"Barney and the Choir" is a charming and amusing episode, but I will have to go with the reviewers who have found it a bit too implausible, especially from a musicianly point of view. Singing is not an all-or-nothing matter, and someone could easily have taken Barney aside and explained to him kindly and diplomatically that they would coach him on his pitch and voice production later, but for the impending concert they would have to get someone else. Who knows how Barney would have reacted, but this would at least have been more true-to-life. In addition, no choir director would accept a new member sight unseen without hearing him sing first. The fourth-season episode "The Song-Festers" is a much superior choir episode, better-written and with more emotional depth. Still, "Barney the Choir" is still quite funny, with the scene of Barney "singing" into the microphone to a deep bass voice (provided by Glenn Cripes) arguably one of the series' classics.
Reviews
184 Reviews
Interesting but Flawed Episode
4 September 2023
Warning: Spoilers
"Of Late I Think of Cliffordville" is one of the lesser-known episodes of THE TWILIGHT ZONE. Part of the series' fourth season, which consisted of hour episodes, "Cliffordville" is often criticized for its bad age makeup and for Albert Salmi's brash performance as Feathersmith. On the other hand, Julie Newmar's slinkily seductive turn as the Devil is justly singled out for praise, and it must be said that the episode (age makeup aside) looks very good, with a convincing transition to the 19-teens for the Cliffordville sequence. Rod Serling was in moralistic mode here, and the script is quite sophisticated, with echoes of CITIZEN KANE in its chronicle of the downfall of a mighty tycoon. I like the epic scope of this story, which fits very well into the hour format; arguably, it could have even been a full-length movie.
There is one point, though, where I feel Serling stumbled. It is the ending. Feathersmith and fellow Cliffordville native Hecate trade places, with Hecate becoming the cruel tycoon and Feathersmith the lowly custodian. Serling's point here seems to be that power corrupts absolutely; the suggestion is that a decent, virtuous person like Hecate will turn evil simply by virtue of acquiring power and success.
I think Serling missed an opportunity to show that virtue can triumph over evil. An alternate ending could have had Hecate acting kindly and mercifully toward custodian Feathersmith in the end, thus showing him a correct exercise of power and ending the episode on a more redemptive note. As it is, Serling simply wrote an O. Henry-esque "switcheroo" ending such as we already saw in Season 2's "Back There." Here it is simply predictable and leaves us with an unnecessarily bitter view of life and human nature.
Ultimately, "Of Late I Think of Cliffordville" is worth seeing, but it is a flawed episode and not one of the series' best.
There is one point, though, where I feel Serling stumbled. It is the ending. Feathersmith and fellow Cliffordville native Hecate trade places, with Hecate becoming the cruel tycoon and Feathersmith the lowly custodian. Serling's point here seems to be that power corrupts absolutely; the suggestion is that a decent, virtuous person like Hecate will turn evil simply by virtue of acquiring power and success.
I think Serling missed an opportunity to show that virtue can triumph over evil. An alternate ending could have had Hecate acting kindly and mercifully toward custodian Feathersmith in the end, thus showing him a correct exercise of power and ending the episode on a more redemptive note. As it is, Serling simply wrote an O. Henry-esque "switcheroo" ending such as we already saw in Season 2's "Back There." Here it is simply predictable and leaves us with an unnecessarily bitter view of life and human nature.
Ultimately, "Of Late I Think of Cliffordville" is worth seeing, but it is a flawed episode and not one of the series' best.
Underrated Gem
3 July 2023
"What You Need" is a superlative episode that doesn't get nearly enough praise from TZ fans. This is a simple moral fable beautifully told with fine performances from the whole cast and excellent visual style - this actually feels like a film noir of the Forties. Ernest Truex as the clairvoyant old street peddler Pedott and Steve Cochran as the luckless street hustler create memorable characters. Even the minor roles - the sarcastic bartender, the has-been baseball player, the lonely young woman - register in this dark cautionary story set entirely at night and containing some tensely dramatic interactions. Excellent dialogue throughout and perfect payoff in the twist ending. One of my top ten TZ favorites, "What You Need" is an underrated gem from the outstanding first season.
Andy and Barney's Mutual Loyalty
6 May 2023
Warning: Spoilers
This episode shows us Barney's vanity and egotism and Andy's simplicity and loyalty. Yet in the end, Barney shows the splendid character that lies beneath the vain exterior as he proclaims his loyalty to Andy over membership in the tony Esquire Club. I disagree with the reviewer who said that the episode is not very funny; the scenes in which Barney brags about his impending membership are quite funny indeed and beautifully played by Don Knotts, Howard MacNear, and Andy Griffith (who seems to be genuinely fighting back laughter). So are the later scenes when we see Barney full of comical anxiety about his and Andy's acceptance into the club. As usual, Barney takes things far too seriously and, thanks to his fundamental lack of self-awareness, winds up stumbling badly. Only this time Andy cannot rescue him!
