Saturday, October 19, 2013

What's in a Name: The Changing Titles of Films

Last night I watched Night of the Eagle, known in the United States as Burn, Witch, Burn. To be honest, I never have quite understood why the title was changed for American audiences, unless the American distributor (American International Pictures) did not think Night of the Eagle was provocative enough or perhaps they feared people would not realise it was a horror film. Of course, I have never understood why neither distributor used the title of the novel upon which it was based, the classic Conjure Wife by Fritz Leiber, which I think is better than either Night of the Eagle or Burn, Witch Burn.

Of course, it is not unusual for British films to have their titles changed in the trip across the Atlantic, and Night of the Eagle is hardly the only movie to see a change in name upon coming to the United States. This morning I watched The Witches, the Hammer Horror starring Joan Fontaine. In the United States it was retitled The Devil's Own, which was also the title of the novel by Norah Lofts (using the pen name Peter Curtis). While I think The Devil's Own has a nice ring to it, I am still a bit puzzled as to why its title was changed for American audiences. The book The Devil's Own was not any better known in the United States than it was in the United Kingdom, and there had been no other films recently released under the title The Witches. I can only assume Seven Arts (its distributor in the United States) preferred the tile The Devil's Own.

While the changes in the titles of Night of the Eagle and The Witches seem rather arbitrary, there is often a very good reason for a change in a British film's title upon arriving in the States. The Hammer classic The Devil Rides Out had its title changed to The Devil's Bride in the United States because of concerns that Americans might think it was a Western if the original title was used. Hammer's classic Dracula had its title changed in the United States to Horror of Dracula because Universal's 1931 film of the same name was still occasionally shown in theatres. To avoid confusion, then, Hammer's Dracula became Horror of Dracula in the United States.

So far I've just discussed horror films, but British films from other genres might also have their titles changed in the United States.  The Dave Clark Five movie Catch Us If You Can was inexplicably retitled Having a Wild Weekend in the Untied Sates. It is true "Having a Wild Weekend" is one of the songs from the film, but unlike the song "Catch Us If You Can" it was never released as a single. What is more, the song "Catch Us If You Can" was a top five hit on both sides of the Pond. While I can't speak for anyone else, I personally think Catch Us If You Can is a more interesting title than the somewhat generic Having a Wild Weekend.

Here I must point out that American films are also retitled in the United Kingdom. Since the restaurant chain White Castle does not exist in the UK, Harold & Kumar Go to White Castle was retitled Harold & Kumar Get the Munchies there.  Live Free or Die Hard was retitled Die Hard 4.0 in the UK, as the phrase "Live free or die" (the state motto of New Hampshire) is not well known there.

Of course, British films are not the only ones to be retitled in the United States. One would think that foreign film titles would be translated literally into English for both the U.S. and UK, but this is often not the case. The classic French film Les Diaboliques (literally "The Devils") became simply Diabolique in the United States. Seven Samurai (the literal translation of Shichinin no samurai) was originally distributed in the U.S. under the title The Magnificent Seven. I can only presume the American distributor thought Americans would not know what a samurai was. Just as with British films, the titles of European films are sometimes changed to avoid confusion with other movies. The title of  Lars von Trier's Europa was changed in the United States to Zentropa to avoid confusion with the 1990 film Europa, Europa.

So far I have discussed films that have changed titles in making their way to the United States, but there have also been American films whose titles have been changed over the years for whatever reason. There can perhaps no better example of this than Tod Browning's classic horror film Freaks. Upon its release by MGM in 1932 Freaks was the source of a good deal of controversy, even to the point of being banned in some parts of the United States (as it was the UK for many years). Worse yet, Freaks was hardly profitable. It lost $164,000 at the box office. In an effort to make the film more profitable MGM's head of production Irving Thalberg reissued Freaks under the new title Nature's Mistakes (this time without the MGM logo). The new title did not particularly improve ticket sales for the film. Eventually MGM licensed Freaks to exploitation impresario Dwain Esper, who gave it one more new title, Forbidden Love, in hopes of marketing it as an exploitation film. To make matters more confusing, at times the film was at times still shown under the title Nature's Mistakes as well as another title given to it by Dwain Esper, The Monster Show! Of course, eventually film buffs would rediscover Freaks and it has been known by its original title ever since.

Not surprisingly, in the long run changes in titles can often be a source of confusion for film buffs.  The typical American film buff might not be aware that the original title of The Devil's Bride was The Devil Rides Out and, as a result, may be puzzled when a hardcore Hammer Films fan mentions the film by its original title. A more serious problem is researching films that have multiples titles or changed titles often. In such instances it can often be difficult to determine how many re-releases such films have had and when those re-releases took place. I rather suspect that anyone researching the release history of the 1936 film Tell Your Children, now better known as Reefer Madness, would find themselves fighting an uphill battle. It was released under such titles as The Burning Question, Dope Addict, Doped Youth, and the rather odd title of Love Madness!

