Television Review: LOVE THAT BOB: "Bob Meets the Mortons" (1957)

LOVE THAT BOB (a.k.a. THE BOB CUMMINGS SHOW): "Bob Meets the Mortons" (Laurel-McCadden Productions/NBC-TV 1957) Original Air Date: March 21, 1957. Starring Bob Cummings as Bob Collins, Rosemary deCamp as Margaret MacDonald, Dwayne Hickman as Chuck MacDonald, Ann B. Davis as Schultzy, Joi Lansing as Shirley Swanson, George Burns as himself, Gracie Allen as herself, Bea Benaderet as Blanche Morton and Larry Keating as Harry Morton.  Written by Shirl Gordon, Paul Henning, Dick Wesson and Phil Shuken.  Directed by Bob Cummings.

SERIES OVERVIEW for LOVE THAT BOB (THE BOB CUMMINGS SHOW) at this link.

It's tax time again, and Bob has hired "genius" Harry Morton to do his, on a recommendation by George Burns.  Harry has plenty of corny jokes, and also some bad news: he doesn't think the government will accept several of the deductions.  Specifically, entertainment expenditures that coincidentally are limited to 'feminine business associates'.  Bob tries to provide Harry with the receipts (and then some) but working at either man's office proves to be problematic, leading the shutterbug to the Morton household.

Blanche Morton is charmed to meet the Playboy--to hubby Harry's annoyance.  And to Bob's as well, once Mrs. Morton and Gracie Allen start conspiring to find the eternal bachelor a wife.  How could Bob possibly complain?  In pleading his case to Harry, he portrays himself as an innocent victim "forced" by the nature of his profession into constant contact with beautiful women.  Wouldn't successful matchmaking put an end to any suspicions about his business? 

HARRY: "I must admit, I did not have a true picture of your activities"

BOB: "Thank goodness."

HARRY: "What?"

BOB: "...that you understand!"

We all know that Bob Collins' profession allows him to live the dream, but---being able to get off a tax write off for a considerable number of his dates?  Chalking up some rather significant gifts to those beautiful models as business expenses?  Forget that smoking jacket, Hugh Hefner should have been wearing Bob Collins pajamas.

Reinforcement of Collins' legendary status abounds, with both Blanche Morton and her friend Gracie Allen going ga-ga over our lascivious libertine.  But Bob Meets the Mortons has an ulterior motive: an excuse to cross our playboy over to the world of BURNS (our executive producer) AND ALLEN.  The premise serves both purposes fairly well for a while, with Harry harried by Bob's beauties and Collins capturing the imaginations of both long-married BURNS AND ALLEN ladies.

HARRY: "This was a bad investment?"

BOB: "Oh yes, that was a total loss." (sotto) "She turned out to be married."

The premise only starts to wobble when Schultzy turns out to be that good friend of Gracie's getting fixed up.  If they're really close, surely Gracie knows about the boss she's been pining for!  To be fair, illogical logic does seem logical with Gracie involved.  Still, the momentum of Bob Meets the Mortons stalls with it, as the 'blind date' rings as false as Blanche's 'comeuppance'.  And why Blanche, when Gracie had the biggest hand in it?  At least the denouement is a complete home run for Bob the Stud--laying one on another man's wife with the husband's complete approval?  He's The King!

Lisa Gaye appears, briefly, to demonstrate a tax deduction

Bob's success with the I.R.S. remains unsettled at the fade-out, but for his next round a year later, Morton was nowhere to be found in Bob Retrenches.  Given the result of Collins' faceoff with a humorless I.R.S. agent (played by ever-mean Charles Lane), Bob should have given Harry a call.  (Perhaps Mr. Morton really was pissed about Blanche's reaction to the kiss?)

After we've seen Gracie and both Mortons, it's only natural that George Burns arrives in the final minutes to wrap things up.  Cummings (as Bob Collins) returned the favor in A Marital Mix-Up three months later on BURNS AND ALLEN.  Both series were on CBS during 1956-57, but LOVE THAT BOB moved to NBC in the fall of 1957, stopping further crossovers until George Burns took his new series to that network the following fall.  Cummings appeared in the season and series opener of the new GEORGE BURNS SHOW (Gracie retired in June 1958); meanwhile Burns and Harry Von Zell both visited BOB twice during the 1958-59 season, which turned out to be the end for both shows.