My only criticism of the episode is that the club scenes could have been fleshed out a little more by showing how Andy behaved and impressed the club members, in contrast to Barney's faux pas. The scenes at the club are very brief and feel perfunctory and superficial. Too, Roger and the other club members could have been portrayed in a little more depth. The episode spends a little too much time on the opening shenanigans of Barney's nap and Andy's teasing.
Aside from that, "The Clubmen" is a classic and memorable episode from TAGS' best period. In particular, the episode drives home the point that Andy and Barney are not just work associates, they are inseparable friends. No wonder that when Barney left Mayberry, the departure of Andy's best friend left a gaping hole that was never filled.
My only criticism of the episode is that the club scenes could have been fleshed out a little more by showing how Andy behaved and impressed the club members, in contrast to Barney's faux pas. The scenes at the club are very brief and feel perfunctory and superficial. Too, Roger and the other club members could have been portrayed in a little more depth. The episode spends a little too much time on the opening shenanigans of Barney's nap and Andy's teasing.
Aside from that, "The Clubmen" is a classic and memorable episode from TAGS' best period. In particular, the episode drives home the point that Andy and Barney are not just work associates, they are inseparable friends. No wonder that when Barney left Mayberry, the departure of Andy's best friend left a gaping hole that was never filled.
Chevalier
(2022)
Historical Hodgepodge
2 May 2023
Warning: Spoilers
Joseph Bologne, known by his title the Chevalier de Saint-Georges, was an interesting minor musical figure (and more) in late 18th-century France. American Founding Father John Adams described him as "the most accomplished man in Europe in Riding, Running, Shooting, Fencing, Dancing, Musick." Such a colorful character deserves a fine, exciting biographical film. He does not get it here. For the most part, CHEVALIER is anachronistic and uses St. Georges as an excuse to project the usual faddish sociopolitical cliches. Many details of the movie are pure fiction (St. Georges' infant son was not murdered) and in many cases decidedly ahistorical. The fact is that most of us don't know much about racial attitudes in France at this time, but the filmmakers take the liberty of reducing most of the white Parisians to racist caricatures; St. Georges himself is degraded by the end of the film to a sad, pathetic punching bag. The film feels unfinished, as if the screenwriter just decided to throw in the towel at the crucial moment of St Georges' career.
If CHEVALIER was intended to be of interest to the classical music community, it failed miserably on this count too. The filmmakers appear to have no serious engagement with classical music or culture generally. St. Georges own music is not central to the film, indeed is barely heard. What little period music we hear is performed with some degree of authenticity, but it amounts to no more than a few short soundbites. At the climactic scene in the theater, St. Georges strikes up the orchestra and they play not anything 18th-century but some kind of postmodern movie music. The filmmakers are not interested in St Georges as an artist. Only his social status and racial identity interest them.
I am seeing a pattern in historical films these days where writers take an obscure subject, compile some basic research, then embellish the material beyond recognition, superimposing postmodern lingo and sensibilities. Such distortions of history do real harm in an era when few people take the trouble to read historical literature (i.e., firsthand sources) to learn about the past, instead relying on simplistic cliches and pat generalizations from movies and TV.
If CHEVALIER was intended to be of interest to the classical music community, it failed miserably on this count too. The filmmakers appear to have no serious engagement with classical music or culture generally. St. Georges own music is not central to the film, indeed is barely heard. What little period music we hear is performed with some degree of authenticity, but it amounts to no more than a few short soundbites. At the climactic scene in the theater, St. Georges strikes up the orchestra and they play not anything 18th-century but some kind of postmodern movie music. The filmmakers are not interested in St Georges as an artist. Only his social status and racial identity interest them.
I am seeing a pattern in historical films these days where writers take an obscure subject, compile some basic research, then embellish the material beyond recognition, superimposing postmodern lingo and sensibilities. Such distortions of history do real harm in an era when few people take the trouble to read historical literature (i.e., firsthand sources) to learn about the past, instead relying on simplistic cliches and pat generalizations from movies and TV.
Elvis
(2022)
Misplaced Focus for Elvis Biopic
25 June 2022
ELVIS is not a positive, upbeat homage to Elvis Presley. Instead, it is a dark, downbeat movie focused on the relationship between Elvis Presley and his sinister, manipulative manager, "Colonel Tom Parker" (in reality a Dutchman named Andreas van Kuijk). In deciding to make this relationship the centerpiece of the film, and in telling the story by means of voiceovers from Parker, the director made a big mistake in my view. The relationship between a performer and an exploitative manager is an overdone motif that here becomes monotonous and tiresome. Because of the centrality of Parker to the narrative, Elvis' role becomes overly passive.