Even given the confusion changing the titles of films can cause, it is doubtful that the practice will change any time soon. Indeed, it still takes place today. The Marvel Comics film The Avengers was reclassified as Avengers Assemble in the United Kingdom to avoid confusion with the Sixties spy show The Avengers (personally, as a fan of the show, I wished they had done that worldwide). The 2009 British film The Boat That Rocked was re-edited and released in the U.S. as Pirate Radio. For better or worse, films will probably see their titles changed once they make the trip across the Atlantic.

Thursday, October 17, 2013

A New Sort of Twitter Spam?

Chances are if you have a Twitter account, you have received spam at some point. More often than not this usually takes the form of an unsolicited @mention containing some sort of link. Less frequent is #hashtag spam, in which a tweet (also usually containing a link)  is hashtagged with a totally irrelevant hashtag (for instance, a link to a porn site might be hashtagged #classicfilm). The past few months, however, myself and others have noticed an entirely new sort of spam.

This new sort of spam originates from an obviously fake account and consists of tweets stolen from legitimate accounts. If you follow the hashtag #tcmparty you have probably noticed these spam tweets. In fact, one particular tweet, "#madeforeachother director John Cromwell is father of actor James Cromwell. #tcmparty", has appeared so often that it has become something of a running joke among those who follow #tcmparty. Other have included, "He's not much of a mental health professional if he can't see Violet is nuts. #TCMParty" and "I'd like to spend MY honeymoon in a professional locker room. #CatOnAHotTinRoof #TCMParty". These spammers have not been content to swipe tweets from those hashtagged #TCMParty. Looking at the various spam accounts, they have also stolen such ordinary tweets as "I need a designer bag in my life ASAP," "I swear I am just my parents taxi service these days," and "working on my graphics, some images for my animation."

What is curious about these spam tweets is that they contain no links whatsoever, nor are they promoting any particular service or product. It is then difficult for me to figure out the purpose behind these spam tweets. My only theory is that the spammers hope one will follow these fake accounts, at which point they will send the individual a direct message containing some phishing link or some other kind of link. Of course, if that is their endgame, then they are going about it all wrong. The hashtag #tcmparty is associated with a particular sort of event. TCM Parties are events in which fans of Turner Classic Movies live tweet to whatever film is being aired on TCM at the moment. If someone is tweeting about John Cromwell being the father of James Cromwell and hashtagging his or her tweet #madeforeachother, and Made for Each Other is not currently airing on TCM at the moment, and that particular tweet has been made several times before, then most people are going to know it's spam and ignore it!

Of course, if my theory is correct, then it's possible that we might not be seeing this sort of spam much longer. Since the beginning of Twitter one has only been able to direct message those who follow him or her. Twitter recently introduced the option of allowing people to let anyone direct message them. While I doubt many people will choose that option, it is possible enough of them will do so to allow spammers to simply send direct messages without worrying if an individual is following them or not. If my theory about these fake accounts are a trap to get people to follow them (and hence wind up the recipient of spam DMs), then the need for this sort of spam could become redundant.

Regardless, I know that those who frequent TCM Parties have found these particular spam tweets annoying. We have been blocking them regularly, although they have persisted through the months regardless. Ultimately, I have to wonder if Twitter can even really do anything about them. At any rate, I think it would do the spammers well to realise they aren't fooling anyone. When one sees "#madeforeachother director John Cromwell is father of actor James Cromwell. #tcmparty" for the hundredth time, he or she knows it is spam!

Tuesday, October 15, 2013

Author Lyndsy Spence and The Famous Mitford Girls

The four oldest Mitford Girls
It is perhaps fitting that author Lyndsy Spence's first published book is The Mitford Girls' Guide to Life. Like Nancy Mitford, Miss Spence is something of a wunderkind when it comes to writing. She is only 25 and not only does she have one book published, but she is already writing others. What is more, she is a screenwriter as well. With Adam D. Harris she wrote the screenplay for the film short "The Flower Girl", and her screenplay The Oliviers Down Under (centred on the time Vivien Leigh and Laurence Olivier spent in Australia and New Zealand) is in development. As if all of this wasn't enough, she also operates The Mitford Society, an online community devoted to the famous sisters, and the Margaret Lockwood Society, an online community dedicated to the legendary British film actress.

