) was a minor character in the first novel and did not appear in the movies at all. For the show, she was promoted to Gidget's best friend. The TV show also included Gidget's older, married sister Anne Cooper (Betty Conner), who had appeared in the novels, as well as her husband John (Peter Duel). Gidget's boyfriend was Moondoggie (Stephen Mines), who appeared in both the books and the movies, appeared infrequently on the TV show. It was explained that he was away at Princeton. The show was narrated by Gidget herself, who often broke the fourth wall to address the audience directly.

The idea for a TV series based on Gidget, The Little Girl with Big Ideas, came about years before the TV show hit the airwaves. The January 9, 1961 issue of Television Digest reported that Screen Gems had acquired the television rights to Gidget and that Harry Ackerman would be the executive producer. If the name Harry Ackerman sounds familiar, it is perhaps because he had produced Leave It to Beaver and Bachelor Father, and would go on to produce Hazel, The Farmer's Daughter, and Bewitched.

A pilot script for a Gidget series was ordered in June 1960, but various hurdles would prevent the show from moving forward. Negotiations with Fredrick Kohner took some time.. Harry Ackerman met with Frederick Kohner in March 1961 to discuss the TV series. The two men agreed that the beach would play a large role on the TV show as it did in the novel. The show would also emphasize the relationship between Gidget and her dad, something that the movies did not really address. Ultimately, Fredrick Kohner served as script consultant on the TV show.

While negotiations with Frederick Kohner took a while, it was actually Screen Gems' parent company Columbia Pictures that was responsible for many of the delays. Columbia Pictures decided to go forward with another sequel to Gidget (what would become Gidget Goes to Rome) and nixed the television series as it would be in competition with their feature film. With concerns that the TV show might be delayed indefinitely, Harry Ackerman changed his plans for the Gidget TV show. By September 1961 the project was no longer called "Gidget." After going through such names as Billieken and Debbie, the project officially became Skipper. While Gidget centred on a girl surfer who lived with her father, Skipper centred on a girl water skier who lives with her father in Newport Beach. Unfortunately, Harry Ackerman was unable to interest anyone in Skipper.

Fortunately, by 1963 an official Gidget TV show became possible again. By June 1964 ABC expressed interest in the potential new show. The pilot was financed by Ford Motor Company, but would drop out after the pilot had been made, thinking the show might be too young in order for them to promote their new Mustang. Fortunately, Gidget picked up new sponsors in the form of Campbell Soup and Armstrong-Cork Company (manufacturers of Linoleum and other flooring products) and pharmaceutical manufacturer Menley & James.

As to casting Gidget, one cast member had actually appeared in a Gidget movie. Don Porter had played Gidget's father Russell Lawrence in Gidget Goes to Rome (1963). He had appeared in such movies as Buck Privates Come Home (1947) and The Racket (1951). On television, he had played Susie's (Ann Sothern) boss Peter Sands on Private Secretary and Ann Sothern's boss again on The Ann Sothern Show. While Don Porter was an experienced performer, Sally Field was a relative newcomer, although her mother was actress Margaret Field (often billed as Margaret Mahoney). Eighteen years old at the time, Sally Field beat out 75 other teenage girls in an open audition at Screen Gems. Sally Field had no real experience surfing, but took lessons from Phil Sauers so she could convincingly pretend to surf. Don Porter and Sally Field became close friends while working on Gidget, with Mr. Porter serving as a father figure and mentor to the young actress. He helped her a good deal with regard to acting and was also protective of her. Sally Field was historic as the first brunette to play Gidget. In the movies, Gidget had been played by blondes.

Upon its debut, Gidget was not well-received by critics. George Tashman of the newspaper column Tashman on TV was harsh on the show, particularly Gidget herself, writing, "Actually the program is rather amusing when Gidget isn't around, but she is around too much." The critic at Look magazine found the show forgettable, commenting that it was a "...blank in my memory...." The critic at The Los Angeles Times actually liked the show, describing it as "delightful."