In some colorful and inventive musical sequences, the film refers to how Elvis combined influences from black popular music with white country styles to create his own unique genre - a fact that many in the segregated south, notably the leaders of the Ku Klux Klan, found objectionable. Such themes of racial tension and harmony would have been a far more interesting focus for the film as a whole. As it is, we get some fantastical visual storytelling through images and montages, some spectacular set piece recreations of Elvis' songs, and endless shots of Tom Hanks looking grotesque and sinister as the Colonel. The imaginative visual and moralistic style of the first half of the film gives way in the second half to a by-the-numbers biopic that drags on interminably and repetitiously.
The director missed an opportunity to concentrate in depth on the human relationships and aesthetic influences that made Elvis who he was. Colonel Tom Parker is one-dimensional and, at bottom, not a very interesting character, and as a result ELVIS for all its artistry lacks focus as a biopic of a pop culture icon. Instead of an inspiring meditation on how art and society connect, ELVIS offers the sort of downward spiral into addiction and degradation that we have seen many times before.
In some colorful and inventive musical sequences, the film refers to how Elvis combined influences from black popular music with white country styles to create his own unique genre - a fact that many in the segregated south, notably the leaders of the Ku Klux Klan, found objectionable. Such themes of racial tension and harmony would have been a far more interesting focus for the film as a whole. As it is, we get some fantastical visual storytelling through images and montages, some spectacular set piece recreations of Elvis' songs, and endless shots of Tom Hanks looking grotesque and sinister as the Colonel. The imaginative visual and moralistic style of the first half of the film gives way in the second half to a by-the-numbers biopic that drags on interminably and repetitiously.
The director missed an opportunity to concentrate in depth on the human relationships and aesthetic influences that made Elvis who he was. Colonel Tom Parker is one-dimensional and, at bottom, not a very interesting character, and as a result ELVIS for all its artistry lacks focus as a biopic of a pop culture icon. Instead of an inspiring meditation on how art and society connect, ELVIS offers the sort of downward spiral into addiction and degradation that we have seen many times before.
Absorbing Half-Hour with Marshall and Klugman
20 April 2021
This episode of ALFRED HITCHCOCK PRESENTS is a great example of how to make absorbing, compelling drama with minimal means. E. G. Marshall and Jack Klugman are two fine character actors who, earlier in the year this episode was broadcast (1957), appeared together in the classic jury room film 12 ANGRY MEN. In fact, in that film they sat side by side at the jury room table. I'd wager a bet that they were cast together in this episode based on their performace together in the movie. Marshall and Klugman couldn't be more different, yet they share a wonderful chemistry here as two cogs in a corporate machine who long to break out and find freedom. Klugman is wordly-wise, hard-nosed, cynical, yet has an almost tender regard for the welfare of his friend. Marshall is a mild-mannered milquetoast, just the type who would be taken in by the machinations of a con artist. The episode consists almost entirely of the interactions of these two friends as they discuss Marshall's increasing obsession with the money he can win from betting on he clairvoyant predictions of one "J. Christiani," a mysterious "mail-order prophet."
The names strike me as symbolic. Klugman plays "George Benedict" - Benedict meaning blessed, because he is the one who is wise enought to see through "Christiani's" ruse. Marshall is "Ronald Grimes" - he gets his hands dirty in the process of looking for an easy fortune. As for "J. Christiani," he is obviously a false Christ, a phoney prophet who will lead one astray.
If you are not familiar with the stock market and financial parlance (I'm not), then some of the dialog and plot twists toward the end might be confusing. But this is a small matter, since the upshot of the story still comes across. The twist ending is not what I expected, but still satisfying.
A classic of 1950s TV, typical of the thought-provoking entertainment that filled that era.
The names strike me as symbolic. Klugman plays "George Benedict" - Benedict meaning blessed, because he is the one who is wise enought to see through "Christiani's" ruse. Marshall is "Ronald Grimes" - he gets his hands dirty in the process of looking for an easy fortune. As for "J. Christiani," he is obviously a false Christ, a phoney prophet who will lead one astray.
If you are not familiar with the stock market and financial parlance (I'm not), then some of the dialog and plot twists toward the end might be confusing. But this is a small matter, since the upshot of the story still comes across. The twist ending is not what I expected, but still satisfying.
A classic of 1950s TV, typical of the thought-provoking entertainment that filled that era.
