Showing posts with label Elliott Lewis. Show all posts
Showing posts with label Elliott Lewis. Show all posts
Monday, June 17, 2013
Saturday, September 17, 2011
A few questions about Suspense (with Dr. Joe Webb)
Again, the OTR Buffet is happy to have the very keen insights of Dr. Joe Webb - giving his opinion of a few questions regarding the radio show, Suspense. You might remember the nice interview he did with me earlier in the year on the subject of Casey, Crime Photographer.
OTR BUFFET: Dr. Joe, thanks for joining me again. I appreciate your time. What do you think the main difference is in the pre-1950's shows (produced/directed by William Spier and Anton M. Leader) and those after 1950 which were mostly led by producer and director Elliottt Lewis?
DR. JOE: My favorite is Anton M. Leader. His influence started during the hour-long run with “Beyond Reason” on February 21, 1948. The last show of that season was May 15, 1948. The show returned in its much better half-hour format on July 22, 1948, and he finished on June 30, 1949. This was the best run of Suspense, in my mind, often with fast-moving thrillers. I was not a fan of the Spier shows, but as I have studied a bit more about the series, you do have to respect what he was doing. It was at a higher level than was usual for radio in terms of the overall production values. The Elliott Lewis run (8/31/50 to 7/20/54) took more chances in terms of stories and casting. Getting comedians also increased interest in the show. Jack Benny in a dramatic role? No one would expect that, so it would get some attention. Lewis would also have actors known for singing careers, like Dick Haymes, or Ethel Merman or Rosemary Clooney. He'd also experiment with musical narration, in shows like “Tom Dooley” (3/30/53) or “The Wreck of the Old 97” (3/17/52) or “Frankie and Johnny” (5/5/52) with Dinah Shore.
The Elliott shows are very good, but they can be spotty because he was experimenting with the format so much. I think the Leader half hour shows are consistently better, but both Leader and Lewis are superior runs of the series. In some ways that time was big radio's last stand against the growing diversion of television. The show still had a good-sized budget and could have more lavish productions.
The other shows with Norman MacDonnell, Antony Ellis, and William Robson are better than most other radio of their time. What did surprise me, however, was the New York series, which started August 30, 1959. Collectors had generally felt that this part of the series was not up to the standards of the Hollywood run. I'm sure part of that feeling was because the recordings from this series were mainly home recordings so the sound that survives among collectors was not the best. Considering the budgetary restrictions they were working under, the New York run is better than its reputation. It had a lot of radio's best actors, few of whom had any remaining notoriety, in some very good productions. I urge collectors to give this part of the series new consideration.
OTR BUFFET: Most people that have a smattering of OTR knowledge probably think of Agnes Moorehead when the topic of Suspense is brought up. Would you agree with this and why?
DR. JOE: She wasn't called the “First Lady of Suspense” as a joke. The performance of “Sorry, Wrong Number” and her performace brought a lot of respect for the series and radio itself. Remember, radio was generally looked down upon. Theater, especially Broadway, was always held in high esteem, and movies were next, with radio dead last. Eventually, the only thing worse than being a radio actor was to be in early television. This is another example where we may not hold William Spier's work in as high regard since we can see the entire series from an historical vantage point, but at the time casting Moorehead, and having a script and a great performance like that was quite an achievement for that time.
OTR BUFFET: I've listened to a lot of Suspense in the past couple of months (in the neighborhood of more than 200 episodes.) I have listened to many others previously. I recently wrote a series of posts here at the Buffet about my favorite Suspense episodes ( Part I, Part II, Part III, Part IV.) Would you care to comment on any of those episodes or mention a few of your favorites that I didn't list?
DR. JOE: Generally, the shows based on Cornell Woolrich stories are quite good. My favorite episode is “Three O'Clock” (3/10/49), but Woolrich had numerous shows adapted. There are some other great shows like “Dead Ernest” (8/8/46, 5/8/47, and 3/24/49), “The Crowd” (9/21/50, a Ray Bradbury story), “The Flame” (5/29/56) and “Fragile: Contents Death” (2/1/51 and 5/22/56).
OTR BUFFET; Which episode of Suspense do you think is the most unique or strangest episode that you've heard and why?