DID BOB SCORE?

Frequent querida Shirley Swanson was his date on consecutive evenings, with Bob keeping her out late enough to tire her the night preceding our proceedings.  Judging from the smooches in front of Schultzy, the man was surely in like Flynn at least one of those nights.

WHO WAS BLOCKING?

I guess we could consider Gracie to be making the all time obstruction by bringing marriage into play, but she only joins a long list of vanquished foes in that endeavor.   

THE BOTTOM LINE:

The rapid banter flows more smoothly than the plot, but this mixing of McCadden worlds provides a worthwhile number of laughs before an awkwardly abrupt resolution.  The only chance to see all four BURNS AND ALLEN principals in a LOVE THAT BOB setting would be worthwhile for that alone, but this is a pretty good episode in its own right, with everyone getting in on the verbal wit.  Slightly better than Bob's aforementioned tax adventure the following season but can't avoid that gimmicky feel in its second half. (**1/2 out of four)

Thanks to THAT'S ENTERTAINMENT, Bob Meets the Mortons can be viewed at this link.

Television Review: LOVE THAT BOB: "Bob's Boyhood Love Image" (1959)

LOVE THAT BOB a.k.a. THE BOB CUMMINGS SHOW: "Bob's Boyhood Love Image" (1959 NBC-TV/Laurel-McCadden Productions) Original Air Date: January 6, 1959.  Starring Bob Cummings as Bob Collins, Rosemary deCamp as Margaret MacDonald, Ann B. Davis as Charmaine "Schultzy" Schultz, Dwayne Hickman as Chuck MacDonald, Rose Marie as Martha Randolph, Joi Lansing as Shirley Swanson, Barbara Darrow as Lola, Dorothy Johnson as Harriet Wyle, Edward Earle as J.O.P.  Written by Paul Henning and Dick Wesson.  Directed by Bob Cummings.

Introduction to the LOVE THAT BOB/THE BOB CUMMINGS SHOW episode guide and series overview is at this link.

Daydreaming yet again about marrying The Boss, Schultzy decides on a new psychological tack: identifying the childhood crush who established Bob's female ideal, then emulating that presumably long-held ideal.  A journey through the Collins family scrapbook turns up a Louisiana southern belle and a black-clad tomboy, and Schultzy lets the imitations begin.

Bob's sister Margaret also states a deep desire: shooing the Swallows who have nested in the chimney.   After failing to deter son Chuck from his tennis game to do the dirty deed, Margaret turns to brother Bob.  Unfortunately, the shifty shutterbug is shuffling Shirley, Lola and Harriet at the office, so his hands are full.  Will Schultzy be able to elbow her way in?  Is she ever?

Pared down a writing staff of two for its duration, the final season of LOVE THAT BOB proved too disappointingly reliant on meta guest stars in its first half and too cloying (courtesy the ill-advised addition of Tammy Marihugh to the cast) in its second.  But the show's foundation wasn't completely ignored, and the best episodes of 1958-59 resulted from going back to it.  Schultzy pining over Bob while he juggles multiple beautiful models is the very fulcrum of the series.

Signalling that we're headed for the tried and true, Bob's Boyhood Love Image begins with a dream sequence--Schultzy's.  Getting married in the Collins living room, with three of Bob's A-list crying and the bride's face obscured by both a veil and the Justice, it's an auspicious beginning.  Once we see her, we know it's a fantasy.  Martha Randolph ends it, yet again trying to enlist Charmaine as a wingwoman for a more realistic double date.

Like fellow secretary Bertha Krause, Martha thinks Collins is the cat's meow yet has no delusions about Schultzy's ability to land her prey.  Whereas Bertha nevertheless supports Charmaine's determination to shoot for the star, Martha tries to keep her pal earthbound--for her own nocturnal purposes here, since she needs a fourth wheel (for her date's parole officer!).

Nostalgia foiled Margaret in her efforts to stop Chuck's goldbricking, but she recovered nicely enough to give her playboy brother the chimney chores.  Proving to be a good sport, she apparently cooked that scrumptious dinner enjoyed by Bob and Shirley and got out of the house for bridge night, allowing dining by firelight.  

