The Late Great Mitzi Gaynor

Mitzi Gaynor, the singer, dancer, and actress known for such musicals as Les Girls (1957) and South Pacific (1958) and a number TV specials, died today, October 17 2024, at the age of 93.

Mitzi Gaynor was born Francesca Marlene de Czanyi von Gerber on September 4 1931 in Chicago. Her father was a violinist and cellist. Her mother was a dancer. She was enrolled in her first dance class when she was only eight years old. Her family moved from Chicago to Elgin, Illinois and then to Detroit and finally to Los Angeles. She trained as a ballerina while still young.  At 13 she convinced Edwin Lester, general director of the Los Angeles Civic Light Opera that she was 16 and as a result she got a part in the musical Song without Words. Afterwards in a West Coast production of Jerome Kerns' Roberta she danced a comedy bit. She then appeared in productions of The Fortune Teller, Song of Norway, Naughty Marietta, and The Great Waltz.

It was while she was in The Great Waltz that she was noticed by a Fox producer and she was signed to 20th Century Fox. Having gone by "Mitzi Gerber," 20th Century Fox gave her the stage name "Mitzi Gaynor." She made her feature film debut in My Blue Heaven in 1950. Mitzi Gaynor's film career unfolded mostly during the Fifties. It was in that decade that she appeared in the movies Take Care of My Little Girl (1951), Golden Girl (1951), We're Not Married! (1952), Bloodhounds of Broadway (1952), The I Don't Care Girl (1953), Down Among the Sheltering Palms (1953), Three Young Texans (1954), There's No Business Like Show Business (1954), Anything Goes (1956), The Birds and the Bees (1956), The Joker is Wild (1957), Les Girls (1957), South Pacific (1958), Happy Anniversary (1959), and Surprise Package (1960). Mitzi Gaynor appeared on television on The George Jessel Show, The Frank Sinatra Show, The Dick Clark Show, This Is Your Life, The Donald O' Connor Show, and The Ed Sullivan Show.

In the Sixties Mitzi Gaynor appeared in the movie For Love or Money (1963).  She appeared on television on The Ed Sullivan Show, The Jack Paar Program, The Kraft Music Hall,. Laugh In, and The Merv Griffin Show. Her first television special, Mitzi, aired in 1968. It was followed in the Sixties by the special Mitzi's 2nd Special. It was in 1961 that Mitzi Gaynor began performing in Las Vegas. By 1968 she reportedly earned $45,000  a week in Las Vegas. She would also perform at various nightclubs in the United States and Canada.

In the Seventies Mitzi Gaynor appeared almost annually on TV specials on CBS, including Mitzi...the First Time, Mitzi...A Tribute to the American Housewife, Mitzi...and a Hundred Guys, Mitzi...Roarin' in the 20's., Mitzi...Zings into Spring, and Mitzi...What's Hot What's Not.

Mitzi Gaynor also recorded the albums Mitzi (1959) and Mitzi Sings the Lyrics of Ira Gershwin (1959). She also appeared on the soundtrack albums for the movies There's No Business Like Show Business, Anything Goes, Les Girls, and South Pacific. In the 1990s she was a columnist for The Hollywood Reporter.

It is a mark of how big a star Mitzi Gaynor was that she was the headliner on the February 16 1964 edition of The Ed Sullivan Show rather than The Beatles, who were making their second appearance on the show. The Beatles were apparently fans of Mitzi Gaynor, as they asked her for her autograph. Of course, there should be little wonder that Mitzi Gaynor would be a star. She was an incredible singer and dancer who seemed to be filled with energy. When one saw Mitzi Gaynor on screen, one could not help but notice her. She remained vibrant well into her later years, so much so that it seems hard to believe she is gone. She was active on social media and she maintained close ties with Turner Classic Movies. She had attended the TCM Classic Film Festival and went on the TCM Cruise. Mitzi Gaynor certainly loved her fans, something she made clear in her posts to various social media. She referred to her audiences as "the sunshine of my life." Mitzi Gaynor's fans certainly loved her back, to the point that many of us feel as if we have lost a friend. Few performers were ever as dazzling, as talented, or as loved as Mitzi Gaynor.

Actor John Lasell Passes On

Character actor John Lasell, who played parapsychologist Peter Guthrie on the Gothic soap opera Dark Shadows, died on October 4 2024 at the age of 95.

