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Monday, May 24, 2021

Where Clowns Could Do It All


Suspense as in Could He Play Serious?

“Live” and anthology TV from the fifties remains a largely unexplored universe, so much gone, but because so much was made, lots still to ferret out, and free thanks to You Tube. Live performing laid opportunity before artists that movies seldom conferred, a rare option to step out of type and show stuff they had all along but were estopped from sharing on large screens. Two samples of late YT peruse: Boris Karloff as a Nobel-lauded scientist with family trouble (lay-about son Skip Homier, daughter with difficulties Patricia Barry), hour drama called The Shadow of a Genius (1958), part of Studio One ongoing anthology. A moral dilemma tests Karloff ethics … can he take credit for a discovery possibly the product of another? No genre trappings here, as it is straight science he practices, us to treat these situations as within realm of possibility. I took The Shadow of a Genius for precious glimpse of “Broadway Boris,” work we might have seen him routinely engage had rigid genre expectations been relaxed, a nearest to seeing Karloff live and on stage. I once heard him referred to as a “journeyman actor,” a slight to my young ears, though what this better denotes is “a qualified, experienced, and reliable performer,” which Karloff proved he was, especially during the fifties when television and Broadway kept him well and broadly occupied. So glad I took a flyer on The Shadow of a Genius rather than down the hatch again with Voodoo Island or The Haunted Strangler.

Comedians to dabble in drama did so on television or not at all, TV a lab where off-casting was encouraged. Here then was Bud Abbott as foot-wipe agent for stand-up heel Lee Marvin (1961’s The Joke’s On Me), dealt out after first fifteen minutes of a half-hour drama, impression made, him good. Well obviously, he was a "straight man" after all. Maybe Bud relived some of trying moments with Lou, known to misuse his partner where chips were down, or up. You Tube has The Joke’s On Me up to Bud depart, correct perhaps for assuming we cease to care once he’s gone (though I do wonder what becomes of the Marvin character). Seems everybody funny got a chance to not be funny on anthology shows. Buster Keaton did heavy drama for a light beer, Rheingold Theatre in 1954, publicity attendant upon him being something other than a clown of yore. It is on DVD, also at You Tube. I don’t recall any comedian being bad in a straight part. Seems they were better equipped to play serious than those who did it as habit. One to hand himself a stunning comeback for being other than clownish was Ed Wynn, a figure of fun for all of anyone’s lifetime by the 50’s, his former fame at a level few jesters got near. Ed was the whole show in Broadway revues popular for his antics and no one else’s. Ziegfeld toplined him. Seldom-easy-to-please Dorothy Parker was an unabashed fan, a mid-1920 offering, Ed Wynn’s Carnival “by far the funniest thing that has been developed by the musical-comedy industry thus far in the season … Wynn is, fortunately, on the stage for seven-eighths of the time … he carries off the whole show, from his initial entrance to the very end,” which in the case of Carnival, saw Wynn repairing to the foyer just after curtain drop, “asking the outgoing audiences if they liked (the show), and he has yet to take “no” for an answer.”

Here was cheek to make Jolson seem modest, but Wynn had record crowds for proof he was laughter’s messiah, an impression passing years would not rub out. Television wanted Wynn, old acts or new. He chose old on belief no one argues with success, his 1950 Camel Comedy Caravan short-lived, but an Emmy recipient (“Best Live Show”), so fault was figured to lie elsewhere than Ed. Still, there weren’t calls to encore, so maybe his bolt was spent, at least as applied back when first-nighters arrived horse-drawn. I look at Wynn’s old stuff, Camel spots with guest Buster Keaton or the Three Stooges, and figure we progressed since, but who is kidding who? When I grew up, it was fads like Flip Wilson or Rowan and Martin supplying tons a’ fun, or catch-phrases from Get Smart repeated endlessly at school. Such comic gold as spun in the sixties will likely not revive for a present day. If memory serves, these had gone down disposals by the mid-seventies. An ice-cream cone to whoever next ID’s Flip or Dan/Dick, qualifiers under age of sixty, please. The fact Ed Wynn began with vaudeville in 1903, kept at his plow to the end amounts to amazing longevity (The Gnome-Mobile released posthumous in 1967). He rejuvenated the career at a point when most would have bowed out, or bowed to numbing old-timer awards, Ed's miracle wrested off ninety minutes done live (10/11/56) by Playhouse 90’s Requiem for a Heavyweight. He'd be limited to comedy no longer. I know not another from his category who made such a leap, let alone did it literally overnight.