Bob's own task avoidance at home is his downfall, but he's still the King in the studio, adeptly juggling Lola, Harriet and Shirley while sidestepping every suspicion with aplomb.  Learning his lesson from prior failed efforts like Bob Batches It and The Models Revolt, Bob settles on just one date for the evening.  Despite the Master's usual taste for strange, he chooses the very familiar Shirley Swanson over luscious Lola and Harriet's wiles.  

Speaking of familiarity, it's a little late in the game for Bob to suddenly be presenting Shirley with a heretofore unheard of sister--Bob's Boyhood Love Image is the show's 150th episode.  Schultzy has also demonstrated her tomboy tendencies before (remember her powerful fastball in Bob Gets Out-Uncled?) so veteran viewers already know her second persona will be a non-starter.  By refocusing on the original regulars, Henning and Wesson still give us a brisk series of funny situations with snappy dialogue.  Cummings continues to be adept with pacing and camera placement, giving us visual gags to compete with the verbal.  The mid-season rally would unfortunately be short-lived, but Bob's Boyhood Love Image is a worthy addition to any season and a very impressive entry for any series with this many stories behind it.

The always welcome Joi Lansing was joined by two starlets we didn't see nearly enough of: Dorothy Johnson (Bob Retrenches) had but seven credited appearances outside of LOVE THAT BOB, and disappears here after the dream sequence.  1953 Deb Star Barbara Darrow (QUEEN OF OUTER SPACE) played three different models in three different CUMMINGS shows.  Justice of the Peace Edward Earle dwarfed the rest of the cast with a whopping 449 credits in a career that dated back to 1913.

WHO WAS BLOCKING?

Schultzy's Southern Belle routine is swatted away during the photography session with Lola, and Margaret is neutralized with Bob's promise to relocate the swallows.  Margaret briefly blocks Chuck from his tennis date with Carol Henning, and for much of Bob's Boyhood Love Image it looks like the blockers will be kept at bay.  That is, until Schultzy finally gets her way in a soot-covered finale.

DID BOB SCORE?

He was certainly headed for a trip around with basepaths with Shirley Swanson before the unfortunately timed chimney malfunction, and definitely appears to have a foot in the door with Lola while on the clock.  If the latter happened, we didn't see it: this was the last of Barbara Darrow's three segments.

THE BOTTOM LINE:

When Henning and Wesson went back to basics, they came up Aces.  Bob Plays Margaret's Game stands with the show's very best installments, and this winner brings the crazy without a deep delve into slapstick silliness.  It would be something of a last hurrah for LOVE THAT BOB's glory days, with meta visits from Steve Allen, Art Linkletter and Mamie Van Doren in succeeding weeks followed by the show's acquisition of its very own Cousin Oliver with Bob the Babysitter.  That said, it is one hell of a reminder of the punch that even an aged LOVE THAT BOB was capable of delivering from its durable original premise.  (*** out of four) 

Bob's Boyhood Love Image is available on Shokus Video's LOVE THAT BOB VII, titled "Schultzy Recreate's Bob's Past".  Uniquely, the print is from a 1960 daytime airing on ABC, and features original commercials from Mary Cummings, the Mrs. from 1945 to 1970.

UPDATE: You can now watch this episode on YouTube:

Television Review: LOVE THAT BOB: "The Models Revolt" (1957)

THE BOB CUMMINGS SHOW a.k.a. LOVE THAT BOB: "The Models Revolt" (1957 Laurel-McCadden Productions/CBS-TV) Original Air Date: January 24, 1957.  Starring Bob Cummings as Bob Collins, Rosemary deCamp as Margaret MacDonald, Ann B. Davis as Charmaine "Schultzy" Schultz, Dwayne Hickman as Chuck MacDonald, Joi Lansing as Shirley Swanson, Lisa Gaye as Collette DuBois, Lita Milan as Marie De Paulo, Margie Tenney as the Blonde Model.  Written by Paul Henning, Shirl Gordon, Dick Wesson and Phil Shuken.  Directed by Bob Cummings.


