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Thursday, July 18, 2019

F TROOP Fridays: "The Girl From Philadelphia" (1965)






F TROOP Fridays: Number 21









F TROOP: "The Girl From Philadelphia" (Warner Brothers/ABC-TV 1965) Season 1, Episode 7: Original Air Date: October 26, 1965.  Starring Forrest Tucker as Sgt. Morgan O'Rourke, Larry Storch as Corporal Randolph Agarn, Ken Berry as Captain Wilton Parmenter, Melody Patterson as Wrangler Jane, Frank deKova as Chief Wild Eagle, Edward Everett Horton as Roaring Chicken, James Hampton as Bugler Dobbs, Bob Steele as Trooper Duffy, Ivan Bell as Duddleson.  Guest Stars: Laurie Sibbald as Flying Sparrow, Linda Marshall as Lucy Lanfield, Harvey Parry as Charlie the Drunk.  Written by Arthur Julian.  Directed by Charles R. Rondeau.


Another week, another threat to O'Rourke Enterprises--just when business is starting to pick up after a three moon mini-slump!  Lucy Lanfield arrives on the noon stage, ready to accept a proposal from Captain Parmenter that she rejected multiple times from Private Parmenter.  Of course, her well-to-do family will arrange for the Captain's transfer back to Philadelphia, which would force Sergeant O'Rourke to break in another commanding officer if she succeeds.  Fortunately, they already have some ready-made and eager competition for the Captain's heart in Wrangler Jane.


It might sound like the F TROOP version of MY FAIR LADY (which had premiered almost exactly a year prior, on October 21, 1964) but Jane's makeover isn't introduced until halfway through the second act.  Quite a bit of time is leisurely spent on the inner workings of O'Rourke Enterprises and the Captain's background in his hometown prior to his heroics at Appomattox.  Arthur Julian's script covers an impressive amount of the former in less than three minutes: the opening powwow at the Hekawi camp covers quite a bit of the former, filling us in on the year-to-date business, Wild Eagle's checking of the books ("we trust you!"), labor costs and innovations.


"Philadelphia is a wonderful city, it's just a shame nobody lives there!"

Once the snooty socialite arrives, we learn that she was Wilton's unattainable back home, always out with someone else when he came courting.  This despite the impressive accomplishments of the rest of the Parmenters--which of course, the Captain never lived down his failure to live up to prior to fate's intervention at the conclusion of the War.  It's no wonder Wilton throws some shade at his hometown, something that haughty Ms. Lanfield would never say about the birthplace of her family.


Which brings us to the major drawback in The Girl from Philadelphia: Lucy Lanfield ranks as one of the least credible threats that O'Rourke and Agarn face during the first season.  It's clear from their first scene together that her hold on the Captain has faded the young man went off to War: "wretched" Fort Courage gets a strong defense from its C.O., and Parmenter's ear-to-ear smile while learning to lasso is the only one he exhibits in Lanfield's presence.

Nevertheless, all partners in O'Rourke Enterprises are cognizant of the potential peril.  But the Sarge doesn't unleash his Professor Higgins right away, instead giving Jane a showcase for the things she does best: shooting, riding and roping.  All the socialite can do in response is upstage by fainting, which is effective enough to put the Pygmalion plan into play.


That is, once Wild Eagle inadvertently suggests it, and even purchases a dress from Carson City himself.  Refreshingly, we don't get a scene with ladylike teachings.  Hell, making Mrs. Right isn't even the only scheme in play; Roaring Chicken (still the Hekawi Agarn at this stage, in the fourth of his six appearances) decides a little insurance is needed in the form of Flying Sparrow:


It's too bad that ballerina Laurie Sibbald (NO TIME FOR SERGEANTS) had such a brief acting career, for we sure could have used more of Ms. Sibbald on our screens.  She was a Deb Star of 1965 alongside the likes of Raquel Welch and Barbara Parkins.  The good news: Sibbald will return with a bigger role in the riotous Here Comes the Tribe.   Linda Marshall's time in front of the camera was similarly fleeting; after TAMMY was canceled in 1966 she became a full-time ambassador for the Baha'i faith.


Arthur Julian had a weakness for the triple, which gives us three dropped teacups and three face-slaps for our seemingly caddish Captain.  But that foible becomes a strength at times, with a welcome and unprecedented three dollops of old Hekawi wisdom.  Town drunk Charlie returns to get thrown out of the saloon (before noon, naturally) and Julian manages a rare quadruple (of fainting spells; the capper is the funniest).