By 1955-56, there were as many as sixteen live stories broadcast nationally every week by the major networks, wrote Frank Sturcken in his Live Television: The Golden Age of 1946-1958 in New York. Idealistic executives (there once were those, if not many) saw live drama as a direct bridge from Broadway to viewer homes, an antidote for junky Hollywood films and radio gone to seed. New talent, fresh young talent, fairly burst at seams of a medium that would ideally serve their artistic spirit. No compromising here, for ours was finally a public that could receive and appreciate finer things, a notion to be blasted in short order, but soothing while it lasted. Live television had a nervous energy --- anything going wrong and you’d see it same as cameras facing the action, like wrestling with verbal rather than physical falls. To this arena came pro cast of Requiem for a Heavyweight, Jack Palance of Method-background, Keenan Wynn with years’ experience in a wide range of character parts … and Ed Wynn, a seeming forever clown, the biggest gamble taken that October ’56 night, for up till a start bulb lit, no one figured he could make it. That story was told in columns and from comfortable distance of triumph Wynn had, later and more extraordinarily by an hour (filmed) drama (1960) that told how close Playhouse 90 came to disaster for using an old dog seemingly incapable of new tricks.

Wynn played Palance’s fight trainer, both past prime. Keenan Wynn was their manager. Rod Serling wrote from an underbelly of pugilism, having boxed himself during young years, thus hep to the milieu. Like any best of live drama, Requiem had sniff of the real, grit seldom stuff of Hollywood, life on terms raw as jerky movement to follow players from one minimalist set to the next. Imagine Ed Wynn that night … late to bed on the 11th not knowing how you came off, no seated audience after all, thirty million watching sure, but none to tell Ed if he was good, or stank. Come 12th dawn, however, and Ed Wynn is the toast not just of New York, but the country for a whole, word out and spreading that a new dramatic star is born. For this to happen with a young actor was not unusual, as many a future was forecast by success on live TV, but talent which only a day before was written off and unwanted? This was stuff of seeming divine intervention, a reminder that no loser need stay that way, scrap heaps avoidable given luck and pluck. Truest drama of Requiem for a Heavyweight was what it did for Ed Wynn, Westinghouse-Desilu Playhouse staging a 4-15-60 recap of the 10-11-56 cliffhang night they'd call The Man In The Funny Suit.

The Man In The Funny Suit
, written-produced, directed by Requiem’s Ralph Nelson, used participants from the ’56 broadcast to reenact panic surrounding Ed’s inability to put aside clowning and be serious. Nelson played himself, as did Keenan Wynn, Rod Serling, guest Red Skelton, and of course, Ed Wynn, a part tricky as any drama enactor was ever handed, for this was real-life him as hapless, slow-to-learn, getting it finally at a last moment, his performance to leave Requiem itself in the shade. Ed had over a four-year interim taken more straight parts, plateau being The Diary of Anne Frank for director George Stevens in 1959. A remarkable transition, and in so short a time. The Man In The Funny Suit had us believe, and I believe it was accurate, that Ed Wynn found it simply impossible to quit being funny for the sake of any part, so ingrained were habits honed over a lifetime. Think about everything he had done since early in the century. Never once that I know of was Ed anything other than the Perfect Fool. I watched MGM’s The Chief (1933, and available from Warner Archive), a starring feature vehicle for Wynn where even mild pathos was a strain, foolishness bred deep by a farcing stage he could not step from even for a moment. For Ed not to be funny was tougher than such commission would be for most anyone else.