DR. JOE: “Allen in Wonderland” (10/27/52) with Cornell Wilde, but for an odd reason. The show takes place in New York City, and an unnamed cop plays a big role in the story. But anyone who knows OTR knows that when Larry Thor is cast as a policeman, that's no ordinary officer, that's Lt. Danny Clover from “Broadway's My Beat.” This little inside joke is a delight for fans of both series.
©Jimbo 2010/2011
OTR BUFFET: Dr. Joe, thanks for joining me again. I appreciate your time. What do you think the main difference is in the pre-1950's shows (produced/directed by William Spier and Anton M. Leader) and those after 1950 which were mostly led by producer and director Elliottt Lewis?
DR. JOE: My favorite is Anton M. Leader. His influence started during the hour-long run with “Beyond Reason” on February 21, 1948. The last show of that season was May 15, 1948. The show returned in its much better half-hour format on July 22, 1948, and he finished on June 30, 1949. This was the best run of Suspense, in my mind, often with fast-moving thrillers. I was not a fan of the Spier shows, but as I have studied a bit more about the series, you do have to respect what he was doing. It was at a higher level than was usual for radio in terms of the overall production values. The Elliott Lewis run (8/31/50 to 7/20/54) took more chances in terms of stories and casting. Getting comedians also increased interest in the show. Jack Benny in a dramatic role? No one would expect that, so it would get some attention. Lewis would also have actors known for singing careers, like Dick Haymes, or Ethel Merman or Rosemary Clooney. He'd also experiment with musical narration, in shows like “Tom Dooley” (3/30/53) or “The Wreck of the Old 97” (3/17/52) or “Frankie and Johnny” (5/5/52) with Dinah Shore.
The Elliott shows are very good, but they can be spotty because he was experimenting with the format so much. I think the Leader half hour shows are consistently better, but both Leader and Lewis are superior runs of the series. In some ways that time was big radio's last stand against the growing diversion of television. The show still had a good-sized budget and could have more lavish productions.
The other shows with Norman MacDonnell, Antony Ellis, and William Robson are better than most other radio of their time. What did surprise me, however, was the New York series, which started August 30, 1959. Collectors had generally felt that this part of the series was not up to the standards of the Hollywood run. I'm sure part of that feeling was because the recordings from this series were mainly home recordings so the sound that survives among collectors was not the best. Considering the budgetary restrictions they were working under, the New York run is better than its reputation. It had a lot of radio's best actors, few of whom had any remaining notoriety, in some very good productions. I urge collectors to give this part of the series new consideration.
OTR BUFFET: Most people that have a smattering of OTR knowledge probably think of Agnes Moorehead when the topic of Suspense is brought up. Would you agree with this and why?
DR. JOE: She wasn't called the “First Lady of Suspense” as a joke. The performance of “Sorry, Wrong Number” and her performace brought a lot of respect for the series and radio itself. Remember, radio was generally looked down upon. Theater, especially Broadway, was always held in high esteem, and movies were next, with radio dead last. Eventually, the only thing worse than being a radio actor was to be in early television. This is another example where we may not hold William Spier's work in as high regard since we can see the entire series from an historical vantage point, but at the time casting Moorehead, and having a script and a great performance like that was quite an achievement for that time.
OTR BUFFET: I've listened to a lot of Suspense in the past couple of months (in the neighborhood of more than 200 episodes.) I have listened to many others previously. I recently wrote a series of posts here at the Buffet about my favorite Suspense episodes ( Part I, Part II, Part III, Part IV.) Would you care to comment on any of those episodes or mention a few of your favorites that I didn't list?
DR. JOE: Generally, the shows based on Cornell Woolrich stories are quite good. My favorite episode is “Three O'Clock” (3/10/49), but Woolrich had numerous shows adapted. There are some other great shows like “Dead Ernest” (8/8/46, 5/8/47, and 3/24/49), “The Crowd” (9/21/50, a Ray Bradbury story), “The Flame” (5/29/56) and “Fragile: Contents Death” (2/1/51 and 5/22/56).
OTR BUFFET; Which episode of Suspense do you think is the most unique or strangest episode that you've heard and why?
DR. JOE: “Allen in Wonderland” (10/27/52) with Cornell Wilde, but for an odd reason. The show takes place in New York City, and an unnamed cop plays a big role in the story. But anyone who knows OTR knows that when Larry Thor is cast as a policeman, that's no ordinary officer, that's Lt. Danny Clover from “Broadway's My Beat.” This little inside joke is a delight for fans of both series.
©Jimbo 2010/2011
Wednesday, July 6, 2011
Monday, July 4, 2011
Saturday, July 2, 2011
Friday, July 1, 2011
Obscure photos
These pictures of a real bad quality - taken from a 1950 newspaper. However, they are quite rare or quite obscure:
Wednesday, April 6, 2011
Saturday, February 26, 2011
My review: Speed Gibson of the International Secret Police
This morning makes the first time I have listened to every episode of a serial all the way through - 178 episodes, total: the 1937 juvenile series, Speed Gibson and the International Secret Police.
Speed Gibson (who some say is played by Elliott Lewis - while others say it is unknown who played the part) is a 15 year-old boy who is smart, strong and loves adventure. His uncle, Clint Barlow (played by Howard McNear in a non-sniveling voice) is a member of the Secret Police - a law enforcement agency that is involved in trying to render useless a character known as the "Octopus" and his ruthless gang of Asian henchmen. Barlow is a master at disguises and a great believer in the use of make-up - and he and the Secret Police use it often to secrete themselves in the Asian and Arabian populations.
After young Speed konks a member of the Octopus' gang, his uncle swears him into the Secret Police. And though he's only 15, he's a very capable member of the force. Speed will prove time and time again to be a very valuable addition to the crime-busting organization, despite the fears some have about skills and wisdom of a 15 year-old.
Also helping the Secret Police is Barney Dunlap (veteran radio actor John Gibson) - who is prone to saying, "Suffering wangdoodles!' - unfortunately, this get old after about 10 episodes. Still, Gibson plays the same part he's played his entire life - the outside wheel that doesn't quite roll straight.
Dunlap and Barlow are both expert pilots and airplanes are used for a lot of the scenes in the radio show.
The Octopus, played by Gale Gordon, is not just out to avoid the Secret Police but to do away with them forever. The Octopus is an investor of sophisticated weaponry and some other-worldy psychological machines and he will stop at nothing in his quest to rule the world. Violence, kidnapping, smuggling and murder are all on his evil agenda.
There are two different parts of the series. The first 100 episodes are really pretty good and deal with Speed Gibson in the Pacific -- as I have stated before, I'd put those right behind the Adventures of Superman as far as juvenile radio shows are concerned - but the next 79 episodes pale in comparison. The Secret Police are in the jungles of Africa and I don't know, it's just not the same.
For one thing, John Gibson is missing for an extended period of time (explained in the show that his character was ill in the hospital.) He does show up again about halfway through the second series, but there is constant changeover in characters taking his place. It's sort of confusing.
Also, the Octopus is not on the show as much in the second series.
Still, a fun show, although after finishing the series now, I would rank it much lower than I have it in my original Top 75 list. Originally I had it at #30 - I'm honestly thinking now that it should go to about #55 or #56 - I'll have a revised list sometime in the future.
 |
| Howard McNear as Clint Barlow |
After young Speed konks a member of the Octopus' gang, his uncle swears him into the Secret Police. And though he's only 15, he's a very capable member of the force. Speed will prove time and time again to be a very valuable addition to the crime-busting organization, despite the fears some have about skills and wisdom of a 15 year-old.
Also helping the Secret Police is Barney Dunlap (veteran radio actor John Gibson) - who is prone to saying, "Suffering wangdoodles!' - unfortunately, this get old after about 10 episodes. Still, Gibson plays the same part he's played his entire life - the outside wheel that doesn't quite roll straight.
Dunlap and Barlow are both expert pilots and airplanes are used for a lot of the scenes in the radio show.
 |
| Gale Gordon in the early 1930's |
There are two different parts of the series. The first 100 episodes are really pretty good and deal with Speed Gibson in the Pacific -- as I have stated before, I'd put those right behind the Adventures of Superman as far as juvenile radio shows are concerned - but the next 79 episodes pale in comparison. The Secret Police are in the jungles of Africa and I don't know, it's just not the same.
For one thing, John Gibson is missing for an extended period of time (explained in the show that his character was ill in the hospital.) He does show up again about halfway through the second series, but there is constant changeover in characters taking his place. It's sort of confusing.Also, the Octopus is not on the show as much in the second series.
Still, a fun show, although after finishing the series now, I would rank it much lower than I have it in my original Top 75 list. Originally I had it at #30 - I'm honestly thinking now that it should go to about #55 or #56 - I'll have a revised list sometime in the future.
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