John Lasell was born on November 6 1928 in Williamstown, Vermont. He made his television debut in 1960 in an episode of the anthology series Armstrong Circle Theatre. He guest starred on the shows Hong Kong, One Step Beyond, and The DuPont Show with June Allyson. In the Sixties he was a regular on the soap opera As the World Turns in 1966. The following year he appeared as Dr. Peter Guthrie on Dark Shadows. He guest starred on the shows The DuPont Show with June Allyson, The Twilight Zone, Camera Three, General Electric Theatre, Tales of Wells Fargo, The Tall Man, Wagon Train, Alcoa Premiere, Gunsmoke, Hazel, The New Breed, The Investigators, Ben Casey, Checkmate, Shotgun Slade, Route 66, 87th Precinct, Shannon, Hawaiian Eye, Naked City, The Nurses, Flipper, Dr. Kildare, The Rogues, Peyton Place, Slattery's People, Rawhide, I Spy, 12 O' Clock High, My Favorite Martian, The F.B.I., Perry Mason, The Fugitive, The Invaders, This is the Life, Judd for the Defense, Adam-12, and The Psychiatrist. He appeared in the movies Topaz (1969), Suppose They Gave a War and Nobody Came (1970), and Helen Keller and Her Teacher (1970).

In the Seventies he had a recurring role as Ben Wedlock on the TV series Dan August and a recurring role on Lassie as Dr. Robbins. He guest starred on the TV shows Storefront Lawyers. The F.B.I., Mission: Impossible, Night Gallery, The Mod Squad, The Streets of San Francisco, Mannix, Cannon, The New Perry Mason, This is the Life, Police Story, and Barnaby Jones. He appeared in the movies The Organization (1971), Honky (1971), and Deathmaster (1972).

In the Eighties, John Lasell guest starred on Dallas and Falcon Crest. His final appearance was in the mini-series A Death in California in 1985.

While John Lasell may always be best remembered as Dr. Peter Guthrie on Dark Shadows, he played a wide variety of roles during his career. He had a major role in the Twilight Zone episode "Back There," in which time traveller Peter Corrigan (Russell Johnson) discovers the man calling himself Jonathan Wellington (John Laseell) is not who he claims to be. He played a U.S. Cavalry officer on Rawhide, a district attorney on Judd for the Defense, an Army officer on 12 O' Clock High, and several other roles. His roles may not have been particularly big sometimes, but he always left a profession.

"Bésame Mucho"

Chances are good that if you know only one Spanish-language song, it is "Bésame Mucho (which literally means "kiss me a lot")." The song has been recorded by artists from Emilio Tuero to Jimmy Dorsey to Jennifer Scott. It could well be the most recorded Spanish-language song of all time.

"Bésame Mucho" was written by legendary Mexican composer and pianist Consuelo Velázquez. She was only 16 years old at the time and had not yet had a romantic kiss. She took inspiration from the piano composition "Quejas, o la Maja y el Ruiseñor" Spanish composer  Enrique Granados's 1911 suite Goyescas. The first recording of "Bésame Mucho" was by Los Cadetes del Swing, which was released in 1940.  It was also performed by Mexican actor and singer Emilio Tuero. It proved to be a massive hit in Mexico, so massive that it would find its way to the United States. American composer, lyricist, and singer Sunny Skylar wrote English lyrics for "Bésame Mucho," although he retained the words "Bésame Mucho." It proved popular in the United States during World War II, and it was recorded by such artists as Jimmy Dorsey & His Orchestra with singers Bob Eberly and Kitty Kallen, Andy Russell, and Xavier Cugat and His Waldorf-Astoria.

Since then it has been recorded by numerous artists over the years, including Frank Sinatra, Frankie Lane, Ray Coniff, Dean Martin, The Coasters, Dalida, and others. Even The Beatles recorded "Bésame Mucho. " It was legendary R&B group The Coasters' version that brought "Bésame Mucho" to the attention of The Beatles. They included it in their live sets when they were performing in Hamburg. They also recorded it on January 1 1962 as part of their ill-fated audition for Decca Records. They also recorded a number of takes of "Bésame Mucho"at their first audition for EMI on June 6 1962. The Beatles' version song was not released until the compilation album Anthology 1 in 1995.

Here is Los Cadetes del Swing's version of "Bésame Mucho.

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The 120th Birthday of Lester Dent

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t was 120 years ago today, on October 12 1904, that Lester Dent was born in La Plata, Missouri. For those of you who have not heard of Lester Dent, he created the pulp hero Doc Savage with magazine publisher Street and Smith's business manager Henry Ralston and editor John Nanovic. He also wrote 159 Doc Savage novels, more than any other writer. I already wrote an in-depth post about Lester Dent on the occasion of his 110th birthday, but I wanted to pay tribute to a man who may well have had more impact than any other writer. I don't write fiction often, but when I do, it sounds a lot like Mr. Dent's work.

