FORGOTTEN FILMS: TV TRANSITION

Though typically overshadowed by Hollywood's A-list, there were respectable performances by numerous actors and actresses who never became major film stars. A common career shift was to the new medium of television. These periodic posts offer insight into their transition.

Harry Rhett Townes (1914-2001) 

Harry Townes was an American character actor with lengthy credits on stage and television. Yet there was little transition to television for Townes, being involved in the earliest days of the medium. Townes seamlessly became a familiar face to viewers with a wide range of emotions that side-stepped being typecast. His characters could be so real he seemed to disappear within the scenery with his sensitive and genuine performances—whether unlikable or whimsical. Intelligent audiences were more than satisfied with his skill. Unknown to most viewers in the 1970s, the average-looking leading man put himself through seminary to become an Episcopal minister.

Townes performed in several New York and Broadway stage productions, including summer stock. His Broadway credits include Gramercy Ghost (1950), Twelfth Night (1949), Mr. Sycamore (1942), Tobacco Road (1942), and In the Matter of J. Robert Oppenheimer (1968). His two-year run in the part of a leprechaun in Finian's Rainbow sent him to London. He left the stage to enlist in the United States Army Air Corps during World War II. There was the occasional film supporting roles. Most notable is Spencer Tracy's, The Mountain (1956). He joined a popular cast in the Dick Van Dyke comedy, Fitzwilly (1967) and played a General in the WW2 yarn, In Enemy Country (1968), followed by a re-edited two-part 1965 Kraft Suspense Theatre political thriller episode released in 1969, Strategy of Terror. All three slipping most moviegoers' minds within ninety days.

Townes found his greatest presence with an endless variety of television characters from the 1950s through the 1970s. Somewhat following a similar path as David Janssen, Townes was most captivating on the small screen. There are simply too many excellent roles to mention but I have listed a few notable performances. An actor's actor was the draw for these popular anthology series, Studio One in Hollywood, Kraft Theatre, Playhouse 90 with nine roles on Climax!. In one of his two appearances on Alfred Hitchcock Presents, he played a sadistic murderer with a warped sense of advancing his brother's political career by eliminating the competition in, “My Brother, Richard.” His two appearances on The Twilight Zone are of note. One, in particular, is “The Four of Us Are Dying” in which Townes' character has the ability to change his appearance at a whim, a trick he uses for personal advantage. He co-starred with his good friend, Wright King, in the “Shadow Play” episode. Producers sought him out for multiple roles on popular series: seven times for Gunsmoke, five times for Perry Mason, and The Fugitive. He returned four times on Quincy M.E. to play doctors. He gained popularity with a younger audience for guesting on a two-part episode of The Incredible Hulk, "The First." Townes' defined the episode because of his performance. The mid-eighties cast him in four spots on Simon & Simon and a recurring role on Knots Landing as Russell Winston. Harry Townes retired in 1989.

Townes' Personal Quote: I guess we're never entirely happy with what we do; we would like to do better. I feel I was lucky to get the work that I did. You always feel thankful because there are so many actors for so few jobs that it seems God is being good to you when you get a job. Of course, I would have loved to have done better, we all would. But we always think we can do it better in one more take. On the whole, I'm satisfied, though. As long as the audience was satisfied, then I'm satisfied.

FORGOTTEN FILMS: TV TRANSITION

Though typically overshadowed by Hollywood's A-list, there were respectable performances by numerous actors and actresses who never became major film stars. A common occurrence was their transition to the new medium of television, often becoming familiar faces in homes across America. These periodic posts offer insight into their transition.

Richard Denning: Louis Albert Heindrich Denninger, Jr. (1914-98)

Richard Denning got his start in Hollywood starring in a few popular radio programs of the 1940s and early 1950s. The most famous was being opposite Lucille Ball in the radio comedy, My Favorite Husband, which set the groundwork for her Lucy Ricardo character. But with no face for radio, the handsome Denning soon was singled out, first as a bit player then gained starring roles in mostly low-budget films. He was always fun to watch in spite of being cast in some forgettable films.

Denning was successful at garnering many supporting film roles during his early years in Hollywood as in the musical comedy, The Farmer's Daughter (1940), or The Glass Key (1942), and Black Beauty (1945) all the while rubbing elbows with some major film stars. He was the lead in numerous routine B-movies where he often played cool, easygoing characters able to hold his own in a fistfight. The 6’ Denning could deliver sarcastic quips with coolness in a Dick Powell fashion. Perhaps his most infamous role was in Creature from the Black Lagoon (1954) supporting Richard Carlson and Julie Adams followed by his lead in another science-fiction cult classic, Target Earth (1954). He had a nice turn in The Crooked Web (1955) as an undercover government agent routing out a German war crimes officer.

