Television Review: LOVE THAT BOB: "The Wolf Sitter" (1955)

LOVE THAT BOB: "The Wolf Sitter" (Original Air Date: December 8, 1955) Starring Bob Cummings as Bob Collins, Rosemary deCamp as Margaret Collins MacDonald, Ann B. Davis as Schultzy, Dwayne Hickman as Chuck MacDonald, May Wynn as Jean Blackburn, Sheila James as Gertrude, Claire Kelly as Miss Kelly.  Written by Paul Henning, Shirley Gordon and William Cowley.  Directed by Rod Amateau.


Series overview of LOVE THAT BOB a.k.a. THE BOB CUMMINGS SHOW at this link. 


Everyone around swinging photographer Bob Collins is seeking a little extra cash.  Schultzy needs to borrow $19.98, but it is to buy a sweater for "the Boss", ever the object of her pursuit.  Margaret offers to loan it to her--as soon as she can borrow it from her brother.  Bob's nephew Chuck seems to have the most urgent need: he's making wooden spoon sets out in the garage in an attempt to bolster his college fund.

Bob counsels Chuck to find a less noisy venture, and to make himself "the brains" instead of the brawn.  The successful shutterbug has more counseling to do at work: after going through Collins' binders full of women, Schultzy has selected gorgeous Jean Blackburn as the model for his afternoon shoot (a skin oil ad).  What's the problem?  Blackburn is "the one girl the Boss just can't get a date with", according to Schultzy--which leads to a bet that he can do just that, with $19.98 at stake.

While the show's template is already well established in this early outing, the almost hyper pace of later seasons isn't.   Bob is quite the stinker this time out, taking "all's fair in love and war" to a new level.  To thwart Jean's honest (and unseen) scheduled date, Bob intercepts every phone call and telegram sent by his hapless rival, stretching the truth much further than we're used to seeing from him.

In later seasons, Bob would be misleading, sure.  But he would almost never tell an out and out lie.  To name two examples, his statements that he beat Pancho Gonzalez at tennis in Bob Gets Out-Uncled and his claim to have made "literally hundreds of pictures" in Bob Gives S.R.O. Performance were at least technically true.  Claiming to be sent overseas the next day by the Air Force here is not only blatantly dishonest but disappointingly uncreative in comparison, which makes you less invested in Bob's quest this time out.

As for Chuck, he's still in high school at this early stage, and curiously seems more concerned about earning money for college than trying to get in on Uncle Bob's action.  This innocence at least gets him as far as helping Bob relax his model before he's sent elsewhere.  Stories concerning Bob's influence became much more common during Chuck's college years.

Half the fun of any LOVE THAT BOB episode is spotting the starlets of the Fifties, and twenty-one year old Claire Kelly (SNOWFIRE, GUIDE FOR THE MARRIED MAN) made her debut with a brief appearance as Collins' outgoing model (and prior night's conquest).  Unattainable Jean Blackburn appeared in multiple second season installments, played by May Wynn (a.k.a. Mrs. Jack Kelly, at least until 1964).  Best known for her appearance in THE CAINE MUTINY, Wynn's acting career ended in 1960.

To the modern eye, both starlets are likely upstaged by fourteen year old scene stealer Sheila James, later to become most familar chasing after Hickman's DOBIE GILLIS from 1959 to 1963.  She essentially gets The Wolf Sitter's punchline, giving Bob his comeuppance after the playboy photographer weasels his way past Blackburn's honorable suitor.  Her brief appearance is the most memorable thing about a decidedly below average early installment.

Damn cockblockers!

WHO WAS "BLOCKING"?

As usual, Schultzy was--subtly, by calling the one model uninterested in Bob "after hours" for the skin oil ad.  Later, after Bob bucks the odds and gets a date, niece Gertrude plays goalie at Jean's apartment.  But the ultimate blocker turns out to be Bob's nephew.  It gets Chuck literally (if not violently) sent to the woodshed.

DID BOB SCORE?

It's certainly implied that Bob scored the day before with Miss Kelly, and obstacles notwithstanding, it's his own damn fault and he doesn't score on the day we're watching.  I mean, c'mon Bob, all those models, with only one resisting your charms, and she's the one you're focused on?  Pride is one of the seven deadlies, you know.