Barney at his Best
18 June 2020
Very funny Season 1 episode in which Andy fears that his girlfriend Ellie Walker has eyes for the young new doctor in town. The scene with Barney in the doc's office shows the deputy at his passive-aggressive best as he tries, in an underhanded way, to warn the doctor to keep away from Ellie. Later, Barney has a classic scene of comic bumbling as he tries to spy on Ellie and the doctor in the drugstore. The first season had a few instances where Andy's character and the various situations seemed still in-development, but that is certainly not the case here. Great episode!
A Big Muddle
13 May 2020
Although featuring evocative period atmosphere and some excellent acting performances - notably from Dan Stevens, Jonathan Pryce and Christopher Plummer - "The Man Who Invented Christmas" trips over itself in trying to do too many things, resulting in a muddled and unfocused mess. The script sets out to be origin story of the creation of Dickens' "Christmas Carol" but gets lost adding too many fictive layers to this concept. Not only do we see Dickens conversing with Scrooge and other characters as he struggles to finish his book in time for Christmas, but we are also made to believe that Dickens is himself a Scrooge-like figure in need of redemption. The movie bends over backward trying to find spurious parallels to "Christmas Carol" in Dickens' own life. With the addition of dream sequences, arguments between Dickens and his eccentric irresponsible father, and an Irish maid working in the household whom Dickens fires, the film flounders from the lack of any central focus, either narrative or visual.
The movie could easily have focused on one of its many elements, such as Dickens reliving his painful childhood memories of life in the workhouse. This could have been developed into a broader biopic film, perhaps examining how Dickens reflected his childhood experiences in "Oliver Twist." As it stands, this origin story of "A Christmas Carol" is misguided and adds nothing to our understanding of Dickens or our appreciation of his famous tale.
The movie could easily have focused on one of its many elements, such as Dickens reliving his painful childhood memories of life in the workhouse. This could have been developed into a broader biopic film, perhaps examining how Dickens reflected his childhood experiences in "Oliver Twist." As it stands, this origin story of "A Christmas Carol" is misguided and adds nothing to our understanding of Dickens or our appreciation of his famous tale.
Me and Orson Welles
(2008)
A Coming-of-Age Morality Tale
28 March 2020
Many reviews of ME AND ORSON WELLES describe is as a lighthearted homage, a delightful backstage story, and so on. My take is quite different. To me, it is a cautionary tale about what happens when you separate art from morality. The hero of the story, 17-year-old Richard Samuels, is too pure for the rough-and-tumble, sycophantic theater world that he seeks to enter. Welles, despite all his literary sophistication, is oblivious to the irony that he is like a tyrannical Caesar. All the members of his company must kowtow to him. The company secretary, Sonja, gives him sexual favors in order to keep her job and advance in show business. Welles consistently cheats on his pregnant wife. Towards the end of the film, Welles plays a duplicitous and self-serving trick on Richard in order to keep him in the troupe for opening night.
Welles and his actor colleagues may create Art with a capital "A," but at what price? Luckily for Richard, he escapes this house-of-mirrors world and finds the beginnings of true happiness with a modest girl he meets in a music shop. The message, to me, is that the meek shall inherit the earth.
Although the poster makes ME AND ORSON WELLES out to be a tribute to Welles and the magic of peforming, it is a much darker story than that. Welles and the theater are not heroes at all in this telling. This movie is much deeper than I expected, with a solid moral core, and fine performances all around - including Zac Efrem and Zoe Kazan as the two young innocents and, of course, Christian McKay's stunning recreation of Welles. Highly recommended.
Welles and his actor colleagues may create Art with a capital "A," but at what price? Luckily for Richard, he escapes this house-of-mirrors world and finds the beginnings of true happiness with a modest girl he meets in a music shop. The message, to me, is that the meek shall inherit the earth.
Although the poster makes ME AND ORSON WELLES out to be a tribute to Welles and the magic of peforming, it is a much darker story than that. Welles and the theater are not heroes at all in this telling. This movie is much deeper than I expected, with a solid moral core, and fine performances all around - including Zac Efrem and Zoe Kazan as the two young innocents and, of course, Christian McKay's stunning recreation of Welles. Highly recommended.
Moving Episode
8 January 2020
I can't fathom why LASSIE is not more widely celebrated for being an innovative TV drama. Much of this episode consists solely of animals interacting in the wild, and the way they are integrated into the action and made to "act" is incredibly inventive. Lassie rescues an eagle that has become caught in a trap. When it comes time for Lassie to have her puppies, the eagle does her a good turn too. A very memorable fable.