Television credits began to pile up with the lighthearted crime show, Mr. & Mrs. North (1952-54). Denning played a mystery magazine publisher who—along with his wife—moonlight as amateur detectives, echoing the Thin Man film series of the 1930s. The show was also a follow-up to a decade-old film as well as a radio mystery program of the same name. Denning kept busy with lead roles in the series The Flying Doctor (1959) and as the private investigator, Michael Shayne (1960-61) tooling around Miami in a 1960 Oldsmobile convertible. Beyond his screen time, the show was a dud. The comedy dud, Karen (1964-65), was next followed by his being called out of retirement to play Hawaii’s governor in seventy-three episodes of the classic police show, Hawaii Five-O (1968-80).

Note: Richard Denning was born in Poughkeepsie, New York but his family moved to Los Angeles before his second birthday. He attended Manual Arts College earning a Master of Business Administration degree from Woodbury Business College in Los Angeles. Denning married horror film and B-movie actress Evelyn Ankers in 1942. Their marriage lasted until her death in 1985.

FORGOTTEN FILMS: TV TRANSITION

Though typically overshadowed by Hollywood's A-list, there were respectable performances by numerous actors and actresses who never became major film stars. A common occurrence was their transition to the new medium of television, often becoming familiar faces in homes across America. These periodic posts offer insight into their transition.

Merry Anders: Mary Anderson (1934-2012)

Merry Anders and her mother moved from Chicago to Los Angeles before her sixteenth birthday and doors opened for her to become a junior model. She never got much traction in her acting career—despite an uncustomary first name change—perhaps being born a decade too late to compete in a wardrobe full of attractive mid-century blondes. Her acting was adequate though her roles were not. Anders made her film debut in 1951 for 20th Century Fox films appearing in several uncredited small and supporting roles. She was indistinguishable as one of the fashion models in the film, How to Marry A Millionaire (1953) opposite the high profiles of Marilyn Monroe, Betty Grable and Lauren Bacall. She played a college girl in the film Titanic (1953) and appeared briefly in Three Coins in The Fountain (1954). Also that same year she was overpowered in another forgotten role for the comedy, Phffft (1954). Perhaps not knowing—or caring—what to do with her, Fox studios dropped her in 1954. Larger roles awaited her in the television universe.

Anders was a regular cast member of The Stu Erwin Show (1954-55) and the lead role in It’s Always Jan (1955-56). She landed a lead role in the NTA Film Network and syndicated TV sitcom, How to Marry a Millionaire (1957-59) co-starring, Barbara Eden and Lori Nelson. Anders appeared on several episodes of the Warner Bros. westerns, Cheyenne and Maverick. Also for Warner’s, 77 Sunset Strip provided numerous appearances during its entire run. Finally, in seven episodes she played Policewoman, Dorothy Miller, on Dragnet 1967. Producer and star, Jack Webb, had her wear a brunette wig suggesting that it made her look more serious. Someone should have advised the same for Heather Locklear of T.J. Hooker fame, though hair color was not her only believability problem.

Note: Wanting to live a normal life with a steady paycheck, Anders eventually became a successful customer relations coordinator at Litton Industries, where she remained until her retirement in 1994.

FORGOTTEN FILMS: TV TRANSITION

Though typically overshadowed by Hollywood's A-list, there were respectable performances by numerous actors and actresses who never became major film stars. A common occurrence was their transition to the new medium of television, often becoming familiar faces in homes across America. These periodic posts offer insight into their transition.

Jack Hogan: Richard Roland Benson Jr. (1929-)

Jack Hogan possessed an intensity and cockiness in many of his roles whether in western attire or a three-piece suit. The 5’ 9” actor’s potential sent him to television after only five films. He had starring roles in the loosely-based bio, The Bonnie Parker Story, 1958, the forgettable Paratroop Command, 1959 and The Legend of Tom Dooley, 1959, with the title character going to Michael Landon. The Cat Burglar, 1961, was Hogan’s final film and he shines in the title role. His mannerisms and physical appearance give the impression we are looking at a young James Caan. Hogan’s periodic voice-overs in the film were convincing indicating an understanding of voice acting and phrasing. Aside from his excellent performance, the low-budget film resulted in some unintentionally funny moments and an amateur female co-star.