Pretty familiar early outcome, with all that maneuvering resulting in Bob running afoul of his own advice to his nephew.  The show wouldn't really hit full stride until Cummings took over the director's chair during the third season.  While The Wolf Sitter boasts a decent punch line, the journey there gets a labored at times.  Additional interest for viewers in seeing the future Zelda Gilroy and the future Dobie Gillis in giving Bob his just desserts.  Who says youth isn't served here?   (*1/2 out of four)

The Horn Section Salutes: Clarence "BLOWFLY" Reid (1939-2016)

It's been a very bad month to be a legend in the music industry.  First Lemmy, then David Bowie, and now, sadly, the death trifecta strikes us again with very sad news today.  Legendary soul writer and singer Clarence Reid, perhaps even better known by his X-rated alter ego Blowfly, has passed away from liver cancer at the age of 76.

The photo above is from his February 2013 Dallas show as Blowfly, my fourth and final time to see Mr. Reid and his funky band live.  It was truly an honor to be there, and to meet him for the second time.

During my childhood, Blowfly tapes were definitely an underground item.  Part of the fun was the knowledge we weren't supposed to be listening to them, and I have to say, Mr. Reid's alter ego seemed much more forbidden than George Carlin or Richard Pryor to us southern Oklahoma kids.  The next link is NSFW, be advised:

Blowfly was the subject of the 2010 documentary, The Weird World of Blowfly--also the title of the 1971 debut LP by Reid's alter ego.  I previously wrote a bit about this in my 2012 Film Discovery list for Rupert Pupkin Speaks.  Suffice to say I highly recommend checking it out.

But Reid as Blowfly has a lot more to check out--though be warned, most of it is definitely NOT safe for work.  The Weird World LP's from the 1970's (i.e. Blowfly at the Movies, Blowfly Disco) boasted a great backing band (something that Papa Fly would maintain for the rest of his career, including the past decade under the management of "Uncle" Tom Bowker): Willie "Little Beaver" Hale on guitar, Timmy Thomas on keyboards and George "Chocolate" Perry on bass just for starters!  Check out the work of the latter especially on this opening track from 1977's Porno Freak (need I add it is NSFW?)

Oh, and that aforementioned 2013 concert I attended?  The entire show is available for your viewing pleasure, thanks to YouTube!

Prior to that concert, we saluted him here at the Section, with a half dozen more of his greatest hits from the 1970's and 1980's.  Back in the Horn Section's infancy, way back in 2006, we reviewed the second LP of his comeback, Blowfly's Punk Rock Party.

The next two video links are from Clarence Reid under his own name, doing the straightforward Miami R&B that he was excellent at.  He co-wrote classics like "Rockin' Chair" and "Clean Up Woman", and was one Hell of a singer of songs both PG and X-rated.

For all the wonderful years of entertainment and all the soul classics, The Horn Section salutes Clarence "Blowfly" Reid on the day of his passing.

R.I.P. Mr. Reid. Thanks for all the laughs and memories.

Television Review: GET CHRISTIE LOVE!: "Fatal Image" (1974)

GET CHRISTIE LOVE! "Fatal Image" (ABC-TV/Wolper Productions: Original Air Date: November 6, 1974) Starring Teresa Graves as Detective Christie Love, Charles Cioffi as Captain Reardon, Andy Romano as Caruso, Dennis Rucker as Belmont.  Guest Stars: Richard Rust as Johnny Morris, Claire Brennan as Lisa Morris, Max Gail as Mark Richie, Jared Martin as George Lennox, Vito Scotti as Emilio, Richard Lawson as Don Allen, Robert Yuro as Tom Holland, Donald Mantooth as Ken, Ann Coleman as Kay Burton.   Directed by Richard Compton.  Written by Larry Alexander and Robert Earl.

Series overview for GET CHRISTIE LOVE! and introduction to the episode guide at this link. 