Heartbreaking and Hope-filled
4 January 2020
This might be the most emotional half hour of vintage television I have ever seen. Lassie appears to be gradually and irreversibly going blind due to a rare disease of the eye. Jeff skips school and brings Lassie to the (human) hospital in Capital City, determined to find a specialist who can help her. He ascends twelve flights of stairs with the seeing-impaired Lassie and sneaks into the office of the chief eye specialist at the hospital. The doctor is so impressed by Jeff's sacrificial devotion (Jeff even offers to have one of his eyes transplanted to Lassie) that he calls off all his appointments for that afternoon and operates on Lassie. Imagine a people-doctor operating on a dog!
This is one of the most memorable LASSIE episodes and is fittingly included on a recent DVD compilation of the series from Universal. Doubtless today, with all the energy devoted to improving the lives of pets, something could be done to help Lassie's condition through advanced veterinary science.
This is one of the most memorable LASSIE episodes and is fittingly included on a recent DVD compilation of the series from Universal. Doubtless today, with all the energy devoted to improving the lives of pets, something could be done to help Lassie's condition through advanced veterinary science.
Beaver and Wally Separate
9 March 2019
The gist of this episode is that with Wally getting older, he and Beaver must learn to go their separate ways. Wally joins the Boy Scouts and goes off on a trip with them, leaving Beaver at home to his own devices. Will he be able to survive without Wally there to guide him and tell him what to do?
The episode feels strangely patched together, as if the writers weren't quite sure where to go with this story. I'm not sure the reason for making it a windy night at the beginning.
It's worthwhile taking a look at the newspaper Ward holds in the first scene - it is labeled "Press Tribune" and has a wealth of news stories written on it with the headline "High Winds Sweep City." It bears the date - February 26 - but no year!
Another curiosity: Beaver states his age as "7 and three quarters," whereas Jerry Mathers was actually 9!
The episode feels strangely patched together, as if the writers weren't quite sure where to go with this story. I'm not sure the reason for making it a windy night at the beginning.
It's worthwhile taking a look at the newspaper Ward holds in the first scene - it is labeled "Press Tribune" and has a wealth of news stories written on it with the headline "High Winds Sweep City." It bears the date - February 26 - but no year!
Another curiosity: Beaver states his age as "7 and three quarters," whereas Jerry Mathers was actually 9!
Richard Crenna in Fine Form
5 March 2019
Warning: Spoilers
In this episode Jim becomes a protégé to his boss' son, a young man named Elwood. Elwood's father wants him to become an insurance salesman like Jim, but Elwood is ne'er-do-well with a flighty and irresponsible personality. He is compulsively likeable and charming, however, and he strings the Andersons along with his laughs and jokes while postponing actually getting to work. At the end, just when Jim is ready to tell Elwood to pack up and leave, Elwood shows that he is able to channel his charm to more productive ends when an irate client shows up at Jim's office and Elwood takes the case.
Elwood is played quite wonderfully by Richard Crenna, who is perhaps best remembered as squeaky-voiced teenager Walter Denton in the radio and TV versions of OUR MISS BROOKS. His flamboyant portrayal brightens this episode.
Elwood is played quite wonderfully by Richard Crenna, who is perhaps best remembered as squeaky-voiced teenager Walter Denton in the radio and TV versions of OUR MISS BROOKS. His flamboyant portrayal brightens this episode.
Touching Episode
27 February 2019
Warning: Spoilers
This was one of the first animal episodes on LITB, and it is a tender and touching one. Beaver always had an affinity with animals, and the creature in this case is a tiny Mexican Chihuahua, named Poncho, that has escaped from a spinster lady (played by recognizable character actress Maudie Prickett). Beaver develops an attachment to the dog and, when the owner turns up, can't bear to part with him; so he hides Poncho in his jacket and brings him to school. Beaver's concealment of Poncho is duly discovered by his teacher Miss Canfield and he is sent to the principal's office.
Ward at first sees Beaver's action as pure theft, but after Beaver is given a chance to explain himself he realizes that his action was motivated by love for the dog.
There is an extra layer to the episode. When Ward receives the phone call from the dog's owner, he waits until the following morning to tell Beaver, presumably to spare his feelings. However, this inadvertently causes Beaver to take the dog to school. If Ward had been forthright and told him the moment he found out, Beaver would have had more time to say goodbye to Poncho.
However you look at it, this early episode is pitch-perfect. It's also a plus to see the lovely Miss Canfield, Beaver's early teacher.
Ward at first sees Beaver's action as pure theft, but after Beaver is given a chance to explain himself he realizes that his action was motivated by love for the dog.
There is an extra layer to the episode. When Ward receives the phone call from the dog's owner, he waits until the following morning to tell Beaver, presumably to spare his feelings. However, this inadvertently causes Beaver to take the dog to school. If Ward had been forthright and told him the moment he found out, Beaver would have had more time to say goodbye to Poncho.