The Mitford Girls' Guide to Life was released in the United Kingdom on 1 August 2013 ) to overwhelmingly positive reviews. It will be published in the United States on 1 November (although it is already available on Amazon). It has been covered by major British newspapers, as well as the Irish style magazine Social and Personal. The Mitford Girls' Guide to Life uses the ever popular format of a self help book to give us a singular look at the Mitford sisters, their lives providing advice for us today. As to the Mitford sisters themselves, they were as notorious as they were beautiful. The daughters of David Freeman-Mitford, 2nd Baron Redesdale and Sydney Bowles, they included: Nancy Mitford (well known for her novels and biographies), Pamela Mitford ("the rural Mitford," who preferred life in the country), Diana Mitford (the celebrated débutante and Bright Young Thing who fell out of favour following her affair with and subsequent marriage to Sir Oswald Mosley, leader of the British Union of Fascists), Unity Mitford (who became notorious for her Nazi sympathies and her friendship with Adolph Hitler), Jessica Mitford (the political activist and muckracking journalist, perhaps best known for her book The American Way of Death), and Deborah Mitford (the only surviving Mitford sister, who married Lord Andrew Cavendish, later to become the 10th Duke of Devonshire). The Mitford sisters were beautiful and intelligent, and more often than than not provocative and controversial as well. No one could ever accuse them of being boring.

Following is an interview I conducted with Miss Spence.

Have you been surprised by the reception The Mitford Girls' Guide to Life has gotten?

I have been very surprised because originally The History Press envisioned this as a little gift book which would appeal to only the staunchest of Mitford fans. I was bowled over when I read the exposure in The Independent, Social & Personal magazine etc because I just thought, oh, it'll be listed on Amazon and that would be the end of it. It's also great when people compliment my book, and surreal when a famous person tweets me to say they're enjoying it.

In what ways do you think the Mitford sisters are still relevant to people today?

I've said this a few times, and I believe it to be true, there is a Mitford girl for everyone. A teenage girl told me she didn't know anything about the Mitfords, but now she's a total convert, her favourite is Decca. I think Decca is proving to be a real hit amongst the teen readers.

What do you think the various Mitford sisters (and their brother Tom, for that matter) would think of modern British society?

Hmm. Well, Debo is still alive and she's been quoted as saying she's appalled at the PC brigade and people's lack of manners. I guess Nancy would have been amused and appalled, nothing is sacred anymore yet everything that is magnified in the press went on in their day, except behind closed doors only to be spoken about as gossip amongst friends. I recall Nancy writing to Debo during the time of the Porfumo scandal, 'Just like a Venetian court,' she said. I don't think they would have been shocked as such as they were very modern for their time, but I think Nancy would have been saddened, how could she parody something that was so accessible? Tom was a highly creative person who enjoyed music, the theatre, and literature--I think he would have been dismayed at today's society, but the Mitfords were so adaptable, so I'm sure he would have moved somewhere beautiful where he could immerse himself in his own world. Don't forget, Nancy grew to loath Britain after the war which is why she stayed in Paris. 

I understand that your next book is going to be Mrs Guinness: The Rise and Fall of a Socialite, a biography of Bryan Guinness, 2nd Baron Moyne and Diana Mitford. How did you come up with the idea for the book?

My ideas always happen when I least expect it, and I find the best ideas are never forced. The title came into my head, I am sure it must have been provoked by something. I then thought, oh I have this great idea, and then a moment of doubt set in when I wondered, how can I convey it? Thankfully my agent Olivia keeps me on the straight and narrow and I now have a clear, concise plan for the book. It's out on submission at the moment, so we'll see.

I also understand you're working on a biography on legendary actress Margaret Lockwood. How did you become interested in Miss Lockwood and her films?
It all started with the big MGM stars, household names as such, and slowly I became interested in British films when I was about 17. I befriended an old lady from England, who lived in my town, and she used such funny expressions that I had never heard before. Suddenly this interwar world became intriguing to me and I started to open my mind to the books, and the films. I caught a Patricia Roc movie on FILM4, Millions Like Us which thankfully was playing back to back with The Man in Grey, Jassy, and The Wicked Lady. I'm glad I was lazy that day because I caught sight of Margaret and I was hooked. 

What other projects are you current working on?

I've put my projects out there and I'm just waiting for someone to say 'yes' and then I can safely say what I'll be working on. I've only written 3 sample chapters for Mrs Guinness, but I'm constantly gathering in my research and keeping my ear to the ground for people who know people with stories etc. Margaret is in first draft, she was originally my next project but my agent wants Mrs Guinness to follow the Mitford book. My script has found a home with a British production company so I'll be anticipating its rewrite once the producers and I can get together. I'm also stalking around, looking for freelance work. It's going to be sink or swim, and I want to continue the momentum of the Mitford book. It's stressful once you're given a deadline, but what greater luxury than to be paid for your ideas...and getting to work anywhere you like.

The Mitford Girls' Guide to Life is available on Amazon UK and Amazon U.S.

You can visit Lyndsy Spence's official web site at: Lyndsy Spence

Saturday, October 12, 2013

Filmed by Four Star: An Overview of Four Star Productions

Chances are that if you have watched very many old, American television shows then you have heard of Four Star Productions (also known as Four Star Television and Four Star International). Over the years Four Star Productions produced such classic shows as Richard Diamond, Private Detective; Goodyear Theatre; The Rifleman; The Detectives; Dick Powell Theatre; Burke's Law; and The Big Valley. What set Four Star Productions apart from other television production companies was not its record of success, however, but the fact that it had been founded by four bona fide movie stars.