After being tailed back to his house by Detectives Love and Caruso, mobster Johnny Morris ends up murdered in his swimming pool once he's away from the watchful eye of the surveillance van.  Morris was handling millions in stolen bonds for money launderer Tom Holland, and after initial investigation reveals that Johnny had been cheating on his wife, Christie Love is assigned to the case.

Looks like he wants to, uh, get Christie Love if you ask me...

Journalist George Lennox is allowed to tag along during Christie's investigation while working on his upcoming article on "the female Jackie Robinson of the LAPD".  Christie enjoys bantering with the writer, fully aware of their chemistry--and fully unaware that Lennox is actually moonlighting as the killer she's after.  After Christie discovers that Morris' mistress also perished recently (in a car accident), more of Holland's underlings are added to the body count under mysterious circumstances.

A month before the series premiered, Graves told the Lakeland Ledger that GET CHRISTIE LOVE! would be "more like a Columbo than a Mannix".  Fatal Image partly realizes that ambition: the murderer is identified before the cold open fades, and Detective Love spends three full acts asking questions before she flips a single interviewee.  Director Richard Compton compensates for an often talky teleplay by frequently drawing the viewer's attention to the attraction bubbling under the chaste flirtation between Christie and Lennox throughout.

Chemistry between Graves and Jared Martin is considerably more convincing than that between the star and much older (and gruffer) Harry Guardino in the show's pilot.  Neither hints at being unprofessional, but the mutual admiration is palpable throughout the first three acts of Fatal Image.  Their playful banter provides the Alexander/Earl script with plenty of zip, though the exploration of Love's background unfortunately brings out a cliche or two--were all television law officers "mischievous kids saved from trouble" by a cop mentor back in the day?  Sure seems like it.

Refreshingly, a situation that seems ready-made for making Detective Love either a damsel in distress or a superwoman takes neither route.  She solves the mystery through good old fashioned questioning, with only one brief skirmish with Lawson (SUGAR HILL) along the way.  True, Christie's fellow detectives are almost nonexistent between the slide showing early and the finale, and Detective Love requires no help to free herself from brief capitivity.  She's still the first to acknowledge her shortcomings afterward: solving the puzzle sooner would have stopped additional carnage, and she did allow the murderer to get the drop on her at a critical point.

Let's face it, there's no show that Vito Scotti doesn't help

Compton mainly handled features (MACON COUNTY LINE and its sequel) throughout the 1970's; in fact, Fatal Image was his only foray into episodic TV of the entire decade, and it's an impressive one.  One might have guessed then that Compton would become one of the go-to directors of prime time crime in the Eighties (most frequently on THE EQUALIZER and MIAMI VICE).  The nighttime dropoff via helicopter and the construction site visit are both well staged; judicious use of inserts hints at the big reveal in the fourth act without giving too much away.

The one real flaw in Fatal Image has to do with that revelation about George, as he just doesn't look the part.  That said, it isn't completely unconvincing--that it works as well as it does is a tribute to Jared Martin's charismatic, intense performance.  Martin gives his all, subtly but noticeably changing both voice and personality and passionately defending his actions after Christie figures out his secret(s).

The efforts of Martin, Compton and Graves elevate this installment.  Watch for Max Gail (soon to score his signature role on BARNEY MILLER) and character actor extraordinaire Vito Scotti, who as usual leaves an impression in his scene as the faintly flamboyant clothing designer who employed Morris' modeling mistress.

ONE LUMP, OR MORE?

Only two "Sugars", both directed at Allen after his initial lack of cooperation.  Seems to be a rule: the stronger scripts don't need as many catchphrases.

THE BOTTOM LINE:

Putting a crime drama with a sexy lead on at 10 PM without a lot of violence or skimpy outfits was no small challenge, but to David L. Wolper's credit, he found ways to adjust.  In this episode, it's the intriguing relationship between Christie and her suspect.  Also helping a great deal: enough background information on the latter to explain both his resourcefulness and the emotional damage he's suffered.  Martin's intensity helps the suspension of disbelief immensely and Compton effectively handles a somewhat talky script.  Christie's colleagues are given less to do than usual, but Fatal Image is entertaining on repeat viewings despite its imperfections. (*** out of four)