I considered others who stepped off curb that was comedy, and how they fared doing so. For large part, these would be experiments for television, a half-hour or so not risking much, object to give viewers a novelty, suspending laughter just this once. And who knows, maybe Buster Keaton, or a Marx Brother, would be good being serious, a stunt worth anyone’s thirty minutes. Keaton was fine as common sense would dictate, for hadn’t he essentially done drama as Johnny Gray in The General, moments plenty for The Cameraman, or that French piece from the mid-thirties, character spots in San Diego, I Love You, or as “Hickey” in the Judy Garland summertime musical? Keaton kept a varied kit from childhood, a one-time Little Lord Fauntleroy after all, plus melodrama he stepped into occasionally to fill a breach. There too was Groucho, Harpo, Chico, each Marx rising to dramatic occasion, Chico doing a Playhouse 90 (which also featured Buster Keaton), about an airliner that disappears in mid-flight. Harpo would play a store mannequin for The Du Pont Show who witnesses murder from his window perch, then has to outrun killers who saw him seeing them, a part the erstwhile comedian plays speechless but, as always, effective. Then came Groucho as a suburban Dad thinking daughter Brooke Hayward too young to marry Dennis Hopper, a 1962 half-hour for General Electric Theatre. Lou Costello did a Wagon Train close to the end, point being these people could perform drama in their sleep, undoubtedly easier than serious actors might essay comedy. Ed Wynn just had a deeper learning curve, but once there, was solid.

Above Two Images: Ed, Keenan, Ned Wynn

Ed had added stress of working for a first time with son Keenan. There had been tension from a start between these two. Keenan felt he had been neglected from childhood, and held Ed responsible for his late mother’s alcoholism and premature death. Keenan also had a drink problem, as would his son Ned Wynn. Ned wrote a book in 1990 that told the Wynn family saga on unsparing terms, himself spared the least. There were sad conflicts here, an only Wynn to emerge clean being Grandpa Ed, who Ned clearly adored. As to Keenan vis a vis Ed, “he had been in a lifelong rebellion against his father … the man who signed the checks but gave nothing of himself.” We Will Always Live in Beverly Hills: Growing Up Crazy in Hollywood is among best of gloves-off memoirs, and a vivid picture of family life as lived on stages and screen through four generations and counting. Ed Wynn would stay a busy actor, and comedian, for the remainder of his life, often enough for Disney as to be a sort of luck piece for the producer. Sometimes comedy bled into drama as if to hedge bets where Ed was used, as witness Marjorie Morningstar, Wynn a loveable “Uncle Samson” who will break character midway to become the Perfect Fool for a comic bullfight, safest bet offering something for everyone, drama as heavier lifted done so by Natalie Wood and Gene Kelly. Features and TV programs referred to in this post are available on DVD, or can be found at You Tube. Specifically, the Harpo and Groucho anthology dramas are part of a multi-disc set, The Marx Brothers TV Collection, from Shout DVD.


Blogger John McElwee said...

Griff warms up to Ed Wynn (Part One):

Dear John:

Excellent post on the nature of... well, acting.

Groucho would point out from time to time his bemusement when a comic actor or comedian received great critical acclaim for a change of pace performance in a drama; he believed that essaying a dramatic part was comparatively simple -- "like rolling off a log" -- compared to the backbreaking work of trying to make an audience laugh. He may have had something of a point there.

Keaton was so effective in the mostly straight role in the admittedly minor IN THE GOOD OLD SUMMERTIME, I remain surprised that Metro didn't cast him in more character parts in features. Harpo did acquit himself well as a mute store window performer in that "Du Pont Show" drama. Comic actor Tom Noonan is fairly brilliant opposite Judy Garland in that still startling dramatic scene near the end of A STAR IS BORN. Red Buttons, of course, actually won an Oscar as the airman who falls in love with a Japanese woman in SAYONARA. That's just off the top of my head; there are lots of other examples (and many more recent ones).