Overview to the BOB CUMMINGS SHOW/LOVE THAT BOB episode guide is at this link.


The Horn Section gives special thanks to Jackson Upperco of That's Entertainment.  Subscribe for lots of great classic TV reviews several times a week!

Fat chance Chuck has of convincing his Uncle Bob to go on a fishing trip next weekend.  The Biltmore in Palm Springs is hosting a fashion show with twenty-five of Hollywood's most beautiful ladies on the runway in "everything from evening gowns to bikinis".  Naturally the go-to girls for Bob Collins shoots will be there, but Bob has promised his down time to his special lady.  Well, make that ladies: Shirley, Marie and Collette all received the same promise the prior evening, and Bob kept making the rounds well after that trifecta of speed dating.

"Last night's web: The Wildflower, The Ambassador and The Thief."

Unfortunately, in doing so the lascivious lensman overplayed his hand, ending up with a studio full of piqued posers who finally rebel against his playboy ways and organize the D.D.T.: Don't Date the Two-Timer.  Staying footloose and fancy free in Palm Springs is now the least of Collins' worries.  Needing the homegrown harem restored, Bob zooms in on the firewall's weakest link before setting sail for the Sonora.

"Well, I have yet to catch anything in the desert with a hook and line."
"Not with a hook, maybe, but your line..."

The Models Revolt was Cummings' second outing behind the camera after taking the reins from Norman Tokar midway through the third season.  The star would become a top-notch (and IMO Emmy worthy) director by season's end, but The Models Revolt shows there was a learning curve before Bob blossomed in the chair.  He's a little self-indulgent in the opener, as Collins tries to get the family to persuade him to take the time off in the "dry climate" his cold requires.

Director Cummings allows star Cummings to display his "symptoms" often enough to stretch this scene out to nearly nine minutes.  He would quickly become more ruthless in the editing room, but the stretch marks show here, stalling the show's usual momentum for the first third.  At least this is lampshaded by having Chuck and Margaret speak out loud of Uncle Bob's hamminess.  Despite some great lines, one key question goes unasked: if Collins has a cold, why was he out literally all night?

Once the plot finally starts thickening, we start the racing to the finish line, and Cummings is already a pro with the camera placement.  The director provides some expert sight gags during The King's make-out sessions, for which rigid timing is ironically required.   Every wink and leer is milked for full effect as the silver-tongued shutterbug weaves his tangled web in multiple locations.  Of course, Bobby Boy saves venerable Mulholland Drive for the midnight moonlight.

Change was also afoot in the writing staff, as actor Dick Wesson (Bob Batches It) joined the team of Shuken, Henning and Gordon for what would prove to be a highly successful second career.  Wesson would not only prove to be a permanent addition to the CUMMINGS team (co-writing over 50 of the show's remaining scripts) but to the Henning team as well, with 61 BEVERLY HILLBILLIES installments to his credit.  The scribes must have had some fun with the infusion.  Listen closely for one of those patented Henning in-jokes about Rosemary deCamp's DEATH VALLEY DAYS side hustle near the 6:15 mark.  Quick reference point for the young'uns follows:

Lita Milan (The Dominant Sex) takes over the role of Marie de Paulo from Donna Martell.   Third different model was the charm for Milan after playing two different models previously; she returned to this role in Bob Saves Dr. Chuck.

Bob with Margie Tenney

The unnamed blonde model who was apparently Bob's fourth date the previous night is an uncredited Margie Tenney, who has no lines, but nevertheless gets about ten attention grabbing seconds.  Joan Garris and Carole Conn also appeared with Tenney, Lansing and Gaye in newspaper publicity photos, but not in the episode itself.  Apparently that scene in the studio got some last-minute rewrites.

Of course, Lisa Gaye and Joi Lansing were the MVM's of the show throughout its run, probably providing the 1950's equivalent of the "Ginger or Mary Ann" question.  Predictably, neither disappoints.  This was the first time either was directed by the show's star; years later Gaye stated Cummings was the best director she ever worked with.

Cummings and Wesson would both settle into their new roles quickly, but The Models Revolt is a tad more ragged than most LOVE THAT BOB segments that followed.  It still has a lot of laughs, with Bob's harangue in the living room about the D.D.T. arguably even funnier than the flowery flattery that preceded it.