Although Four Star Productions would be an independent television production company owned by film stars, its roots actually went back to radio. In the late Forties talent agent and radio show packager Don Sharpe developed the idea of a radio anthology series that would feature four rotating stars. Four Star Playhouse debuted on NBC in the summer of 1949, with Robert Cummings, Rosalind Russell, Fred MacMurray, and Loretta Young rotating as its four stars. Unfortunately despite the show's novel concept and its big name stars, Four Star Playhouse did not last long on radio.

It was in 1951 that Don Sharpe moved into television packaging and decided to create a television version of Four Star Playhouse. Among the actors he convinced to join the project was Dick Powell.  Mr. Powell had been the star of many Warner Brothers musicals in the Thirties. In fact, for two years in a row (1935 and 1936) he ranked in the annual Quigley poll of the top ten highest grossing box office stars. As his career progressed Dick Powell longed to expand beyond the role of young, romantic, musical star, although he found this ambition squashed by studio head Jack Warner. His choice of roles did not improve when he signed with Paramount in 1940. Fortunately, after signing with RKO in 1944 Mr. Powell found himself played a larger variety of roles. Indeed, he played hard boiled characters in a number of films noir made in the mid to late Forties (most notably playing  Philip Marlowe in Murder, My Sweet). By the late Forties Mr. Powell's ambitions had expanded beyond acting. He wanted to direct as well. Unfortunately, he once more found resistance from a studio, in this case RKO. It seems quite likely that in Four Star Playhouse Dick Powell saw his chance to break into directing and production.

While Don Sharpe was able to interest Dick Powell in Four Star Playhouse, he had some trouble getting his other three stars. He tried convincing Rosalind Russell and Barbara Stanwyck to join the project, but neither of them were interested in doing a television series at the time. He had convinced Joel McCrea to join the project, but he soon backed out. Don Sharpe and Dick Powell finally convinced Mr. Sharpe's client Charles Boyer and Dick Powell's close friend David Niven to join Four Star Playhouse. With three out of its four stars in place for the new television show, Four Star Productions was formed in 1952, with each of the three stars owning stock. Don Sharpe was appointed its president and Dick Powell was its chief executive officer. To fill the role of the fourth star on Four Star Playhouse a solution was found in a rotating group of guest stars that included Ronald Colman, Joan Fontaine, Merle Oberon, and Teresa Wright.

Starting with the second season of Four Star Playhouse Ida Lupino was brought in as the show's fourth star. While she did not own stock in Four Star Productions, she continued to appear regularly on the show throughout its run. She also starred in Four Star's sitcom Mr. Adams and Eve and guest starred on such shows they produced as Zane Grey Theatre, Burke's Law, and The Rogues. She also directed episodes of their shows Dante, The Rifleman, The Rogues, and Honey West.

Four Star Playhouse would not remain Four Star's only production for long. Not surprising given the early to mid-Fifties were dominated by the genre, their shows following Four Star Playhouse were also anthology shows. The first was the short lived Stage 7. Debuting on 30 January 1955, it only lasted for 25 episodes. Their next show would prove much more successful, as well as a sign of things to come for Four Star Productions. Zane Grey Theatre, also known as Dick Powell's Zane Grey Theatre, was hosted by Dick Powell, who also occasionally starred in its episodes. As the title suggests, it began with adaptations of Zane Grey's Western short stories and novels, although the show started using new material later in its run. Dick Powell's Zane Grey Theatre would prove historic for Four Stars Productions not only in being its first success following Four Star Playhouse, but also in the fact that it was the company's first Western series. As the Fifties progressed, Westerns would number among their most successful shows. Zane Grey Theatre ran for five years.

As the Fifties progressed anthology shows went into decline, so it was perhaps inevitable that the company would expand into episodic television. The first of these was the sitcom Hey, Jeannie!, starring Jeanne Carson as Scottish immigrant to the United States Jeannie MacLennan. Hey, Jeannie would not prove overly successful. It debuted on 8 September 1956 and ran for only one season, with six more episodes produced for syndication in 1958. Their next sitcom would prove only a little more successful. Mr. Adams and Eve starred Ida Lupino and real life husband Howard Duff as the title characters. While Miss Lupino would be nominated for the Emmy for Best Actress in a Continuing Role two years in a row for the show, Mr. Adams and Eve ultimately lasted only two seasons.