It is interesting that you mention THE CHIEF, a notable catastrophe of a comedy. It's just terrible! I remain dumbfounded that MGM actually released this awful, torpid 1933 picture; it is almost completely laugh-free, a chore to sit through. I guess the studio -- which must have known what it had -- believed that Wynn's enormous radio following might fill some seats. I can only imagine what Wynn thought of the film. The comic assiduously avoided the movies for many years thereafter. [Wynn was very briefly seen as himself in 1943's all-star STAGE DOOR CANTEEN, and contributed the voice of The Mad Hatter to the 1950 Disney ALICE IN WONDERLAND animated feature.]

11:44 AM  
Blogger John McElwee said...

Part Two from Griff:

Wynn's first straight role slightly predated "Requiem for a Heavyweight." Jose Ferrer apparently sought him out for the pivotal if small role of a tiny radio station owner in Ferrer's THE GREAT MAN. The part in the movie is transitional for Wynn's career. When we first see him, Wynn seems to be giving a comic performance, playing a more than slightly ridiculous older guy. But as his scene with tough reporter Ferrer develops, the character noticeably deepens; we see the integrity and humanity (and the many regrets) of the man -- and we begin to respect him, and notice that Ferrer's character also comes to respect him. Bosley Crowther singled Wynn out in his Times review ("Excellent... too, in a brief role is that grand old comedian, Ed Wynn. He is human and droll as the Babbitty owner of a small radio station...").

THE GREAT MAN was shot in the spring of 1956; the movie opened late that year, after the live broadcast of "Requiem for a Heavyweight." But word had likely spread about Wynn's effectiveness in the yet-to-be-released film, and he was cast in "Requiem." In a memoir, Keenan Wynn fairly vividly captured his anxiety about his father's casting in the teleplay; the actor genuinely feared that his father would be unable to handle the part and embarrass himself (the elder Wynn was reportedly lackluster and uncertain in rehearsals). Some of that comes across in the surprisingly well done "The Man in the Funny Suit," which deserves to be more widely seen. Wynn's abrupt, last-minute-before-air transformation into "Requiem"'s elderly trainer -- astounded the show's cast and crew (Wynn's understudy was actually preparing to go on in his place); he suddenly became that guy. The dramatization of that moment is the highlight of "Funny Suit."

As you note, "once there, was solid." After the October airing of "Requiem," Wynn's career was revivified. Fox immediately cast him in the Monty Woolley role in a TV version of AS YOUNG AS YOU FEEL; NBC sought him out for the Lionel Barrymore part in its production of "On Borrowed Time." Comic roles, dramatic roles, television, movies -- no problem. Emmy nominations -- even an Oscar nomination! Serling, George Stevens, Disney all used him repeatedly. Wynn remained much in demand as a character actor until his death.

-- Griff

11:44 AM  
Blogger DBenson said...

I find myself intrigued by the whole idea of "The Man in the Funny Suit".

It's a common thing to do thinly disguised stories of real people and events, and even to have well-known stars playing "characters" with a broad wink to the audience. Chaplin's "Limelight" was all about an old music hall comic -- which, but for film, Chaplin was -- dealing with his act being out of fashion and himself being old. Milton Berle in "Leave 'Em Laughing" had him as a comedian tempted by Bert Lahr's young wife ... and more importantly, given Berle's image as a gag stealer, Lahr's treasure trove of material (Berle's character nobly goes his own way with his own stuff -- which to modern eyes looks pretty dire). Jerry Lewis cast himself as a natural comic genius multiple times, while "King of Comedy" cast him as a dark version of his later self. Woody Allen cast himself too close to home in "Manhattan", where the happy ending is him going back to his teenage mistress after a failed relationship with a mature woman. "All That Jazz" was nakedly Bob Fosse's autobiopic and first-person funeral oration, despite an actor playing his character. But all of these had the fig leaf of fake character names, and fictional plots that allowed stacking the deck.