While Gidget was not a hit with critics, initially it was not a hit with audiences either. It aired on Wednesday night, following The Patty Duke Show, opposite The Beverly Hillbillies on CBS (which ranked no. 7 in the Nielsen ratings for the year) and The Virginian on NBC (which ranked no. 23 for the year). Gidget did not receive good ratings. Unfortunately, this was true of many of ABC's shows in the 1965-1966 season. In an effort to salvage things, ABC decided to retool its schedule dramatically. Among the changes was that Gidget would be moved to Thursday night behind the second weekly episode a brand new show titled Batman on Thursday Night.

While Batman proved to be an outright phenomenon, its spectacular ratings did not help Gidget a lot. Its ratings did rise, but not enough. Unfortunately, Gidget once more aired opposite two popular shows: Daniel Boone on NBC (which ranked no. 26 for the season) and Gilligan's Island on CBS (which ranked no. 22 for the season). The fact that both shows appealed to largely the same young audience that Gidget did probably did not help.

It was then in May 1965 that ABC elected not to renew Gidget for the 1966-1967 season. It was then that something remarkable happened. Quite simply during the summer, Gidget rose in the Nielsen ratings to the point that it was in the top ten. Unfortunately, it was too little too late. Even with its late surge in the ratings, ABC would not be bringing Gidget back. Regardless, the late surge in the ratings for Gidget did confirm Sally Field's popularity, so that Screen Gems and ABC quickly provided her with another show. The Flying Nun debuted in 1967 and proved somewhat successful. Gidget also went into syndication where it proved somewhat more successful than the average single-season show.

It would seem that the late success of Gidget was not lost on producer Harry Ackerman, who would make attempts at new Gidget shows. The 1969 TV movie Gidget Grows Up was a pilot for a new show, in which Gidget, played by Karen Valentine (another brunette) becomes a tour guide at the United Nations. Her father was played by the legendary Bob Cummings and Moondoggie by Paul Petersen of The Donna Reed Show. Unfortunately, Gidget Grows Up failed to become a series. Another pilot movie aired in 1972, Gidget Gets Married. This time Gidget was played by a blonde, Monie Ellis. Macdonald Carey of Days of Our Lives fame played her father, while Michael Burns played Moondoggie. It failed to sell as well. 

It was not until the Eighties that Harry Ackerman would successfully launch a new Gidget series, although this one would be different. Gidget's Summer Reunion was a 1985, syndicated TV movie starring Caryn Richman as Gidget (once more brunette), Dean Butler as Moondoggie, and the legendary William Schallert as Gidget's father. The TV movie proved to be successful enough to launch a syndicated TV series, The New Gidget, again starring Caryn Richman, Dean Butler, and William Schallert. It ran for two seasons. The New Gidget probably should not be considered a sequel to the 1965 series or even Gidget Grows Up and Gidget Gets Married. In 1965, star Caryn Richman was only nine years old.

Today Gidget may be best known as the TV show that launched Sally Field into stardom. While this is certainly true, it seems likely that the show would not have done so had it not been popular with young viewers and continued to do so. While it received low ratings during its run, it would prove to have a better run as a syndicated rerun than most one-season shows. Indeed, it was still being aired on KPLR in St. Louis as late as the Eighties, sometimes back-to-back with The Monkees. Gidget might have lasted only one season, but it still proved to be a success.

The Late Great Bobby Hart

Bobby Hart, who co-wrote some of The Monkees' greatest hits and with Tommy Boyce was a performer in his own right, died on September 10, 2025, at the age of 86 following a long illness.

Bobby Hart was born Robert Luke Harshman on February 18, 2025, in Phoenix. After graduating from high school, Bobby Hart served in the United States Army. After his service, he went to Los Angeles to pursue a career as a singer. It was in 1959 that he met and became friends with Tommy Boyce. Robert Harshman would take the name "Bobby Hart" at the insistence of a manager when he attempted a career as a solo artist. His singles "Girl in the Window," "The Spider and the Fly," "Love Sick Blues," and "Too Many Teardrops" all failed to chart.

While Bobby Hart's solo career was not a success, he would find success with Tommy Boyce as the songwriting team Boyce and Hart. Their song "Lazy Elsie Molly" proved to be their breakthrough. It was recorded by Chubby Checker and went to no. 40 on the Billboard Hot 100. With Teddy Randazzo and his regular songwriting partner Bobby Weinstein, Bobby Hart co-wrote the song "Hurt So Bad" for Little Anthony & The Imperials. With Wes Farrell, Boyce and Hart wrote the hit "Come a Little Bit Closer" for Jay & the Americans, which peaked at no. 3 on the Billboard Hot 100. With this success, Boyce and Hart were asked to join Screen Gems-Columbia Music. Among their first assignments was to write the theme for the daytime soap opera Days of Our Lives.