Numerous television guest-starring roles were already a part of Hogan’s resumé. The medical anthology series, Dr. Christian, 1956, was his earliest recurring role. A television staple at the time, the western, whether it was Tombstone Territory, 1957, Have Gun--Will Travel, 1958 or Bat Masterson, 1959, offered Hogan some early saddle time. His most visible role was as the quick-tempered, womanizer Pvt. Kirby, in the 1962 ABC hit series, Combat!. Upon the show’s cancellation, Hogan was quickly cast in another combat role in Garrison’s Gorillas, 1968.

He had solo appearances on numerous series until his on-going appearances on Adam-12, 1968, then in the lesser-known, Sierra (1974). Hogan could be seen frequently in various roles on Hawaii Five-O between 1973-76. Though he made two appearances on CBS’ Magnum, P.I., 1980, his unseen credit as a casting director doubled his tenure. His final series with recurring appearances was the twelve-episode Berrenger’s, 1985, Jake and The Fatman, 1989 and the forgettable Raven, 1992.

Note: Born in Chapel Hill, North Carolina, Hogan was briefly an architecture student before his four-year stint serving in the Armed Forces. Returning to civilian life he studied drama at the Pasadena Playhouse and later moved to New York City to study at the American Theatre Wing. For the most part, a freelance actor and perhaps realizing acting can be fleeting, his interests also included painting, fishing, reading and poetry.

FORGOTTEN FILMS: TV TRANSITION

Though typically overshadowed by Hollywood's A-list, there were respectable performances by numerous actors and actresses who never became major film stars. A common occurrence was their transition to the new medium of television, often becoming familiar faces in homes across America. These periodic posts offer insight into their transition.

Peggie Castle: Peggy Blair (1927-73)

Peggie Castle had a brief career in B-grade films typically playing a conniving second love interest or a woman on the wrong side of the law. She signed a seven-year contract with Universal-International and made her film debut—as Peggy Call—in the 1947 film, When a Girl's Beautiful. In 1949, the 5’ 7” model was voted "Miss Classy Chassis" by members of the United Automobile Workers Union from seven Western states. Just one of the modeling titles bestowed upon her during the period. She continued with uncredited or supporting roles in a number of forgotten films until landing a lead role as a socialite in Invasion U.S.A. (1952), a low-budget film concerning the power of hypnosis and its mind-altering perceptions about a third world war. Then came a solid role in the gripping crime noir, 99 River Street (1953) opposite John Payne, in which her character meets an untimely demise at the hands of Brad Dexter. Westerns became a staple as she was assigned the female lead in Jesse James’ Women (1954) and the starring role of, Two-Gun Lady (1955). Both far-fetched and forgettable.

Her car logically turned to television and the western was her stock and trade. She appeared on Cheyenne (1955-60). In one episode, Fury at Rio Hondo (1956), she was delightfully playful as a singer and pickpocket nicknamed “Mississippi.” Castle tapped into her roots for a pretty convincing Virginia accent. She rejoined John Payne twice on his western series, The Restless Gun (1958-59) before a regular role in the more popular series, Lawman (1959-62) in the second season. With little surprise, she was the owner of The Birdcage Saloon, giving stars John Russell and Peter Brown someplace to hang out. She left show business after the show’s cancellation therein struggling for the next decade with alcoholism.

Note: Born in the small town of Appalachia, Virginia, her characters came across as a woman to reckon with more than a dainty flower as her alto vocal range with scripted caustic remarks fitting her film noir roles. From an acting standpoint, she never embarrassed herself on screen. Indeed, her performance could be considered the most memorable in some of her low-budget productions.

FORGOTTEN FILMS: TV TRANSITION

Though typically overshadowed by Hollywood's A-list, there were respectable performances by numerous actors and actresses who never became major film stars. A common occurrence was their transition to the new medium of television, often becoming familiar faces in homes across America. These periodic posts offer insight into their transition.

John Bromfield: Farron Bromfield (1922-2005)

John Bromfield was a leading man in B-movies during the mid to late 1950s who possessed a fine voice and a square-jawed handsomeness. While still in his mid-twenties he became a contract player for Paramount Pictures. His early acting gigs placed him shoulder-to-shoulder with some big names in Sorry, Wrong Number (1948) and Rope of Sand (1949). Bromfield was an obvious candidate for leading man status by mid-century. His brief career churned out such forgotten films for Bel-Air Productions as, The Big Bluff (1955), Three Bad Sisters (1956), and Crime Against Joe (1956), co-starring another transition to television, actress-singer Julie London. Like most of these features, the film possessed some unintentionally funny moments in between London’s comatose performance. A decent script and on-location filming helped make Hot Cars (1956) his most authentic of the era. His role for Universal International Pictures, Revenge of the Creature (1955),  “earned” him cult status, after a fashion.