Clearly sitcoms were not (and never would be) Four Star Productions' forte. While they did not see success with either Hey, Jeannie! or Mr. Adams and Eve, a private eye show would be a success. Richard Diamond, Private Eye had been a radio show starring Dick Powell that had debuted on NBC in radio in 1949 and later had runs on ABC (in 1951) and CBS (in 1953). The television version debuted as a summer replacement show on CBS in 1957 and returned to that network's line up in January 1958. The show was one of a number of private eye shows that aired in the late Fifties, and it also proved somewhat successful. Richard Diamond, Private Detective ran for four seasons.  Four Star Productions would prove to have some luck with detective shows. The Detectives ran for three seasons, while Burke's Law ran for two seasons before switching formats to become Amos Burke, Secret Agent. Although it ran only for one season, Honey West remains well remembered to this day. One of Four Star's detective shows, Michael Shayne, would be notable as possibly the first American television show cancelled due to its violent content. Other Four Star detective shows included Dante (the role of William Dante had been previously played by Dick Powell in eight episodes of Four Star Theatre) and Target: The Corruptors.

Of course, it would be Westerns with which Four Star Productions would see the most success. Many of Four Star's Westerns originated as backdoor pilots on Zane Grey Theatre, among them Trackdown (starring Robert Culp as a Texas Ranger), The Westerner (with Brian Keith as a drifter in the Old West), Black Saddle (starring Peter Breck as a lawyer), and The Rifleman. The Rifleman proved to be Four Star's most successful Western, if not their most successful show. It ran for five years, ranking in the top twenty for three of those years. It would go onto a highly successful syndicated run. Another hit Western from Four Star, Wanted: Dead or Alive (itself a spin off from Trackdown), would be responsible for propelling Steve McQueen to stardom. Among the other Westerns produced by Four Star were Law of the Plainsman, Johnny Ringo, and Stagecoach West. In fact, what may have been Four Star's last successful show would be a Western, The Big Valley. It ran for four seasons before going onto a highly successful syndication run.

It was in 1959 that Four Star Productions became Four Star Television. On 12 January 1959 it went public on the American Stock Exchange. The year 1959 would also see Four Star at its peak, with no less than twelve television series on network prime time. Three of these series (The Rifleman, Zane Grey Theatre, and Wanted Dead or Alive) ranked in the top twenty highest rated shows for the 1959-1960 season. Four Star Television would remain one of the major television production companies into the early Sixties. As of 1962 only Revue (which was owned by MCA and would later become Universal Television) and Screen Gems (Columbia Pictures' television division) had more shows on the air than Four Star Television. Unfortunately, Four Star Television would see a decline in its fortunes as the Sixties progressed.

With the cycles towards Westerns and private eye shows ending around 1960, Four Star Television once more turned to situation comedies. Unfortunately, none of the situation comedies produced by Four Star proved to be hits. The Tom Ewell Show, Peter Loves Mary, Mrs. G. Goes to College (also known as The Gertrude Berg Show), McKeever and the Colonel, and Ensign O'Toole only lasted one season each. Four Star Television would have only a little more luck with other genres. The company remained committed to anthology series even though they had gone out of fashion by the late Fifties. Four Star produced The DuPont Show with June Allyson (which ran for two seasons--it was also known as The June Allyson Show) and The David Niven Show (which ran for half a season).

The most successful of their later anthology shows was The Dick Powell Show. The Dick Powell Show ran for three seasons and might well have run more if not for Mr. Powell's untimely death. The Dick Powell Show proved to be a springboard for one of Four Star's later hits: Burke's Law. Dick Powell played police detective Captain Amos Burke in the 1961 episode of The Dick Powell Show entitled  "Who Killed Julie Greer?". It was on 20 September 1963 that Burke's Law debuted, starring Gene Barry in the title role.

With the Western and private eye cycles over Four Star Television did try some interesting formats for shows. The Lloyd Bridges Show could best be described as a semi-anthology. Lloyd Bridges played author Adam Shepherd, who each week would become one of the characters in his stories. The show changed formats at mid-season to become a straight anthology show. Unfortunately, it only lasted one season. Saints and Sinners was another show that originated from an episode of The Dick Powell Show. In a 1962 episode of The Dick Powell Show Nick Adams played reporter Nick Philips. For the series his name was changed to Nick Alexander, but the character was essentially the same. Unfortunately, Saints and Sinners would only last half a season.

Perhaps the most interesting of Four Star Television's later shows was The Rouges. The Rouges centred on a group of cousins (the St. Clairs and the Flemings) who operated as con men who, for the right price and just cause, would swindle unscrupulous people truly deserving to be conned (I suppose it could be described as a Sixties version of Leverage).  Outside of Four Star Playhouse, The Rouges featured more of the Four Stars in its regular cast than any show the company had produced, with David Niven as Alexander "Alec" Fleming and Charles Boyer as Marcel St. Clair. The cast was rounded out by Gig Young as Tony Fleming. Like Four Star Playhouse before it, The Rogues rotated leads, with David Niven starring one week, Charles Boyer the next, and so on. Unfortunately, as Gig Young had fewer demands on his time than Messrs. Niven and Boyer, he starred in more episodes than they did. Later in the show's run a young actor named Larry Hagman, who played Mark Fleming, joined the cast so as to give Gig Young more free time. The Rogues debuted on 13 September 1964 to generally good reviews. It also won the Golden Globe for Best Television Show and was nominated for Emmys for Robert Cote (who played Timmy St. Clair) and Gladys Cooper (who played matriarch Auntie Margaret St. Clair). Despite its acclaim The Rogues did not prove to be a success. It only lasted one season.

By 1963 Four Star Television was already a shadow of what it once was. For the 1963-1964 season Burke's Law was its only show on the air. To make matters worse Dick Powell died on 2 January 1963 from lymphoma. Without the leadership of Dick Powell Four Star Television there seemed to be very little way the company could regain its position as an industry leader. In fact, in the coming years Four Star Television would have little in the way of hit shows. After Burke's Law changed formats from a detective series to a spy show (complete with a new title Amos Burke, Secret Agent), it lasted only half a season. Honey West, a spin off from Burke's Law, only lasted one season. The sitcom The Smothers Brothers Show had started strong in the ratings, but quickly plummeted to the point that it was cancelled at the end of the 1965-1966 season.

Of Four Star Television's shows after 1963, only The Big Valley could be described as a hit. In many respects it was a throwback to the earlier sorts of shows Four Star had produced. The Big Valley was a Western centred on a family of ranchers, the Barkleys, with Barbara Stanwyck playing the matriarch, Victoria Barkley. While The Big Valley never ranked in the top thirty shows for the year, it was reasonably popular, enough that it lasted four seasons. What it is more, its reruns would prove enormously popular in syndication, perhaps only matched by one other Four Star show, The Rifleman. Unfortunately, The Big Valley would not be enough to save Four Star Television.

By 1967 The Big Valley was the only show Four Star Television had on the air. It was in 1967 that a group of investors led by David Charnay bought controlling interest in Four Star Television. David Charnay then became Four Star's President, Chief Executive and Chairman of the Board. He also renamed the company "Four Star International". Unfortunately, under Mr. Charnay, Four Star International would become primarily a syndicator of television programmes, relying on reruns of such shows as The Rifleman, The Big Valley, and so on for its profits. After the cancellation of The Big Valley in 1969 Four Star would never again produce another network show.

In fact, after the cancellation of The Big Valley, Four Star would produce only a very few television shows. In 1970 the company produced a short lived version of the old radio panel show Can You Top This. Aired in syndication, the show featured  Wink Martindale as its host. It only lasted eight months. In 1971 Four Star International produced Monty Nash, a syndicated drama starring Harry Guardino as the federal investigator of the title. It only lasted for 14 episodes. In 1973 and 1974 Four Star produced its last show, Thrill Seekers. Hosted by Chuck Connors, it was a syndicated reality show on which each week people would attempt dangerous stunts. It was a long way from Four Star Playhouse. Four Star International also produced two feature films: the exploitation film  The Hard Road (1970) and the low budget film Okay Bill (1971).

In 1986 Four Star International was sold to Compact Video, a company founded in the early Seventies. It had originally provided post-production services to various entertainment venues, but in the Eighties seemed determined to become a conglomerate. Unfortunately, Compact Video would find itself taken over by Ronald Perelman and his company, MacAndrews & Forbes Holdings, Inc. When Mr. Perelman acquired New World Entertainment in 1989, Four Star International became one of its divisions. Unfortunately, later in 1989 Four Star International ceased to exist entirely, as it was folded into New World Entertainment. As to New World Communications (as it was later known), in 1997 it was acquired by News Corporation. When News Corporation was divided into two companies earlier this year (News Corporation and 21st Century Fox), it was 21st Century Fox who retained ownership of 20th Century Fox, 20th Century Fox Television, the Fox Broadcasting Company, and anything else film or television related, including the old Four Star Television properties.

Arguably Four Star Productions may have been the most successful American independent television company of its time, if not of all time. While Desilu Productions may be better known and may have had bigger successes with individual shows (let's face it, not many shows are as big as I Love Lucy), Four Star Productions had several hit shows and at one point had more shows on the air than any other productions companies besides Revue and Screen Gems (neither of which were independents).

Regardless of whether Four Star Productions was the most successful independent television production company of all time, it certainly was one of the most successful. Indeed, Four Star Television has left a legacy that can still be felt to this day. Both The Rifleman and The Big Valley continue to be popular in syndication to this day, while many of their other shows are remembered as classics. Richard Diamond, Private Detective; Zane Grey Theatre; Wanted Dead or Alive; Burke's Law; and other shows produced by Four Star Productions are still highly regarded today.