I am not absolutely sure when I first knew who Doc Savage was, but I know it was before I turned 10 years. old. It was then that I discovered the Doc Savage novels through my now former brother-in-law, who had an extensive collection of the Batman reprints of the novels. I remember the first Doc Savage novel I ever read was Brand of the Werewolf, which featured the first appearance of Doc's cousin Patricia Savage. I was hooked and I continued reading the Doc Savage throughout my childhood and into adulthood. At first I read my brother-in-law's books, but when I got older and had something of my own income, I began buying them on my own. I was very happy when, as a kid, I learned that I lived an hour away from Lester Dent's hometown of La Plata. Anyway, I still read the Doc Savage novels to this day.

The Doc Savage novels would develop an interest in pulp magazines in general on my part. I sought out other pulp heroes, such as The Shadow (whom I knew from the radio show), The Spider, and yet others. Of course, given I was a comic book fan with an interest in the Golden Age of Comic Books, I may have been predisposed to like pulp magazines, as well as old radio shows That having been said, I do think my interest in pulp magazines helped fuel my interest in Old Time Radio. Aside from Lone Ranger radio plays my third grade teacher played for us, I have to believe The Shadow was the first radio show I ever listened to. Quite simply, I think my interest in comic books and pulp magazine helped fuel my interest in vintage media.  And, as I said earlier, when it comes to writing fiction, my style is remarkably similar to Lester Dent's style.

I then owe Lester Dent a good deal. I honestly think he may have had more impact on me than any other writer, even Ray Bradbury and Arthur Conan Doyle. I honestly have to wonder how different my life would have been had I never encountered the Doc Savage novels. I rather doubt I would be the same person.

The 80th Anniversary of Laura (1944)

It was on this day in 1944 that Laura, directed by Otto Preminger, premiered in New York City. Upon its release Laura received positive reviews and was was nominated or won several awards. The film also did well at the box office. It has since become regarded as one of the most iconic film noirs. Few are as well-respected or as well-known.

In Laura New York City police detective Mark McPherson (Dana Andrews) investigates the murder of young, beautiful Laura Hunt (Gene Tierney). As he does so, he becomes fascinated by the late, beautiful woman. Even more so than many film noirs that followed it, much of Laura was told in flashback.

The origins of the movie can ultimately be traced back to a play titled Ring Twice for Laura by Vera Caspary. Vera Caspary's agent offered Ring Twice for Laura to Otto Preminger, who not only directed and produced movies, but theatrical productions as well. Otto Preminger and Vera Caspary had disagreements over the play, and in the end, it would not be produced. Vera Caspary then adapted her own script as a novel. The novel was serialized in Colliers under the title Ring Twice for Laura in 1942. It was later published as a book, simply titled Laura, by Houghton  Mifflin.

With the novel a success, Vera Caspary was able to sell the film rights two 20th Century Fox. William Goetz was then in charge of the studio while Darryl F. Zanuck was serving in the military. He assigned  the project adaptation Laura as a film to Otto Preminger. Given his prior experience with Vera Caspary regarding the play Ring Twice for Laura, he did not include her in writing the first draught fo the screenplay, instead working with writers Jay Dratler, Samuel Hoffenstein, and Elizabeth Reinhardt.

When Darryl F. Zanuck returned to 20th Century Fox, he upon discovering William Goetz had assigned Otto Preminger to the project. Darryl F. Zanuck and Otto Preminger had not gotten along since clashing over Kidnapped in 1938. While Mr. Zanuck allowed Mr. Preminger to produce Laura, he would not allow Otto Preminger to direct the movie. Laura was offered to various directors, including Walter Lang and Lewis Milestone, who all turned it down. Eventually Rouben Mamoulian agreed to direct Laura. From the beginning Otto Preminger's relationship with Otto Preminger was difficult. Mr. Mamoulian changed costume and sets without asking Otto Preminger. He also began re-writing the script.

Perhaps making matters worse, both Darryl F. Zannuck and Rouben Mamoulian wanted Laird Creger for the role of newspaper columnist Walter Lydecker. Otto Preminger disagreed as he thought Mr. Cregar was too well known for playing villainous roles and audiences would be suspicious of the character from the beginning. According to an aritcle in the August 3 1942 issue of The Los Angeles Times, George Sanders, John Sutton, and Monty Woolley were all in the running for the role of Lydecker. As to Otto Preminger, he wanted Clifton Webb for the role. Both Darryl F. Zanuck and Rufus Lemaire, objecting to the casting of Clifton Webb as they felt his mannerisms were effeminate. To prove Clifton Webb could play the role, Otto Preminger then filmed Clifton Webb delivering a monologue from a Noel Coward play. Darryl F. Zanuck then relented and Clifton Webb was cast as Waldo Lydecker.

As to detective Mark McPherson, according to Otto Preminger in his autobiography, Darryl F. Zanuck originally wanted John Hodiak for the role. An item in the October 28 1943 issue of The Hollywood Reporter claimed that 20th Century Fox was negotiating with George Raft to play the role. Darryl Zanuck wanted Reginald Gardiner for the role of Laura's fiancé Shelby Carpenter. Otto Preminger ultimately hired Vincent Price for the role, having worked with the actor on the Broadway play Outward Bound in 1938.

As to the all important role of Laura, Jennifer Jones was initially cast in the role. As it turned out, she did not show up for work on April 24 1944. As a result, 20th Century Fox threatened legal action against her. It was then that Daniel T. O'Shea, executive director of the Selznick Studio (to whom Jennifer Jones was under contract) claimed the Selznick Studio's contract with 20th Century Fox had the stipulation that the films to which she was assigned be "consistent with her standing" as an Academy Award winner. He went onto claim that Laura was not worthy of Miss Jones. Ultimately, the lawsuit would be settled and Jennifer Jones would not play Laura Hunt, although she did play the title role in 20th Century Fox's Cluny Brown (1946). Hedy Lamar also turned down the role before Gene Tierney was cast as Laura.

Director Rouben Mamoulian would not last long on the set of Laura. Darryl F. Zanuck was not pleased with the dailies he saw, and after about two weeks Rouben Mamoulian was fired. Mr. Zanuck then relented and allowed Otto Preminger to direct Laura. He started entirely form scratch. He hired both a new cinematographer, and even scrapped the sets. Among other things he scrapped was the all-important portrait of Laura. Otto Preminger had an entirely new one done. Even the footage that Rouben Mamoulian had shot was scrapped.

Laura received positive reviews from critics. The October 12 1944 review of the film in The New York Times concluded with, "Anyway, the picture on the whole is close to being a top drawer mystery." Variety also gave the film good marks, their brief review stating among other things, "The film's deceptively leisurely pace at the start, and its light, careless air, only heighten the suspense without the audience being conscious of the buildup." Not only did Laura receive critical acclaim, but it was also a success at the box office. The film turned both Gene Tierney and Dana Andrews into stars. It also established Otto Preminger as a top-rank director.

Laura was nominated for the Oscars for Best Actor in Supporting Role for Clifton Webb; Best Director for Otto Preminger; Best Writing, Screenplay for Jay Dratler, Samuel Hoffenstein, and Elizabeth Reinhardt; and Best Art Direction-Interior Decoration, Black and White for Lyle R. Wheeler, Leland Fuller, and Thomas Little. It won the Academy Award for Best Cinematography, Black-and-White for Joseph LaShelle.

Laura would be adapted as a radioplay twice on Lux Radio Theatre. The first time, on February 5 1946, featured Gene Tierney, Dan Andrews, and Vincent Price, reprising their roles from the film. The second time was on February 1 1954 with Gene Tierney, Victor Mature, Joe Kearns, and Carleton Young. It would also be adapted for television. The October 19 1955 episode of The 20th Century Fox, "a Portrait of Murder," was an hour-long adaptation of Laura, starring Dana Wynter, George Sanders, and Robert Stack. It was later adapted as a TV movie by David Susskind. This adaptation was written by Truman Capote.

Laura  has had a lasting influence on films and television.  The 1956 Western Frontier Gambler, starring Jim Davis and Coleen Gray, was essentially an unauthorized remake of Laura. The TV show Twin Peaks borrowed a good deal from the movie. Other television shows would borrow from Laura for individual episodes. The first season Magnum P.I. episode "Skin Deep"owed a good deal to the film. The 1993 Star Trek: The Next Generation episode "Aquiel" was obviously inspired by Laura. The 2005 Bollywood movie Rog is a remake of Laura. The flim has been spoofed on everything from The Carol Burnett Show to It's Always Sunny in Philadelphia.

Laura is one of the earliest film noirs, and it is also quintessential film noirs. Much of the movie is told in flashback and it contains several plot twists (including one rather big one). Some might argue that the movie is contrived and much of it improbable, and yet somehow Laura still works. There can be no doubt that much of this is due to the performances. The role of Shelby Carpenter was one of Vincent Price's favourite roles had ever played, and he gives a great performance. Clifton Webb deserved to win the Oscar for playing Lydecker, who still ranks as one of the best characters in a film noir. Dana Andrews gives a convincing performance as McPherson, the detective who falls in love with the image of Laura. As to Gene Tierney, she brings to Laura much more than a beautiful face. It was certainly a star-making performance. The script is also superior.  It pace is deliberate and no twist seems out of place.