Schultzy's not happy, but gives no difficulty.

WHO WAS BLOCKING?

Only the models themselves once they realized the deception.  Hence, the title.

DID BOB SCORE?

The time limitations make it unlikely he got very far on the basepaths, but we have visual evidence of him getting to first base three times before midnight, with another plate appearance at 2 A.M.  The OBP is outstanding, but the OPS probably suffers from Bob's lack of focus this time.  He also jeopardizes his chances for the immediate future.  Sometimes less is more Bob!

IMDB CORRECTIONS SUBMITTED:

Directed by Cummings alone, the second of his 92 episodes behind the camera.  And Phil Shuken, not Bill Manhoff, co-wrote with Henning, Wesson and Gordon.  Neither Rod Amateau nor Manhoff had any involvement with LOVE THAT BOB after the second season, with the former moving to THE BURNS AND ALLEN SHOW.

THE BOTTOM LINE:

Lots of laughs provided, but not as brisk as the top tier tangles.  Perhaps The Models Revolt suffers a bit from too many behind-the-scenes changes at once.  Still highly amusing once the adrenaline kicks in at the one-thirds mark.  A weak three star or a strong two and a half.  I went back and forth on it, but eventually, Bob's hilariously cheesy lines pushed it to.... (*** out of four)

If you'd like to check out The Models Revolt for yourself:

Television Review: LOVE THAT BOB: "Bob Batches It" (1956)

THE BOB CUMMINGS SHOW aka LOVE THAT BOB: "Bob Batches It" (Laurel-McCadden Productions/CBS-TV 1956) Original Air Date: October 18, 1956. Starring Bob Cummings as Bob Collins, Ann B. Davis as Schultzy, Dwayne Hickman as Chuck MacDonald, Dick Wesson as Frank Crenshaw, Donna Martell as Marie, Joi Lansing as Shirley Swanson, Kathleen Freeman as Bertha Krause.  Written by Paul Henning, Phil Shuken and Shirl Gordon.  Directed by Norman Tokar.

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


"What would you like on your toast--cottage cheese and pickles, or peanut butter and sardines?"

As you might guess by the title, Margaret MacDonald is away for the week, leaving brother Bob and son Chuck to their own devices.  Chuck is resigned to seven days of creative toast toppings and dirty dishes piling up, but Bob has other plans.  Namely, living like Kings with Bob's marriage minded models Shirley and Marie competing for that proposal.  The lovely ladies aren't counting on competition from Schultzy, and Charmaine isn't expecting the return of boyfriend Frank Crenshaw from six months at sea while throwing her Hail Mary to land The Boss.

"Uncle Bob, I just hope that whatever you've got can be inherited by a nephew."

Manipulating two of his most beautiful models into cooking and cleaning, pretending to be married(!) to steer sailor Crenshaw away from one, and, with sister Margaret away, showing the benefits of hedonism to impressionable young Chuck.  No way around it: playboy Collins is in full fledged stinker mode in Bob Batches It.  And still, Bob botches it.

"A 98 year old housekeeper driving a $10,000 Ferrari??"
"That's why she's still working, to keep up with the payments!"

As noted on the series overview, that nice, big home and successful vocation makes Bob a Hell of a catch even to the most beautiful models.   Marie seems to have a slight edge in the household with her willingness to do housework outside the kitchen, but her culinary skills are limited to Mama's spaghetti and meatballs.  So breakfast will give Shirley the shot at an early lead, if she can keep that jealous streak under control.  The platinum blonde is more than ready to serve up pancakes (not the only set of cakes she's using to entice our shutterbug).

Always perceiving her SMV limitations, Schultzy seeks to display kitchen expertise to put the others to shame.  Bertha points out that sailor Crenshaw is a very solid choice, but Charmaine shoots for the moon--Bob--with Bertha's full understanding.  You can't blame her--Frankie boy has his own high hope: Shirley!  Bob may not be keen to marry the voluptuous model, but at least he's willing to pretend to if it will keep competition away. 