However you look at it, this early episode is pitch-perfect. It's also a plus to see the lovely Miss Canfield, Beaver's early teacher.
Progressive School for the Progressive Boy
29 January 2019
This first season episode is full of social commentary. After Beaver mentions over the dinner table that his class is having a test the next day, Ward in a very funny scene quizzes Beaver strenuously on his arithmetic. Wally then informs Ward that it is actually an intelligence test. ("I guess they don't teach 'telligence in the second grade," says Beaver.)
Ward is overjoyed a few days later when he hears that Beaver got the highest mark in the entire school. Mrs. Rayburn, the school principal, advises Ward and June to take Beaver to meet the headmaster of an exclusive boarding school for "exceptional children." Wally assures a worried Beaver that he (Wally) would be able to visit Beaver on weekends, "just like at the penitentiary."
The school is styled a "progressive school for the progressive boy." The headmaster, Mr. Compton, explains that there is no competition of any kind at the school, and hence no baseball team, which upsets Beaver. The pupils are treated somewhat like laboratory rats in an experiment. Once back home, Beaver tells Wally that he looked at the other kids "through a glass window."
At the end, something happens that relieves June and Ward of the obligation of sending Beaver to this horrid school.
Ward and June's characterization, like many aspects of the show, is still developing. Ward is a bit of a braggart and a gloater, atypical of his later persona. Yet the episode's keen social commentary makes it truly memorable.
Mr. Compton is played by John Hoyt, who had two subsequent roles on the series - as the department store salesman in "Wally's New Suit" and the accordion salesman in "Beaver's Accordion."
Ward is overjoyed a few days later when he hears that Beaver got the highest mark in the entire school. Mrs. Rayburn, the school principal, advises Ward and June to take Beaver to meet the headmaster of an exclusive boarding school for "exceptional children." Wally assures a worried Beaver that he (Wally) would be able to visit Beaver on weekends, "just like at the penitentiary."
The school is styled a "progressive school for the progressive boy." The headmaster, Mr. Compton, explains that there is no competition of any kind at the school, and hence no baseball team, which upsets Beaver. The pupils are treated somewhat like laboratory rats in an experiment. Once back home, Beaver tells Wally that he looked at the other kids "through a glass window."
At the end, something happens that relieves June and Ward of the obligation of sending Beaver to this horrid school.
Ward and June's characterization, like many aspects of the show, is still developing. Ward is a bit of a braggart and a gloater, atypical of his later persona. Yet the episode's keen social commentary makes it truly memorable.
Mr. Compton is played by John Hoyt, who had two subsequent roles on the series - as the department store salesman in "Wally's New Suit" and the accordion salesman in "Beaver's Accordion."
Margaret Takes a Break
10 January 2019
We all need to take time out from the daily grind once in a while and do something pleasurable and refreshing. That's exactly what Margaret does in "Brief Holiday." She is tired of catering to the children's every whim - cooking for them, fixing their clothes, feeding their pets. On the spur of the moment she decides to leave her domestic duties, take the afternoon off and go to a ritzy part of town, where she buys a hat, eats lunch at a French restaurant and has her portrait painted.
When she returns home, the entire family treats her like an oddball for acting so out of character. Jim's imagination runs wild as he wonders why Margaret suddenly ran out. Is she tired of him? Has he been an inadequate husband? Margaret for her part feels frustrated that Jim doesn't credit her simple and honest explanation for her actions. How can she make Jim understand?
This is another FKB episode with a profound and timely point. It reminds us of the importance of breaking out of our regimented lives, reconnecting with what is joyful and meaningful - in short, the importance of holiday.
The tony part of Springfield looks a little too much like a low-budget Hollywood "Parisian" set. Otherwise, an admirable episode.
When she returns home, the entire family treats her like an oddball for acting so out of character. Jim's imagination runs wild as he wonders why Margaret suddenly ran out. Is she tired of him? Has he been an inadequate husband? Margaret for her part feels frustrated that Jim doesn't credit her simple and honest explanation for her actions. How can she make Jim understand?
This is another FKB episode with a profound and timely point. It reminds us of the importance of breaking out of our regimented lives, reconnecting with what is joyful and meaningful - in short, the importance of holiday.
The tony part of Springfield looks a little too much like a low-budget Hollywood "Parisian" set. Otherwise, an admirable episode.
Leave It to Beaver
(1957–1963)
The Greatest Family Sitcom
8 January 2019
There were a great many family situation comedies in the 1950s and '60s: Father Knows Best, The Adventures of Ozzie and Harriet, The Donna Reed Show, My Three Sons. But LEAVE IT TO BEAVER is, by my lights, the greatest of all.