"The Man in the Funny Suit" had Ed Wynn, his son, and other real people acting out a presumably true-to-life version of a tense moment in Wynn's life. Were they easily persuaded to participate? Did any demand (and get) script changes? Whose idea was it, anyway?

I'm thinking there might be a drama based on the making of "The Man in the Funny Suit".

3:32 PM  
Blogger Beowulf said...

Purdy good. But from the '60s I would put forth "Missed it by that much!"

4:22 PM  
Blogger Barry Rivadue said...

I too saw THE CHIEF once and I echo how appalling it was--Ed Wynn had no sense of restraint for the camera. The director must have been in the commissary. It was good to see Wynn be far more effective in unadorned, subdued character parts later on.

7:34 PM  
Blogger Rick said...

I saw "The Man in the Funny Suit"--or at least a sizable portion of it-- on its live broadcast in 1960. I'm not sure I knew who Ed Wynn was when I was ten years old, I certainly didn't know of Keenan. But somehow I knew this was a true story. Maybe my mom, also watching, gave me some of the background.

I do know that I was mightily confused. Was this just a TV show? Or was it some kind of private thing we weren't supposed to see? Or...what? What could it possibly be?

I have little if any memory of the show itself, but my memory of that dizzying confusion has stayed with me all these years.

1:13 AM  
Blogger Filmfanman said...

Ed Wynn? Before my time, except as a memorable voice in the cartoons I saw as a child; when I finally saw 'Mary Poppins', on VHS tape and as an adult, I remember thinking to myself: "So that's what the guy with that voice looks like"; and I had thought, until I read this very blog entry, that Ed Wynn was just like Mel Blanc, a cartoon voice actor from a time before I was born, with a very distinctive comic voice - nothing more nor less. Interesting to find out that he was so successful otherwise.

7:23 AM  
Blogger Mike Cline said...

"daughter with difficulties Patricia Barry" How could Patricia Barry ever cause anyone trouble. Of course I jest. She's one of my favorite "bad girls."

George Reeves did several SUSPENSE episodes.

7:36 AM  
Blogger Kevin K. said...

Ed Wynn is the only comedian who was better -- much better -- at drama. No matter what the movie or TV show, he's pitch-perfect and memorable, particularly in "The Great Man" and even "The Greatest Story Ever Told" -- opposite Max von Sydow!

"Man in the Funny Suit" must have been quite an emotional experience for Ed and Keenan, seeing that they're recreating the anger they felt for each other during the "Requiem" rehearsals.

Have you ever heard Keenan's intro to an LP of two Ed Wynn radio episodes? Not only does he spill the beans about what kind of father Ed was, he's drunk as well! Plus, he's accompanied by a two-bit string section sawing away at some woozy piece. Just creepy.

By the way, "The Chief" truly is a terrible movie. But there's that one moment when it dawns on him that his mother might be dead (when she's actually been kidnapped) where you can see the great dramatic actor he was to become decades later.

5:22 PM  
Blogger Neely OHara said...

Great article, John. As an actor for 35 years, I can assure you that if you can play comedy, you can play anything. The inverse, not necessarily so. (Joan Fontaine in CASANOVA’S BIG NIGHT springs to mind…)

Other examples occurring to me are Mary Tyler Moore in ORDINARY PEOPLE (seeing her falling apart with laughter at a funeral in the episode CHUCKLES BITES THE DUST I actually said to myself, “this may be comic, but it’s brilliant acting”), Carol Burnett in PETE ‘n TILLIE, FRIENDLY FIRE, and BEATRICE; STORY OF AN ALCOHOLIC, Jackie Gleason in THE HUSTLER. (Of course, results of Gleason’s more serious thesping could also be lumpy and cloying, as in GIGOT.).

Bob Hope, who very much wanted to be recognized as a good actor, never hit a drama out of the park, but I think it had more to do with his choice of vehicles, and the fact that he was unable to give up his desire to be likable. I’ll bet if he’d decided to play a full-on, nasty son-of-a-bitch he could have been very effective.