Boyce and Hart went on to write "(I'm Not Your) Steppin' Stone," which was recorded by Paul Revere & The Raiders, and "Words" for The Leaves. It was in 1966 that The Monkees, a sitcom about a struggling rock group, began production. Boyce and Hart were approached about writing songs for the series. It was ultimately Boyce and Hart who wrote many of The Monkees' early songs, including their first hit, "Last Train to Clarksville," which went to no. 1 on the Billboard Hot 100. They also wrote the theme to the TV series, as well as six of the twelve songs on The Monkees' self-titled, debut album.

It was while Boyce and Hart were writing for The Monkees that they launched their own career as recording artists. Their first album Test Patterns, was released in 1967. Their first single, "Out and About," was released the same year. They followed "Out and About" with seven more singles. Their single "I Wonder What She's Doing Tonight" went to no. 8 on the Billboard Hot 100, while "Alice Long (You're Still My Favorite Girlfriend)" went to no. 27. They also released two more albums. Boyce & Hart also guest-starred on the Screen Gems sitcoms I Dream of Jeannie, Bewitched, and The Flying Nun. They also appeared in the movie Where Angels Go Trouble Follows (1968).

With the start of the Seventies, Tommy Boyce and Bobby Hart decided to pursue their own solo projects. Bobby Hart released the singles "Easy Evil" and "Hard Core Man" in the early to mid-Seventies. He also co-wrote the song "Keep On Singing" with Danny Janssen for Helen Reddy. In the mid-Seventies, Boyce & Hart teamed up with Micky Dolenz and Davy Jones to form Dolenz, Jones, Boyce, & Hart. The group toured extensively and released two albums Their self-titled debut album, released in 1976, included several original songs. Their live album, Dolenz, Jones, Boyce & Hart – Live in Japan, was released in 1981 and featured both Monkees songs and Boyce & Hart songs.

In 1979 Bobby Hart's only solo album, The First Bobby Hart Solo Album, was released. The single "I'm On Fire," released the same year, was from the album. Two non-album singles, "The Loneliest Night" and "Lovers For the Night" were released in the late Seventies. Bobby Hart continued to write songs in ht Eighties. He wrote the song "Over You" with Austin Roberts for the movie Tender Mercies. It was nominated for the Oscar for Best Original Song. With Dick Eastman, he wrote songs for NewEdition and the song "Dominoes" for Robbie Nevil. "Dominoes" went to no. 14 on the Billboard Hot 100. With the resurgence of The Monkees' popularity in the Eighties, Boyce & Hart reunited for some live performances.

In 2015 his autobiography, Psychedelic Bubble Gum: Boyce & Hart, the Monkees, and Turning Mayhem Into Miracles, was published. It was followed in 2024 by his book Yoga and Your Hidden Soul Power: A New Path to Love, Happiness, and Abundance Using Yoga’s Ancient Niyama Wisdom."

As long-time readers of this blog know, I have been a huge fan of The Monkees since childhood. Furthermore, many of my favourite songs by The Monkees were written by Boyce & Hart. "(Theme From) The Monkees," "Last Train to Clarksville," "She," and "Valleri" all rank in my top ten favourite Monkees tracks. Of course, I was also a huge fan of Boyce & Hart as performers on their own, and I always thought they should have seen more success. I love "I Wonder What She's Doing Tonight," "Alice Long (You're Still My Favorite Girlfriend),/" and "I'm Gonna Blow You a Kiss in the Wind" as much as my favourite Monkees songs.

Of course, Bobby Hart wrote more than songs for The Monkees and Boyce & Hart. Boyce & Hart's theme for Days of Our Lives is still in use to this day. "Come a Little Bit Closer" by Jay and the Americans, "Hurt So Bad" by Little Anthony & the Imperials, and "The La La Song" by The Astronauts are all very listenable songs. Bobby Hart, particularly with Tommy Boyce, had a talent for writing hook-laden songs that one could listen to over and over.