There are two reasons for this. First is the sheer quality of the production, from the superior writing to the sharp photography to the realism and chemistry of the performers, particularly the quartet who portrayed the Cleaver family (and of course Ken Osmond as the devious Eddie Haskell!) BEAVER maintained a remarkably consistent quality throughout its run; there was no marked decline, and the series quit while it was ahead. There weren't really any bad episodes, either. I could rattle off a few that were weaker than others, but the level of consistency was remarkable.
The other reason for its success is that, despite its focus on teaching moral lessons, BEAVER never lost sight of being funny, whimsical, and entertaining. The show was a pure aesthetic pleasure. The dialogue captured the way children think and speak, and as delivered by Jerry Mathers, Tony Dow, Rusty Stevens, and the other young performers it was frequently hilarious. BEAVER gave us a child's-eye view of the world, playing on human nature and drawing laughs from ordinary situations. I always laugh out loud at a BEAVER episode, even after seeing it dozens of times.
And so many of the episodes have stood the test of time. Who can forget Beaver and his portly pal Larry Mondello smoking coffee grounds in Ward's meerschaum pipe? Or the duo playing hooky from school and unwittingly ending up on a cowboy show on TV? Or Beaver being lured into climbing in a billboard soup cup? Plus the many rites of passage, scholastic and otherwise, that marked the lives of Beaver and Wally Cleaver as they grew up in Mayfield, USA.
To many people "Leave It to Beaver" is just a phrase conjuring up the "homogenized, squeaky clean" 1950s. Go beyond the stereotypes and reacquaint yourself with this television classic. You will be surprised at just how sharp, ironic, and funny it is.
There are two reasons for this. First is the sheer quality of the production, from the superior writing to the sharp photography to the realism and chemistry of the performers, particularly the quartet who portrayed the Cleaver family (and of course Ken Osmond as the devious Eddie Haskell!) BEAVER maintained a remarkably consistent quality throughout its run; there was no marked decline, and the series quit while it was ahead. There weren't really any bad episodes, either. I could rattle off a few that were weaker than others, but the level of consistency was remarkable.
The other reason for its success is that, despite its focus on teaching moral lessons, BEAVER never lost sight of being funny, whimsical, and entertaining. The show was a pure aesthetic pleasure. The dialogue captured the way children think and speak, and as delivered by Jerry Mathers, Tony Dow, Rusty Stevens, and the other young performers it was frequently hilarious. BEAVER gave us a child's-eye view of the world, playing on human nature and drawing laughs from ordinary situations. I always laugh out loud at a BEAVER episode, even after seeing it dozens of times.
And so many of the episodes have stood the test of time. Who can forget Beaver and his portly pal Larry Mondello smoking coffee grounds in Ward's meerschaum pipe? Or the duo playing hooky from school and unwittingly ending up on a cowboy show on TV? Or Beaver being lured into climbing in a billboard soup cup? Plus the many rites of passage, scholastic and otherwise, that marked the lives of Beaver and Wally Cleaver as they grew up in Mayfield, USA.
To many people "Leave It to Beaver" is just a phrase conjuring up the "homogenized, squeaky clean" 1950s. Go beyond the stereotypes and reacquaint yourself with this television classic. You will be surprised at just how sharp, ironic, and funny it is.
The Relative Who Wouldn't Leave
28 September 2018
In this emotionally charged episode, Jim's cousin Leonard is staying with the family while looking for a job and an apartment. Nothing seems to work out, and it soon looks as if the problem is Leonard's own fault. He is not interested in applying himself or working hard and wants the world handed to him on a silver platter. In a tense scene, Margaret informs him that his sense of entitlement is the cause of his supposed "hard luck."
Although the episode is officially titled "Hard Luck Leo," the character is always called Leonard, never Leo. He is played by recognizable character actor Arthur O'Connell (Jimmy Stewart's sidekick in ANATOMY OF A MURDER among other films). A wise person once said that FATHER KNOWS BEST always had an "edge" to it, and this episode is a good example.
Although the episode is officially titled "Hard Luck Leo," the character is always called Leonard, never Leo. He is played by recognizable character actor Arthur O'Connell (Jimmy Stewart's sidekick in ANATOMY OF A MURDER among other films). A wise person once said that FATHER KNOWS BEST always had an "edge" to it, and this episode is a good example.
Stunning Episode
3 September 2018
Warning: Spoilers
One of FKB's forays into melodrama and the surreal. Jim has a strange dream in which he is giving a speech to the President on television, presenting a "formula for happiness" that he has composed; suddenly a villain invades the TV studio and steals the formula. Jim is baffled about what this dream might mean, and even more so when parts of the dream start to come true in real life.