"Be brave, my dear.  I'm sure you'll find happiness with some civilian."

Janie is stealing the Philly deb's thunder even before she gets in that size 10 dress Wild Eagle orders; he's thrilled when learning to lasso himself and seeing her pistol prowess.  When Wrangler gets in that dress Wilton can't even remember making that supposed proposal to Lucy, and he barely seems bothered when gentility leaves entirely after Miss Lanfield's unladylike barbs.  So yeah, she's lacking as a threat.  Still, it's positively classic when Wilton drops the parting line above this paragraph on her.  Few actors could deliver an oblivious (or was it?) diss like Ken Berry.   Lest you think he's growing into his rank, he does manage to get his sword caught in the stagecoach door afterward.  Nice to have the old man back!


TV GUIDE's Cleveland Amory was specifically unimpressed with this installment when he penned his otherwise positive review of the series, but Melody Patterson singled it out as one of her favorites.  A punchline seems to be missing in a spot or two, but there's enough bulls-eyes to keep F TROOP on a winning path creatively.  Commercially, too.  For the two-week Nielsen ratings ending November 7, 1965, the show ranked 22nd with a 21.8 rating/34.2 share, ABC's fifth highest ranked show in the survey and a solid improvement over lead-in McHALE'S NAVY's 20.4.


THINGS YOU LEARNED:

The Hekawis are not the only Native business partners in O'Rourke Enterprises; the arrowheads are made by a tribe in Oklahoma and shipped via stage.  To be fair, this frees up time for creativity; inventive Running Deer devises a toy tomahawk, a feat that nonetheless doesn't even net him any dialogue, much less a copyright.

The appearance of Charlie in Dirge for the Scourge apparently followed his purchase from Dodge City, which luckily had an extra drunk for the remote outpost.

Relations: Wild Eagle, son of Crazy Horse.  Roaring Chicken, son of Sitting Duck.

The cookies at the tea party are loaded with rum.  Is Wilton trying to get Janie drunk?  Shame on you Captain!

FORESHADOWING:

Defending the West from the snooty outsider, Wilton declares: "if it's good enough for General Custer, it's good enough for me!"  Old Ironpants is next.....

HOW'S BUSINESS:

O'Rourke gives Wild Eagle the full report at the powwow; things picked up nicely in the fourth moon after a three moon recession, with the current moon expected to be the biggest so far, despite the extra expenses involved with the Oklahoma delegation of arrowheads.


WISE OLD HEKAWI SAYING?

As mentioned, three, which gives us more than any other episode!

"Bark of tree never bitter to hungry squirrel."  The Chief admits that it loses something in translation.

"Sparrow fly high, but cannot build dam with tail of beaver." Can't argue with that one!

Finally, from Roaring Chicken, who is certainly old enough to be wise:

"You always have empty tepee when frost is on buffalo's nose."  Wild Eagle can only admiringly wish aloud that he'd said it.


PC, OR NOT PC?

Lucy Lanfield certainly isn't with her comments to Silver Dove, though to be fair she finds everyone beneath her (even the Captain, until now).  Notably, Wrangler Jane turns to Wild Eagle for advice on how to woo a Captain.

THE BOTTOM LINE:

Themes here would be better explored in succeeding segments: The Courtship of Wrangler Jane is a much funnier attempt at matchmaking, and A Fort's Best Friend is Not a Mother gives us a far more imposing threat to take The Scourge of the West back east.  The F TROOP formula is still being calculated in episode 7 and it shows, but notwithstanding I still find this one funnier and more interesting on its own terms than Amory found it IMO.  If it fails to match the hilarity of the first three F TROOP installments, The Girl from Philadelphia is a notch above Corporal Agarn's Farewell to the Troops and The Return of Bald Eagle.  (*** out of four)

Tuesday, July 02, 2019

Television Review: GET CHRISTIE LOVE!: "Bullet From the Grave" (1974)




GET CHRISTIE LOVE!: "Bullet from the Grave" (Universal/ABC-TV: Original Air Date 11/20/74)  Starring Teresa Graves as Christie Love, Charles Cioffi as Captain Reardon, Andy Romano as Joe Caruso, Dennis Rucker as Steve Belmont.  Guest Stars: Eric Braeden as Fred White, Kevin Hagen as Harrison, Anne Lockhart as Bobbi, Amy Robinson as Sally, William McKinney as Butch Coleman, Thayer David as Dr. Bryan. Marc Alaimo as Detective Bob Lucas, Leon Russom as Keppler, Ted Chapman as Barton, James Jeter as Cab Driver.  Written by Booker T. Bradshaw and David P. Lewis.  Directed by Mel Stuart.