With Emmy nominee Rod Amateau having departed to take over Producer duties for McCadden's BURNS AND ALLEN, Norman Tokar (LEAVE IT TO BEAVER) successfully held down the fort in season three (through Eleven Angry Women) until Cummings took over in mid-season.  He's much better known for slower paced, more family friendly fare, but Tokar proves himself proficient at handling this risqué door slamming farce handed to him by the team of Henning, Shuken and Gordon.

"Schultzy!  You're going to pass up a sure thing on a million to one shot?"

Schultzy wants Bob, Frank wants Shirley, and all involved are aiming high---Shirley and Marie also want the unattainable.  Chuck, meanwhile, simply wants to eat--which shouldn't be difficult.  The nephew is once again in awe of his role model.  Smooth Bob brings lovely, eager models to the Collins kitchen, but ultimately fails to provide that most basic of necessities.  Quite a comedown: it makes Uncle Bob's fallibility in The Fallen Idol pale in comparison. 
   

If there is a drawback to Bob Batches It, it's the pain of watching all that good food go to waste in the name of jealousy.  Margaret may not have many dirty dishes to deal with when she returns, but it appears she will have a clogged garbage disposal at some point in the near future.  There is a false moment or two--I mean, come on, Schultzy had to already know Shirley made the batter if she didn't do it herself, right?--but so many great laughs that one can't complain.  I couldn't help but wonder what Shirley's most frequent rival Collette DuBois would have come up with.  Crepes Suzette, anyone?

Character actor Dick Wesson popped up in all five seasons as Crenshaw, who wanted those models every bit as badly as Chuck (understandable after months away at sea!) but always found himself roped into a date with Schultzy, and Bob Batches It is no exception.  But hey, how often does Schultzy score while Bob strikes out?  Wesson soon joined the crack writing staff of LOVE THAT BOB, helping pen dozens of installments from 1957-59.  It was the start of a highly successful second career and a long association with Henning: Wesson ended up writing for 61 segments of THE BEVERLY HILLBILLIES. 

In what is almost a regular LOVE THAT BOB feature at this point, ImdB.com needs a correction.  This time Marla English (The Dominant Sex) is erroneously listed as playing Marie (she played the similarly named Marie de Paulo in that one).  Nope, it is actually Donna Martell taking over the role and returning to the series after The Silver-Tongued Orator.  She may not yet be that aforementioned housekeeper's age, but Ms. Martell is thankfully still with us at 92.    She's also your key to finding this rare segment in a YouTube search...hint, hint. 

WHO WAS BLOCKING?

A round robin of cold water being thrown as Shirley, Marie and Schultzy all take turns exasperating each other.  Poor Chuck is denied a simple breakfast, which is possibly even more frustrating.

Don't be fooled, he still doesn't get any!

DID BOB SCORE?

Overplayed your hand this time, Bobby boy.  Should have taken a cue from BOEING BOEING and had 'em come over in shifts!

THE BOTTOM LINE:

Tokar (later to direct 93 segments of LEAVE IT TO BEAVER) seems to relish the opportunity to work with the racy, hyper material that Henning, Shuken and Gordon were really adept at delivering by this third season.  Almost perfect example of what LOVE THAT BOB does best, with an extended teaser building nicely to a satisfying payoff.  (**** out of four)


Yeah, I left a strong hint within the review, but what the Hell, the YouTube link is below.  For your viewing pleasure: Bob Batches It:

Television Review: LOVE THAT BOB: "Bob Saves Harvey" (1958)

LOVE THAT BOB (A.K.A. THE BOB CUMMINGS SHOW) "Bob Saves Harvey" (1958 Laurel-McCadden Productions/NBC-TV)  Original Air Date: March 18, 1958.  Starring Bob Cummings as Bob Collins, Rosemary deCamp as Margaret MacDonald, Ann B. Davis as Schultzy, Dwayne Hickman as Chuck MacDonald, Joi Lansing as Shirley Swanson, Lisa Gaye as Collette DuBois, King Donovan as Harvey Helm, Mary Lawrence as Ruth Helm, Gloria Marshall as The Model, Jesse White as H.R. "Hap" Henderson.  Written by Shirl Gordon, Paul Henning and Dick Wesson.  Directed by Bob Cummings.