Released early in the film noir era, Laura has had a lasting impact. It would prove influential and it is still regarded as one of the greatest film noirs ever made. Indeed, the American Film Institute ranked it no. 4 in their Top 10 Mystery Films from 2008. Eighty years after its premiere, it remains one of the most beloved films of all time.

"(Get Your Kicks on) Route 66" by Nat King Cole

This week MeTV started showing Emergency! again. Of the medical personnel on the show, my favourite Dr. Joe Early played by Bobby Troup. I imagine that, at least among Gen Xers like myself, that today Bobby Troup is best known as Dr. Early on Emergency!. While that might be case, Bobby Troup started out as a composer, pianist, and singer. Indeed, he composed a number of well-known songs, including "Daddy," "Girl Talk," and "The Girl Can't Help." Perhaps his most famous song was "Get Your Kicks" on Route 66." Among others, the song was recorded by The Nat King Cole Trio, whose version peaked at  three on the Billboard Race Records chart and number eleven on the Billboard pop chart. It has since become a standard.

Here is The Nat King Cole Trio's version of Bobby Troup's "(Get Your Kicks) on Route 66."

The TV Series Popi

In the early to mid-Seventies there was a cycle on American television towards ethnic comedies that included such shows as Sanford and Son, Chico and the Man, The Montefuscos, and others. Among these ethnic comedies was Popi, which starred Héctor Elizondo as Abraham Rodriguez, known to his sons as "Popi." Popi was a widower living in New York City with two sons, Junior (Anthony Perez) and Luis  (Dennis Vasquez). Their neighbour and Popi's romantic interest was Lupe (Edith Diaz). Popi only ran for 10 episodes, but it was historic as one of the first shows to centre on a Puerto Rican family.

Popi was based on the 1969 movie of the same name starring Alan Arkin as Popi and Rita Moreno as Lupe. If it seems odd that Alan Arkin played a Puerto Rican, during that era, it was not unusual for non-Latinos to play Latino roles. In contrast, Héctor Elizondo is Puerto Rican, although he grew up in New York City. Like Rita Moreno, Edith Diaz was also Puerto Rican.

There would be one change from the pilot for Popi to the TV series. In the pilot, Lupe was played by Liz Torres Who had already been a regular on the sitcom Phyllis and had guest starred in such shows as The Tonight Show Starring Johnny Carson and Love, American Style. Her replacement, Edith Diaz, had guest starred on such shows as The Name of the Game and All in the Family. Héctor Elizondo was already a well-established actor by the time Popi debuted. He had appeared on stage in The Great White Hope and The Prisoner of Second Avenue, and in the film The Taking of Pelham One Two Three (1974).

Popi received positive, if not overly glowing reviews upon its debut. Jay Sharbutt, television writer for the Associated Press, wrote of the show, "Popi is a well-written, endearing, warm, and human comedy." On January 27 1976 in the column TV Key, it read, "Don't overlook this engaging little comedy starring Puerto Rican  Héctor Elizondo. Columnist Buck Biggers (also known as the co-creator of Underdog) was much less impressed with the show, writing a somewhat negative review of Popi, "Although the concept for Popi was sufficient to support a 1969 movie of the same name. It does not appear strong enough to support a series, especially without benefit of much, much stronger scripting. (and in spite of the fine talent of Héctor Elizondo)."

Regardless of what critics thought, Popi would not be a success. It had the misfortune of debuting opposite Welcome Back, Kotter on ABC, which ranked no. 18 for the year. Matters would be made worse when ABC moved Welcome Back, Kotter to Thursday and debuted a new show in its place. Laverne & Shirley was a spinoff from Happy Days and the very first show to ever hit no. 1 in the Nielsen ratings upon its debut. Laverne & Shirley would ultimately rank no. 3 for the year. Popi's competition on NBC was Movin' On. While the show did not rank in the top 30 for the season, it was still somewhat popular. Ultimately, Popi did poorly in the ratings. Debuting on January 20 1976, it ended its original run after only 10 episodes. It was rerun in the summer, where its ratings were also poor. It ended its network run on August 24 1976.

Today if Popi is remembered at all, it is as a footnote in the history of the movie Popi (1976). While the show did not prove to be a success, it was a pioneering show. It was one of the very first shows ever focused on a Puerto Rican family, something that is still rare today.