I can’t remember to whom I’ve heard it attributed (and it’s likely apocryphal anyway), but a “great actor” (we’ll call him Edward) is asked on his deathbed, “Eddie… Eddie, is it hard?” and he replies, “No, dying is easy. Comedy is hard.”

12:03 PM  
Blogger Filmfanman said...

Bob Hope would have made a great Blofeld. Seriously.

1:05 PM  
Blogger Kevin K. said...

You can hear an episode of "Suspense" on YouTube starring Bob Hope in a straight role. He's not bad -- he never breaks character -- but, like Sinatra, he often seems to be trying too hard or not hard enough.

Now Jerry Lewis in "King of Comedy" -- that's some great work because, whether he realized it or not, he was revealing a side of his real self. If only Hope had that opportunity.

2:30 PM  
Blogger John McElwee said...

Had not considered that radio, of course, gave many actors opportunity to step outside their familiar personas and do something unexpected. I listened recently to William Powell as Uncle Charley in a 1944 Lux broadcast, SHADOW OF A DOUBT.

Interesting that two of Bob Hope's more serious 50's projects, BEAU JAMES, and the comedy-with-bittersweet romance THAT CERTAIN FEELING, are both out of circulation, neither released to DVD so far as I know. Bob Hope as Blofeld? I certainly would have gone.

7:40 PM  
Blogger Neely OHara said...

Not great quality, but perfectly watchable:

That Certain Feeling

Beau James

9:28 PM  
Blogger lmshah said...

Buster Keaton did another wonderful dramatic performance in the 1958 PLAYHOUSE 90 called THE INNOCENT SLEEP with Hope Lange where he plays a mute who writes greeting cards and may or may not have killed his parents when a child. That one does exist but is not in general circulation.

The variety of dramatic roles for Boris Karloff on television are quite varied and interesting, there's his recreation of his Broadway role as Bishop Cauchon in the 1958 Hallmark Hall of Fame production of THE LARK with Julie Harris, a terrific Billy Bones on the DUPONT SHOW OF THE MONTH's production of TREASURE ISLAND (1960), a bizarre Kurtz in the PLAYHOUSE 90 equally bizarre production of HEART OF DARKNESS (1958),and of course TV was the only place we could actually see him do ARSENIC AND OLD LACE, which he did twice, first on NBC's BEST OF BROADWAY in 1955 (with Peter Lorre as Dr. Einstein), which is unfortunately not currently known to exist, and the 1962 HALLMARK HALL OF FAME production with Tony Randall as Mortimer, which does survive.

The number one Karloff dramatic performance I want to find in the 1952 CBS TELEVISION WORKSHOP production of DON QUIXOTE, shot on location in Spain and featuring Karloff as the Don, Grace Kelly as Dulcinea, Jimmy Savo as Sancho Panza, and directed by Sidney Lumet.

And speaking of both Karloff and Keaton, I'd also love to find the episode of THE BETTY WHITE SHOW from 1958, a variety show, in which both Boris and Buster are the guest stars together. The mind boggles at what the two BK's would do as a team.


1:40 AM  
Blogger MikeD said...

"Eddie" may have been a great actor but he was no comedian if he let a straight line like that go to waste!

9:14 AM  
Blogger Rick said...

Actually, Karloff did THREE TV versions of ARSENIC AND OLD LACE. The first was on the Ford Theatre Hour in April, 1949, then came the two broadcasts noted by Imshah.

I saw the '62 when it was first aired and loved it. It was my introduction to the play which I found hilarious. Twelve-year old me was in hysterics every time Teddy Brewster (Tom Bosley) "charged" up the stairs which were his San Juan Hill.

11:15 PM  
Blogger Beowulf said...

The most suggested name for the "Dying is easy" quote is Edmund Gwenn. Of course, no one knows for sure.

the robot

10:22 AM  

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