Four Star Productions would also prove instrumental in the careers of several directors, writers, and actors. Sam Peckinpah did considerable work for Four Star early in his career, writing episodes of Zane Grey Theatre, Trackdown, and The Dick Powell Show, as well as directing episodes of Zane Grey Theatre, The Rifleman, and The Westerner. Indeed, he created both The Rifleman and The Westerner for the company. Prolific television producer Aaron Spelling also spent much of his early career as a producer and writer at Four Star. He produced Four Star's shows Johnny Ringo, The Dick Powell Show, The Lloyd Bridges Show, Burke's Law, Honey West, and The Smothers Brothers Show. He wrote episodes of Johnny Ringo, Zane Grey Theatre, and  The Dick Powell Show. While at Four Star he created Johnny Ringo and The Smothers Brothers Show. Perhaps the most famous person whose career was boosted by Four Star Productions was Steve McQueen. The series Wanted Dead or Alive propelled him to stardom. He went directly from that show to his career in film. Other writers and actors whose careers were helped by Four Star Productions were Robert Culp, Blake Edwards, Bruce Geller, David Janssen, the writing team of William Link and Richard Levinson (who would go onto create Columbo), Mary Tyler Moore, and many others.

If Four Star Productions proved pivotal in the careers of many actors, directors, and writers, it may well have been because the television company was among the most supportive of its creative talent in the industry. As an actor and later a director Dick Powell was perhaps more sympathetic to talent than many other studio heads were. Indeed, Mr. Powell was known to personally listen to ideas from writers. What is more, he would support scripts even if they disagreed with his own politics and was known to intervene on writers' behalves with the networks and sponsors. This naturally earned him the respect of the actors, writers, and directors at Four Star Productions. Indeed, Aaron Spelling left Four Star Productions in 1966 because, in his words, "Some idiot decided to wipe Dick Powell's name off the masthead."

In its nearly 15 years as a major, independent television production company, Four Star Productions produced a wide variety of television shows. The company continued to produce anthologies well after they had gone out of fashion, and also produced Westerns, detective shows, adventure shows, and sitcoms. Their output was diverse, a fact that perhaps gave Four Star an advantage over other television production companies at the time. While Four Star Productions faltered in the Sixties, it remains remembered for producing a large number of classic television shows, as well as being the only independent television company owned by bona fide movie stars.

Friday, October 11, 2013

Captain America Creator Joe Simon's 100th Birthday

It was 100 years ago today, on 11 October 2013, that comic book writer and artist Joe Simon was born. With Jack Kirby he created Captain America, as well as Manhunter,  the Newsboy Legion, and  the Boy Commandos. Together Messrs. Simon and Kirby virtually created the romance genre with Young Romance in 1947.  On his own he created created Blue Bolt, Brother Power, and Prez. Sadly, Mr. Simon died on 14 December 2011. You can read my eulogy on the blog here.

In tribute to Mr. Simon, here is some of his work over the years.

The historic first issue of Captain America, March 1941.

  
A classic Adventure Comics cover featuring Simon and Kirby's version of Sandman.

Adventure is My Career, a one shot comic book created by Joe Simon and cartoonist Milton Gross to help drive up enlistment in the United States Coast Guard during World War II. During the war, Mr. Simon served in the Coast Guard.

Young Romance #1, September/October 1947. Created by Simon and Kirby, it's believed to be the very first romance comic book.

Captain America was not the only patriotic themed superhero created by Simon and Kirby. They also created The Fighting American while at Crestwood. Here is the first issue of his short lived title, dated April/May 1954.

At Archie Comics Joe Simon and Jack Kirby created The Fly. This is the first issue of his title, dated August 1959. He would prove to one of the more popular superheroes in the Archie line. His original title lasted until 1964. He later returned under the name Fly-Man in a run that lasted from May 1965 to September 1966.

In 1968 Joe Simon returned to National Periodical Publications, where he created Brother Power the Geek. While Joe Simon had created the character, the art was actually by Al Bare. Regardless, it only lasted two issues.

Prez, August-September 1973. One of Joe Simon's last regular titles. The comic book centred on the first teenage President of the United States. It lasted four issues.

Tuesday, October 8, 2013

Producer A. C. Lyles R.I.P.

A. C. Lyles, who had an incredibly long career with Paramount and produced a number of Westerns, died 27 September 2013 at the age of 95.

Arthur Craddock Lyles was born in Jacksonville, Florida on 17 May 1918. He was only ten years old when his association with Paramount began, handing out circulars for the Paramount Theatre in Jacksonville. He eventually became an usher at the theatre, a position he held for nearly ten years. When he was 14 years old Paramount head Adolph Zukor visited and talked with the young usher. Young Mr. Lyles begged Mr. Zukor to take him with him to Hollywood. Mr. Zukor advised him to finish high school and thereafter the two of them corresponded through letters sent weekly. After he graduated high school, at age 18, A. C. Lyles went to Hollywood, where Adolph Zukor hired him to work in the mailroom.

Eventually A.C. Lyles worked his way up to Paramount's department. From there it was only a matter of time before he handled Paramount's advertising as well. He eventually moved into production, serving as an assistant to producer Edward Dmytryk  on The Mountain (1956).  In 1957 he produced his first film, the crime movie Short Cut to Hell. He also served as an associate producer for a few episodes of the TV show Rawhide.  In 1960 he produced the drama Raymie.