The episode's atmosphere resembles THE TWILIGHT ZONE, which didn't debut until several months later. It has a palpably eerie flavor. I was really stunned by "Formula for Happiness" and think it represents this series at its finest.
The episode's atmosphere resembles THE TWILIGHT ZONE, which didn't debut until several months later. It has a palpably eerie flavor. I was really stunned by "Formula for Happiness" and think it represents this series at its finest.
Mystery and Morals
1 September 2018
A number of FATHER KNOWS BEST episodes were mini mysteries. "The $500 Letter" is a good example. The Andersons receive a check for $500 from a former neighbor (a Jewish immigrant, it would seem) who wishes to repay one of them for a kind deed done to him once several years ago. The only thing is, his letter cuts off just as he is about to say which of the Andersons did the good deed. Nobody remembers who it was, but each proceeds to ransack his or her memory, showing some less commendable character traits as they do so.
At the end we find out what the good deed was and who was the Good Samaritan that performed it. Without giving anything away, I will just say that it is a lovely, surprising and heartwarming payoff. "The $500 Letter" is an outstanding moral parable from FKB.
At the end we find out what the good deed was and who was the Good Samaritan that performed it. Without giving anything away, I will just say that it is a lovely, surprising and heartwarming payoff. "The $500 Letter" is an outstanding moral parable from FKB.
One of FATHER's Best
22 August 2018
To add to the other reviewer's fine summary, this is without a doubt one of the greatest episodes of the series. In it Betty goes through and overcomes an existential crisis. The poetic dialog alone places the episode on a level with dramas like TWILIGHT ZONE or ROUTE 66. Worth seeing also for the poignant character actor John Qualen as an old man whom Betty helps at the bus depot. Not to be missed.
Profound Psychology
22 August 2018
Warning: Spoilers
One of the more psychologically perceptive episodes of FKB finds Margaret signing up for an English literature course at Betty's college. Jim wholly approves of Margaret's ambition to improve her mind. (So much for the myth about '50s women being relegated to the kitchen!) At first, Betty is enthusiastic too. But when mother and daughter unexpectedly end up in the very same class, Betty grows annoyed and resentful of her mother's presence there, for reasons she can't quite understand. The episode makes a point about the importance of respecting people's private spheres (private spaces, as we might say today). And it does so by way of the metaphor of Kathy and her puppet theater. This inventive touch makes the episode, raising it to the level of poetry. Watch to see what I mean.
Morality Fable
13 August 2018
Warning: Spoilers
For me, one of the most profound episodes of FATHER KNOWS BEST. Bud gets a job at a gas station to finance the new boat he wants to buy. It just so happens that Betty is sweet on the gas station's proprietor, but her affections cool when the latter seems to be severely overworking Bud. In the end it turns out that there is method behind the proprietor's apparent cruelty. All is not what it appears.
The episode has the quality of Judeo-Christian fable. There are Christ-like resonances when Bud emerges from his gas station work broken in body and spirit and covered in dirt and grease. At the end Bud and Betty are rewarded and ennobled by the actions of the proprietor. That's about all I can say without giving away the plot; you'll just have to watch this splendid episode for yourself.
The episode has the quality of Judeo-Christian fable. There are Christ-like resonances when Bud emerges from his gas station work broken in body and spirit and covered in dirt and grease. At the end Bud and Betty are rewarded and ennobled by the actions of the proprietor. That's about all I can say without giving away the plot; you'll just have to watch this splendid episode for yourself.
Unforgettable Episode
12 August 2018
Warning: Spoilers
This was one of the first full episodes of FATHER KNOWS BEST I ever saw. Guaranteed to make the tears flow, it also has a philosophical point to make. Betty has been absorbing some "progressive" ideas from college, one of which is that birthdays are a superstition left over from primitive society. So when her own birthday comes around the following week, she declines to join in the festivities or open the presents her family has bought for her. This particularly upsets Kathy, since she had decided to gift Betty with a valuable prize locket that she won in a contest.
Betty and Jim have a fine scene together in which Betty expounds her new philosophy. She has some cogent points to make about holidays and their attendant commercialism. Jim respects Betty's ideas and her ability to articulate them. But then he demonstrates to Betty what a life without ceremony or sentiment is like. The episode ends by affirming the importance of birthdays, holidays and other rituals in in conveying love and meaning in life. I challenge you to get through the final scene with a dry eye.
Betty and Jim have a fine scene together in which Betty expounds her new philosophy. She has some cogent points to make about holidays and their attendant commercialism. Jim respects Betty's ideas and her ability to articulate them. But then he demonstrates to Betty what a life without ceremony or sentiment is like. The episode ends by affirming the importance of birthdays, holidays and other rituals in in conveying love and meaning in life. I challenge you to get through the final scene with a dry eye.
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