Series overview for Get Christie Love! HERE 

A jeweler's convention brings Detective Love her latest undercover gig: hotel maid, in order to catch a notorious jewel thief with $4 million worth of ice in town for the assembly.  During the gig, Christie notices a vaguely familiar face in the crowd wearing a convention badge.  Shortly afterward, Detective Lucas is found murdered in the basement.


Following up on her lead, Love learns that the pass was indeed stolen, and the suspected jewel thief subsequently captured is not the conventioneer she saw the night before. Research leads her to believe the unplaceable face belonged to "The Shark"--notorious hit man Fred White.  One problem with Christie's theory: White was killed in a car crash a year earlier.  Since doubting Love has left Captain Reardon eating crow before, he allows her to follow up on her hunch, which leads to further evidence that the assassin is still living--and his next target is on the L.A.P.D.


Detective Belmont literally gets his moment in the spotlight with Bullet from the Grave.  Unlike Caruso in his showcase installment (For the Family Honor), Detective Steve is thriving with a much deserved citation for thwarting a bank robbery and an enviable romantic situation.  Girlfriend Bobbi is a model in high demand, and her boyfriend's valor attracts some decidedly unwanted attention.  With the show's always-lacking budget, we don't get to see Belmont's heist heroics, but the viewer is privy to his assistance in the apprehension of the jewel thief, as well as his bravado in the face of a threat on his life.


Lest you fear this is turning into GET STEVE BELMONT!, our titular heroine is the one who cracks the case.  Detective Love figures out White is still among the living, puts the fear of God into shady Dr. Bryan with a smile, repels an attempt at motor homicide and ultimately foils a precise plan by one of the best snipers in the business.  Little wonder that by this tenth episode Reardon barely questions the seemingly far-fetched hunch of his ace investigator.  To be fair, he asks her to "fly coach" when she checks it out.


As was the case in For The Family Honor, the illuminated second banana runs afoul of the mafia, but Bullet from the Grave handles organized crime in more credible fashion than that misfire.  The Shark is a pro's pro, but Harrison's decidedly un-pragmatic demand for the assignment is driven by emotion, which proves to be a fatal flaw.  Needing Love's demise to "look like an accident" gives her escape from Keppler plausibility that the earlier installment's lacked, and also undermines White's efficiency. 


The writing team of Bradshaw (best known as the corrupt politician Brunswick in COFFY) and Lewis scripted single installments of COLUMBO and TENAFLY in addition to this lone contribution to GET CHRISTIE LOVE!.  They adapt to the show's restrictions on content well, making the legwork compelling and White's need to eliminate potential identifiers credible.  The writers also provide two welcome rarities for the series.  Christie eschews her (by now noticeably limited) martial arts skills while actually using her pistol at the denouement.  No, not shooting to kill: that adherence to the star's wishes remains.  For good reason, since dead men won't talk--as White clearly knows.


Longtime soap star Eric Braeden makes The Shark a worthy adversary, coolly efficient yet not infallible.  His year in hiding has obviously resulted in loneliness that almost trips him up despite his undeniable organization.  And while GET CHRISTIE LOVE! shied away from the tawdry, Bobbi's photographer certainly lived up to the era's cliche, looking like he had a Hustler assignment or two in his future.  Or past:

I doubt if his thoughts are "TV PG"....
IMDb.com has the director credit wrong: it isn't ALL IN THE FAMILY actor Mel Stewart, but rather Mel Stuart, a frequent collaborator of producer David L. Wolper's who also helmed Deadly Betrayal.  Speaking of credits, James Jeter (HOLLYWOOD KNIGHTS) somehow doesn't get one as the cab driver to takes Love to the country doctor's estate.



ONE LUMP, OR MORE?

Two sugars, one to her soon to be dead partner in the opening, and one to the hit man, who is under arrest, sugar!


Seven segments in to the GET CHRISTIE LOVE! episode guide now.  I've only seen two real clunkers, two average installments, and three pretty good ones.  This is one of the good ones.  Solid villain, good pacing, welcome insight into Belmont's life away from the station, and one of the show's better climaxes.  (*** out of four)