Bromfield’s transition to television was instant, bringing him notoriety from living rooms across America. The syndicated modern-day western series, The Sheriff of Cochise (1956-60) was a big success as officer Frank Morgan chased bandits by station wagon, not on horseback. The Chrysler Corporation was a sponsor and late episode viewers could see a DeSoto Fireflite Explorer station wagon complete with a shotgun clipped to the driver's side door panel. Due to the show’s success—thanks to Bromfield, location filming and accurate portrayal of law enforcement—he was made an honorary deputy by the real sheriff of Cochise County. Morgan was promoted to U.S. Marshall status and the entire state of Arizona was under his purview and the third season gained a new title, U.S. Marshal. Bromfield embraced the television medium and the show wholeheartedly. His co-star for one season, Stan Jones, playing Deputy Harry Olson, was the creator of the series.

Note: Bromfield was born in South Bend, Indiana, and soon developed strong athleticism. Hollywood knew him as a health enthusiast. Female fans knew him as a hunk. After leaving acting abruptly in 1960, he produced sports shows. Before being discovered by an acting agent he was a tuna fisherman. He returned to those roots in retirement as a commercial fisherman off Newport Beach.

FILM BRAKE: SHOOTING WITHOUT BULLETS

This 1958 black and white thirty-minute ABC network crime series centered around a celebrated World War II combat photographer, now a nationally famous freelancer working out of New York City. In reality, Desilu Studios in California. He is also well-known among his peers. Except that he had none. This man handled a space heater-sized press camera with its huge flash dish like few others could. He had fists of iron and an uncompromising persona. He had the latest spy cameras and always had the correct film for any lighting situation. He could change flashbulbs in a mere two seconds no matter how hot they were. His prints were to die for. Surely an entertaining premise where the lead character unwittingly “develops” into a freelance private detective.

Various Hollywood writers were used but most of the twenty-nine episodes were directed by either Paul Landres or Gerald Mayer. The action-packed jazz theme was by television's groundbreaking composer, Herschel Burke Gilbert. The series was a veritable “who’s who” of B-movie and television guest stars, many of whom would garner fame in their own right on the small screen. In his one and only leading television role, Charles Bronson is Mike Kovac, the envy or bane of all photojournalists.

Bronson’s voice-over introduced or periodically addressed his assignments and their potential dangers. Adding authenticity, he might provide technical details about a particular, high-tech camera to explain how he got that perfect shot. He drove a Ford station wagon equipped with a phone and a portable lab to develop prints on location. Though not much could be done with those prints without sending them with a “wire service.” Expect to see the lean and toned Bronson sans shirt, sometimes with boxing gloves. Whether assisting newspapers, insurance companies, the police, private individuals or clicking where he is unwelcome, taking photos can be life-threatening. Of course, Kovac had a connection with a police lieutenant who more often than not followed the cameraman's lead.

A nice touch was scripting in a father for Kovac. For seven episodes, his immigrant father was played by Ludwig Stossel who owned his own photo business. “Pop” was the photo genius and his son would seek out his photographic or assignment advice. There was good chemistry between them and it would have been nice to have these two interact in more episodes. It was difficult to make this happen as Kovac was not always in New York City and the series' short run gave little opportunity.

As the series progressed, Kovac was increasingly sent undercover, sometimes on foreign soil—stock footage inserted to sell the idea. He usually felt inadequate for these complex assignments, arguing that someone more qualified should handle them. But he is always persuaded. If you are going deep cover, get yourself a photographer. The show began losing its identity, morphing into another in a long line of private detective shows. In part, due to hiding spy cameras inside a portable radio, a cigarette lighter or even his necktie. That nifty Ford station wagon was essentially garaged as well.

This Friday prime-time show with its initial uniqueness, plenty of action and a captivating performance by Bronson, was sandwiched between “Walt Disney Presents” and “77 Sunset Strip.” One could not ask for a better time slot. For its second season, ABC switched it to the graveyard shift, the last prime-time show on the dreaded Monday night schedule. The move, coupled with some routine or lame scripts, had a “negative” effect and its second season was cut short. I wonder if ABC knew what to do with a guy like Bronson.

With the exception of Bronson devotees, the show resides in unknown territory. The complete series is available on DVD with a great color image and layout on the packaging. Following in Steve McQueen’s footsteps, Bronson soon found his niche and became a superstar in action films. Almost always a man with a gun.