Starting with The Young and the Brave in 1963, A. C. Lyles began producing a number of low budget Westerns for Paramount. These Westerns generally featured such veteran stars as  Dana Andrews, Bruce Cabot, Rory Calhoun, Yvonne De Carlo, and Dale Robertson. The films were shot in only about 10 days and generally had budgets of only $500,000.  All of them made a profit. Among the Westerns A. C. Lyles produced were Law of the Lawless (1964), Black Spurs (1965), Apache Uprising (1965), Johnny Reno (1966), Waco (1966), Fort Utah (1967), Arizona Bushwhackers (1968), and Buckskin (1968).

A. C. Lyles left Paramount for a brief time in the Seventies during which time he formed his own production company and produced the notorious killer rabbit film Night of the Lepus (1972). He would return to Paramount where he produced the television movies The Last Day (1975) and Flight to Holocaust (1977), as well as the TV series Here's Boomer. With Paramount's television division he also worked on  ABC Afterschool Specials, the CBS Festival of Lively Arts for Young People,  and NBC Special Treat. He would later serve as a consulting producer on the HBO TV show Deadwood.

In 1990 he appeared in a bit part in The Hunt for Red October. As Paramount's unofficial historian and goodwill ambassador, he had appeared in numerous documentaries over the years. 

It is quite possible that A. C. Lyles was associated with Paramount for more years than any other person employed by the studio. At any rate, there are not many people whose association with a major studio goes back to when he was 10! His long career with Paramount may well be chalked up to the fact that A. C. Lyles was a rarity in Hollywood--someone who was liked by very nearly everyone. He was known for have a great sense of humour and a kind word for everyone.  Reportedly he almost never forgot a person's name. Quite simply, he was an utter gentleman, the kind that was rare in the Golden Age of Hollywood and may be even rarer now.

Most of the Western programmers A. C. Lyles produced in the Sixties would not be considered classics, although nearly all of them were enjoyable and all of them made a profit. Indeed, they would continue to air on television for decades. What is more they gave work to beloved actors who were seen too rarely in films in the Sixties, such as Rory Calhoun, Linda Darnell, and Dana Andrews. The Westerns Mr. Lyles produced may not be great cinema, but nearly all of them were good films. As a man who loved show business and was in turn loved by those who were in the business, there can be no doubt that A. C. Lyles will be remembered for years to come.

Saturday, October 5, 2013

Actor Jay Robinson R.I.P.

Jay Robinson, who appeared in such films as The Robe and The Virgin Queen, died at the age of 83 on 27 September 2013. The cause was congestive heart failure.

Jay Robinson was born in New York City on 14 April 1930. His mother had been a dancer and his interest in acting began when he found her scrapbook from her career. He began acting in summer stock, eventually making his debut on Broadway in 1949 in The Shop at Sly Corner. He made further appearances on Broadway in Gayden (1949), As You Like It (1950), Buy Me Blue Ribbons (1951), and Much Ado About Nothing (1952). He made his film debut in The Robe in 1953, playing what may have been his most famous role, that of Caligula. He went onto appear in the films as Demetrius and the Gladiators (1954), The Virgin Queen (1954), The Wild Party (1956), and My Man Godfrey (1957). He made his television debut in an episode of Wire Service.

Mr. Robinson's career was interrupted following an arrest in 1959 for possessing heroin with the intent to distribute it. He ultimately spent around a year in jail, after which he had problems finding work.  To make matters worse, in 1966 he was arrested for failing to appear at a retrial of his original narcotics possession case and served 15 months in prison before being paroled. Eventually he began working again, appearing in a small part in Tell Me in the Sunlight (1965). In the late Sixties he appeared on the TV shows The Wild Wild West, Star Trek, Judd for the Defence, Bewitched, and The Virginian.

In the Seventies he appeared on such shows as Room 222; O'Hara, U.S. Treasury; Hawaii Five-O; Search; Planet of the Apes; Mannix; Kolchak: The Night StalkerDoc; The Waltons; and Buck Rogers in the 25th Century. He appeared in such films as Bunny O'Hare (1971), Everything You Always Wanted to Know About Sex * But Were Afraid to Ask (1972), Three the Hard Way (1974), Shampoo (1975), Train Ride to Hollywood (1975), I Wonder Who's Killing Her Now? (1975), Born Again (1978), and The Man with Bogart's Face (1980).

In the Eighties he appeared in such films as Partners (1982), The Sword and the Sorcerer (1982), The Malibu Bikini Shop (1986), Big Top Pee-wee (1988), and Transylvania Twist (1989). He appeared on such shows as Voyagers!, Amanda's, Tales of the Gold Monkey, The Scarecrow and Mrs. King, Night Court, Cheers, and Murder She Wrote. In the Nineties he appeared in the films as Ghost Ship (1992), Dracula (1992),and Skeeter (1993). He appeared on the TV show The Nanny. He was one of the regular voices on the animated series Mad Jack the Pirate.