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


On the morning following the events of Bob Gets Harvey a Raise, henpecked Harvey Helm is convinced that his old WWII buddy Bob Collins has done just that by posing as "Harv" and showing out of town buyer "Hap" Henderson a night on the town with two of his best models.  But Helm shouldn't be spending that income increase just yet.  He still doesn't have Henderson's name on the dotted line, and the overbearing furniture king expects a second round in L.A. that night before giving it.  Meanwhile an exhausted Collins is begging off after the sleepless night before.

Helm's guilt tripping finally succeeds, and with deception becoming as limited a resource as his adrenaline, our lensman playboy plots an early end to the second excursion.  Again enlisting Shirley and Collette as unwitting tag team partners, Bob summons Harvey to The Mermaid Club to seal the deal--not knowing that Helm's wife has caught wind of "Harv"s exploits and is also en route for a firsthand look.

The conclusion comes across like a post-coital wind-down at times, proving that even the seemingly insatiable Bob Collins has his limits.  It takes the first third of Bob Saves Harvey for Helm to finally convince Collins to continue the charade, and over half of it for the lovely ladies to re-enter the picture.  By that time, the tiring shutterbug isn't that interested in two dates for himself--just a deal sealer on the furniture.  Dude seems to want to be in bed alone for once.

Jesse White doesn't have his trademark cigar in either installment, but he's sufficiently obnoxious without it.  Hilariously so--laughing loudly at his own jokes, backslapping, and trying to loosen up the hopelessly dull "Collins" that Helm nervously presents to him.  But this half of the plot requires less screen time for the future Maytag repairman, another reason Bob Saves Harvey is less frenetic.  And while seeing Henderson's full embrace of Hollywood clothing is good for some chuckles, it can't compare to his aggressive come-ons, graceless dancing and (unintentional, granted) passing out of pornographic souvenirs during the arc's first half.

Both are absent from Bob Gets Harvey a Raise, but Margaret and Chuck make it into Bob Saves Harvey, with the former having little to do besides being brought up to speed to start the episode.  Chuck is one more person to fool in order to keep Henderson in the dark about Helm's ruse, and then unwittingly brings down the hoax by sending Mrs. Helm to the Mermaid.

Mary Lawrence's appearances as Ruth Helm were sporadic and usually brief, but she was very well cast and always well utilized.  Bob Saves Harvey is no different; her priceless minute with Jesse White is arguably the high point of the installment.

While Bob Saves Harvey might not be as uproarious as its better half, it's still pretty funny---as long as you've seen Bob Gets Harvey a Raise first.  That segment is the superior half as it is an absolute riot on its own.  While it might not seem necessary to make this clever story a two parter, Paul Henning did have 39 half hours a year to produce, and he made most of them funny for five full years.  He would continue to utilize multi-segment stories frequently on THE BEVERLY HILLBILLIES.

WHO WAS BLOCKING?

Bob faced no obstacles in the opener, and none until Ruth Helm's involvement--which was directed at her husband, not him--here.  Nevertheless, that shiner that "Mother" gave him would have hindered his success on this night.  That said.....

DID BOB SCORE?

....Bob probably didn't have enough gas in the tank to seal that deal on this night anyway. 

A NAGGING QUESTION:

Bob surely should have recognized the event in which Harv supposedly saved his life as his own fabrication to save Harvey's hide in The Sergeant Wore Skirts rather than an actual occurrence.  Why didn't he?  Maybe fatigue from the night before was a factor?  (Incidentally, Julie Bishop, clearly visible in that archive footage from 1956, had retired from acting in the two years since.)


After the wild goings-on of Bob Gets Harvey a Raise, Bob Saves Harvey is anti-climactic.  To be fair, that's unavoidable and also fitting.  As Hap put it, a man needs some rest!  While laughs are fewer and less vociferous, Bob Saves Harvey regains momentum once everyone converges on The Mermaid, and the capper is satisfying enough to make you overlook that this is the more subdued (and pretty padded) half of this hour-long romp. (**1/2 out of four)


Both episodes are available for your viewing pleasure on YouTube:

 Bob Gets Harvey a Raise:

....and Bob Saves Harvey: