Television Review: LOVE THAT BOB: "Bob Retrenches" (1958)

LOVE THAT BOB a.k.a. THE BOB CUMMINGS SHOW: "Bob Retrenches" (1958 Laurel-McCadden Productions/NBC) Original Air Date: April 8, 1958.  Starring Bob Cummings as Bob Collins, Rosemary deCamp as Margaret MacDonald, Ann B. Davis as Schultzy, Dwayne Hickman as Chuck MacDonald, Charles Lane as S. J. Jollison, Rose Marie as Bertha, Pattie Chapman as Gertrude, Dorothy Johnson as The Model.  Written by Paul Henning, Shirl Gordon and Dick Wesson.  Directed by Bob Cummings.


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


It's initially a cause for celebration when Bob Collins Photography posts its most successful year to date, beating the past year's gross income by $7426.80.  ($64,467.76 in today's dollars, btw.)  Bob generously gives Schultzy extra money to treat her friends to the day's coffee break, tells nephew Chuck to treat himself to a new wardrobe using a charge card, and prepares to pay his 1957 income tax in one lump.

Bob's trip to pay the taxman ends the party, as the net income is a different story and turns out to be insufficient to satisfy the amount levied by the I.R.S.  Every single expense now warrants Bob's closest scrutiny, from "flowers for gardener" (which turns out to be Bob's attempt to woo Ava Gardner) all the way down to that diamond needle for Chuck's record player.

In an effort to make up for lost income, coffee is no longer free and Chuck is sent out to collect on past due accounts.  But why stop there....?  Schultzy adds an idea of her own as Bob sets out to persuade I.R.S. Agent Jollison that those so-called "dates" are actually business expenditures: just research and development (of new models) which should be deductible, right?

I don't think he's buyin' it, Bob...

LOVE THAT BOB mines more conventional turf than usual in this outing (hasn't every long-running sitcom lead been questioned by the Internal Revenue Service at some point?) with the financial problems created by prosperity taking center stage over our leading man's nocturnal pursuits.  It quickly turns Bob the swingin' single into a veritable square with accounting on the brain.  Not that combining business and pleasure is completely discounted: 1955 Miss Oregon Dorothy Johnson makes her series' debut, credited as "The Model" Bob is interviewing.  While her fate is undetermined at the fade-out, she was obviously hired since Johnson became a semi-regular during the following season as model Harriet Wyle.

Dorothy Johnson at right with our loverboy

Johnson wasn't the only semi-regular-to-be making her bow in Bob Retrenches. This was also the first episode for Rose Marie, who would join the cast during the 1958-59 season as Schultzy's close confidant Martha Randolph.  As is the case with Johnson, same character/different name: she's called "Bertha" in the credits.  Whatever the moniker, Schultzy's buddy joins her in thinking that Bob is the cat's meow.  Just like the photographer's subjects and apparently most of the females in the building judging from the turnout for Schultzy's afternoon coffee break festivities (the best sight gag, expertly timed).



Charles Lane and Rose Marie

Ubiquitous (368 IMDb credits!) TV sourpuss Charles Lane is put to good use as--what else?--I.R.S. agent Jollison, whose humorously terse conversation with Bob is a comic highlight.  Lane and Marie add considerable oomph to a script that was slightly below par for the 1957-58 season.  There's a number of smiles throughout but few belly laughs, and the concept of charging admission to watch The Master in action had been handled better in the superior Bob Gives S.R.O. Performance only a month earlier.

WHO WAS BLOCKING?

With money on the brain for everyone, Bob faced no resistance to his efforts to romance his prospective new model.  Hell, even Schultzy was encouraging him here, since The Show proved to be profitable!

DID BOB SCORE?

Our playboy lays one on Ms. Johnson during her audition, so he seemed on his way.  However, Jollison's ill-timed office call landed Bob in the clink for fraud at the fadeout, so in the end I'd have to say no.  (At least, he probably didn't want to score there.)  Though he did give Schultzy a noticeably longer kiss than usual earlier, when things appeared successful......

Not a bad episode by any means, just unexceptional.  A significant number of smiles, though; this one only suffers in comparison to howlers like Bob Gives S.R.O. Performance and Bob Goes Bird Watching that had aired recently.  The gags may not be gut-busters but they go down easy enough.  Cummings the director has another inspired moment near the end with his presentation of the high-demand "performance and coffee", but there's fewer of those from him and the writers than we've become accustomed to in Bob Retrenches.   (**1/2 out of four)

Television Review: LOVE THAT BOB: "The Dominant Sex" (1956)

LOVE THAT BOB (a.k.a. THE BOB CUMMINGS SHOW): "The Dominant Sex" (1956 Laurel/McCadden Productions) Original Air Date: February 2, 1956.  Starring Bob Cummings as Bob Collins, Rosemary DeCamp as Margaret MacDonald, Dwayne Hickman as Chuck MacDonald, Ann B. Davis as Schultzy, King Donovan as Harvey Helm, Marla English as Marie de Carlo, Lita Milan as Ana Maria Scarpitta, Don Orlando as Tony, Grazia Narciso as Rosa, Hy Averback as Warren Towne.  Written by Paul Henning, William Cowley and Shirl Gordon.  Directed by Rod Amateau.


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


"American men are unromantic businessmen who are completely dominated by women."  So says beautiful Italian starlet Ana Maria Scarpitta, whose "first impressions" of Hollywood make it into the morning newspaper.

Virile ace photographer and aviation hero Bob Collins isn't about to take that one lying down.  On the other hand, Collins' WWII comrade Harvey Helm--in the doghouse with wife Ruthie for the crime of going bowling with Bob--finds Ms. Scarpitta to be remarkably perceptive.   To set them both straight, Bob visits his favorite Italian bistro and enlists the help of proprietor Tony.

Seeing Tony's wife Rosa responds to her husband's forceful directives in their native tongue sets just the Alpha Male example for Harv (who still might need a little Vino for courage first).   Collins certainly doesn't need his masculinity fortified --just his fluency in Italian, the only language Ana Maria speaks.  But are those Ana's true thoughts in the paper?  Or just fake news, 1956 edition?

"Harv, are you a man or a mouse?"
"I must be a man.  Ruthie is afraid of mice!"

Lest you think that Bob Collins is completely libido-driven, The Dominant Sex gives us two unloinal incentives for our unrepentant Playboy: patriotism and henpecked Harvey Helm's home life.  The latter well was mined at least twice per season, usually with the always suspicious Ruthie Helm (Mary Lawrence) present.  Even when off-screen for the duration as she is here, Ruth is still feared by Harv, whose life clearly took a turn towards the Beta after his heroics in "The Big One".  As for the former motivator, well, just check out that look of determination when Bob confronts the donna detrattore face to face for the first time:

Is it a man passionately looking at a woman he adores, or resolute defense of the good old U. S. of A?  I'd say it's a little of both, but Bob certainly had the latter on the brain throughout The Dominant Sex.  Take his job interview with prospective new model Marie de Carlo (played by delectable VOODOO WOMAN star Marla English).

Marla English as Marie

Upon finding out the aspirant's Italian heritage, Bob suddenly switched gears and set out to prove he was no "unromantic businessman".

The subsequent evaluation of his applicant would cause apoplexy today, ending with a passionate kiss, a hire, and one blissful (!) new employee left in his wake.  Miss de Carlo was taken aback, sure, but in a good way.  Suffice to say that The Dominant Sex is not a joyous installment for poor pining Charmaine Schultz.

But despite what you've read over the last few paragraphs, The Dominant Sex isn't fully the bastion of male chauvinism it might appear to be on the surface.  With one exception, everyone is putting up a front.   Tony's delivery is domineering, but those words?  A much different matter. 

Wife Rosa lets Harvey in on the secret: Tony is telling her how much he loves and needs her--assertively.  Under all that bluster, they're both getting what they need and working as equal partners at home and at work.  Dominance?  A matter of perspective.  Hell, the restaurateur is an example that even Bob singles out for aspiration.

But check out how quickly Tony changes from commanding to panicky when "Bobby" almost uncovers the true meaning of those clandestine words.  In the end, Tony maintains his "kingdom" and usually hapless Harvey regains his, sort of.  And that seemingly glacial young actress?  She's angry with press agent Towne for letting that misrepresentation of her feelings get into the news.  Yes, it turns out she loves American men.  (Though it's never pointed out that her "front" was created for her by--American men at the studio.)

And footloose, fancy free Bob?  He's that exception we spoke of.  He thinks he's won the Ice Queen over with his take-charge virility--a pretense, too, but not a known one to him.  And in the end, the bachelor wins again: he has two new Bella Donnas for his black book.

Actors Don Orlando and Grazia Narciso were both native Italians, with the former specializing in ethnic roles and the latter (eighteen years Orlando's senior) being a relative late bloomer, starting her film career at age 54.  This was the only LOVE THAT BOB for both, but our two models made multiple appearances. 

Chosen as Miss Cheesecake of 1954 (for good reason) Marla English made Marie de Carlo a recurring role through the third season, most memorably in Bob Batches It.  Unfortunately, the stunning starlet disappeared from screens within a year to become a bride at age 21, but not before scoring leads in RUNAWAY DAUGHTERS and the campy, memorable THREE BAD SISTERS.

Lita Milan stayed around a bit longer, both on BOB (including the recurring role of similarly named Marie de Paulo after English exited acting) and in Hollywood, abruptly retiring to marry Ramfis Trujillo (son of the infamous Dominican Republic dictator) in 1958.  Emmy nominated editor Guy Scarpitta gets the patented Paul Henning in-joke this time with the leading lady named for him.

WHO WAS BLOCKING?

No one, for once.  Not even envious agent Warren Towne, who, by the way, is played by future F TROOP producer Hy Averback.

DID BOB SCORE?

With Ms. de Carlo, he looked to be well on his way.  And with Ms. Scarpitta?

Well, you be the judge.  This...

Was followed by this.....

And a sotto instruction to agent Warren Towne: "wait in the car".  What do you think?


The show stays funny and fresh throughout while examining which gender is The Dominant Sex, and I suspect this episode would have had a question mark in its title if the British film of the same name (1937) hadn't already done that.  Uniquely, only Bob himself is exactly what he seems this time around--with the exception of his faux fluency in Italian, of course.  A fairly clever and almost shamelessly guilty pleasure to modern eyes that rivals Bob Gets Harvey a Raise in that regard.  (*** out of four)

Television Review: LOVE THAT BOB: "Bob Wins the Olympics" (1957)

LOVE THAT BOB! (a.k.a. THE BOB CUMMINGS SHOW): "Bob Wins the Olympics" (Original Air Date: 12/3/57) Starring Bob Cummings as Bob Collins, Rosemary DeCamp as Margaret MacDonald, Ann B. Davis as Charmaine "Schultzy" Schultz, Dwayne Hickman as Chuck MacDonald, Ingrid Goude as Herself, El Brendel as Ole Swenson, Hope Emerson as Esther K. Flintridge, Robert Carson as Paul Martin, Ellen Corby as The Nurse.  Written by Paul Henning, Shirl Gordon and Dick Wesson.  Directed by Bob Cummings. 

Series overview of LOVE THAT BOB a.k.a. THE BOB CUMMINGS SHOW previously published here for the one hundredth anniversary of the star's birth in 2008 at this link. 

Selecting a model for client Paul Martin's advertising campaign (he sells gymnasium equipment) brings the Miss Perfect Body contest to Bob Collins' photography studio, and the lobby is filled with beautiful contestants.  Great for Bob, Chuck and everyone else who happens to be male, but a pain in the ass for Bob's no-nonsense landlady, Esther K. Flintridge.  Humorless Flintridge is nonplussed by all the extra traffic, and might finally be ready to follow through on her eviction threat after several close calls previously.

Does that look like a woman ready to be swayed by a playboy shutterbug?  Not under normal circumstances, but the old smoothie finds Ms. Flintridge's Achilles heel when he declares her to be just the "solid build" he's looking for.  Unfortunately, Bob lays it on too thick, and "choosing" his landlord over reigning Miss Sweden Goude means that our boy Bob is still trying to reach first base with his most elusive target.  Collins' troubles don't end there: he might have staved off the hunt for a new studio, but he'd better start searching for a new client once Martin steals an early peek at the physique Bob has chosen to promote the gym products.

Twenty year old Ingrid Goude made over a half-dozen appearances during the 1957-58 season after her well-received debut in Bob Meets Miss Sweden.  She proved to be quite a casting coup as the lone unattainable in Bob's veritable harem of models: in addition to her aforementioned 1956 title in her native country, Goude was second runner-up to Miss Universe and first runner-up to Miss Europe the same year.  With that track record, it's little wonder that Goude could out vavavoom Bob's regulars (With the possible exception of the always eye-popping Joi Lansing.)

You really wanna argue with the banner? Me neither.

Goude's acting career never really took off (she retired two years after her signature role in 1959's THE KILLER SHREWS) but she effortlessly made a worthy foil for our almost invincible loverboy.  Bob would feign a "dangerous" Air Force assignment and even a mission to the moon(!) to try and impress her, but to no avail.  Her LOVE THAT BOB episodes may have occasionally been more aesthetically than comedically pleasing, but she's well used in Bob Wins the Olympics.  Losing to Carol Morris or Margit Nunke is one thing, but being bested by Hope Emerson?  Goude's reaction is understandable.  Rather painful for Bob, too, in more ways than one.

Hope Emerson and El Brendel

When Miss Sweden appears, it usually gives us El Brendel as well, as mycket Swedish Ole Svensen, the building's janitor.  While typically relying on Svensen for translation, Collins enlists the maintenance man for double duty here as he attempts to pawn Esther off on him--fat chance, once Ole eyeballs the pageant winner from his homeland.  A staple of Columbia's shorts department in the 1940's (usually playing an "Ole" then as well), Brendel found lots of call for his inimitable dialect on television, providing steady comic relief in prime time until his death in 1964.

6' 2"  Emerson makes it a trifecta of thwarters in Bob Wins the Olympics.  Landlady Esther K. Flintridge usually appeared once or twice per season, always unmoved by Bob and his bevy of beauties.  Flintridge's arrival springs this door slammer into action, and for once, Collins actually succeeds in his attempt to praise the proprietor--predictably, a bit too well.

Things get a little plot-heavy for a half hour installment at times, but Goude's appearances were well placed throughout the fourth season, and she was consistently enjoyable playing her fictionalized self. Kudos again for the inexhaustible Henning-Gordon-Wesson team (responsible for all 36 of the season's episodes) and for Cummings the director, who always has the camera in just the right spot.

WHO WAS BLOCKING?

No one but Bob himself, from beginning to end.  Schultzy seemed too overwhelmed by the sheer numbers to intervene while the contest was on.

DID BOB SCORE?

Collins the Crooner usually struck out when Miss Sweden was around, and this installment was no exception.  Though Flintridge seemed kinda interested when all was said and done....

Too bad, Bob!

THE BOTTOM LINE:

The convolutions occasionally get in the way of the laughs, and Bob's clichéd theatrics are more stilted than usual with Flintridge (did she really buy that?).  Still, watching the indomitable ladies' man fail to land Miss Sweden is reliably amusing throughout, with guest stars Emerson and Brendel adding to the fun.  And yes, that is Emerson's CAGED co-star Ellen Corby as the nurse.  (*** out of four)

Bob Wins the Olympics is available as "Bob's Perfect Body" on DVD from Shokus Video's LOVE THAT BOB! VIII.    The Shokus release has the original "Bob Cummings Show" opening as well as the original Winston Cigarette commercials!

Television Review: LOVE THAT BOB: "Bob and the Ravishing Realtor" (1958)

LOVE THAT BOB (a.k.a. THE BOB CUMMINGS SHOW): "Bob and the Ravishing Realtor" (Original Air Date: October 14, 1958) Starring Bob Cummings as Bob Collins, Rosemary deCamp as Margaret Collins MacDonald, Elena Verdugo as Janice Tuttle, King Donovan as Harvey Helm, Kevin Burke as Mr. Drucker and Mimi Walters as Maime Drucker.  Written by Paul Henning and Dick Wesson.  Directed by Bob Cummings.


This installment of the LOVE THAT BOB episode guide is presented in tribute to the late Elena Verdugo.  The pioneering actress passed away on May 30 at age 92.

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


With nephew Chuck away at college and Bob out of the house every night, Margaret MacDonald is ready to consider an offer on the house and downsize.  While Margaret's playboy brother spends a lot of his evenings inside apartments, he has no desire to make one his permanent residence--"thin walls, neighbors complaining when you dance at night".  The Collins house will bring four times what it cost?  "So will the home they sell us!"  Bob has an answer for everything, but changes his tune once he sees this realtor's figure:

You guessed it: the shutterbug lothario isn't interested in actually selling the house, just agent Janice Tuttle--on himself.   Planning to use champagne to seal his deal, Bob runs afoul of his own scheme--and wakes up the next morning to a hangover and an "open house", learning he's signed exclusive rights to market the Collins residence over to the enterprising Ms. Tuttle!

Bob Collins had himself quite a unique situation for a playboy: he had all of the comforts of marriage (a two story house, cooked meal waiting for him every night) without being tied down.  The prospect of losing the ability to have his cake and eat it too had to be a factor in his opposition to Margaret's proposed downsizing.  Probably the factor, since he brought that (and not financial concerns) up first--for Bob, maintaining his current address is crucial to keeping his footloose and fancy-free status quo.

As usual, some time with henpecked Harvey Helm gives a guy plenty of sympathy for Bob's position.  At the outset, Bob's former Air Force co-pilot is planning to use his bowling ball--Bob's gift at his wedding twelve years prior--for the first time.  Harv admits "a married man like me doesn't get out too often" but thinks his athletic skills might have improved in the interim--after all, "housework can toughen a man up".  A beta male?  No doubt--Harv even ruins his brand new suede jacket to pose as an exterminator in Bobby's house-saving scheme.

Bob and the Ravishing Realtor has the usual surfeit of witty double entendres, but this fifth season entry shows signs of tiring minds at the typewriters, noticeably succumbing to silliness in its plotting.  As dulled as his edge might be after a dozen years out of "circulation", even Helm surmises that Bob's scheme to spike the root beer with champagne will be easily detected.  In addition to being lame, the plan seems unbecoming of a suave, sophisticated man about town (similar to the lack of finesse our hero displayed in The Wolf Sitter).   Bob is much funnier and more effective when he's misleading while technically being honest.  An additional reason this particular idea is half-baked is the unforeseen side effect of costing Bob his air of refinement with multiple hiccups in front of the lady (hey, belches weren't allowed on prime time yet!).

Even harder to swallow is the idea that Collins can convince the buyers that the home is riddled with termites with some sawdust and an electric razor.  All in all, not a shining moment for the team of Henning and Wesson, and with its sketchily written leading lady, a prime example of LOVE THAT BOB really missing the contribution of Shirl Gordon during the 1958-59 season.  The show's lone female writer, Gordon left after the fourth season finale (Bob's Forgotten Fiancee).  Henning and Wesson ended up writing the subsequent year of shows (38 in all!) with virtually no outside help. 

The saving grace of Bob and the Ravishing Realtor is special guest star Elena Verdugo, well known to TV audiences after starring in MEET MILLIE for four seasons.  While she is most familiar to modern audiences for her supporting role in MARCUS WELBY, M.D. (due to the sad unavailability of her earlier hit series), Verdugo was a leading lady in numerous "B" movies before gaining her greatest visibility on the small screen--her other series included REDIGO and MANY HAPPY RETURNS.

"You can look the world over and you won't find a man like this!"

Taken at face value, Bob's description of Verdugo's titular character is apt, but praise that is way too faint.  The PANAMA SAL star was still at the height of her appeal, with some rather priceless reactions to our photo-snapping protagonist as he attempts to make their dealings a "howling" success.  She references his pointed ears, rebuffs him consistently, is wise to him from the get-go, and consistently about three steps ahead of the indomitable wolf.  And yet, she chooses to go out with him anyway.  That might be the biggest stretch in an episode chock full of them.  At least Cummings and Verdugo are very funny together: she returned later in the season for Bob Helps Von Zell, which (you guessed it) also had a special guest star, with producer George Burns' long-time announcer playing himself.

WHO WAS BLOCKING?

Schultzy was missing from this office-free outing, but sister Margaret attempts to pick up the slack.  Twice she warns the realtor of her brother's wolf status, and also blows the cover on his last-dtich attempt to regain the homestead.  But it's all to no avail.....

DID BOB SCORE?

....as Janice Tuttle decides to go up to Mulholland Drive with him after all, under the guise of "scouting" for a house for her new customer, Bob.   If she likes you after all the preceding chicanery that she was wise to, well---I'd say you have a shot here, Bobby!

The series starts looking at bit long in the tooth at times during the fifth season, and this is one of those times.  The champagne and termites are hard enough to swallow, but Janice Tuttle going up to Mulholland with a man who tried to get her under the influence the first time she was alone with him?  Gotta think Shirl Gordon could have helped this one--Bob was usually a lot more charming in his deviousness than he is here.  Funny in spots, but below par despite Verdugo's efforts.    (** out of four)

Television Review: LOVE THAT BOB: "The Beautiful Psychologist" (1956)

LOVE THAT BOB a.k.a. THE BOB CUMMINGS SHOW: "The Beautiful Psychologist" (Original Air Date: October 25, 1956)  Starring Bob Cummings as Bob Collins, Rosemary DeCamp as Margaret MacDonald, Dwayne Hickman as Chuck MacDonald, Ann B. Davis as Schultzy, King Donovan as Harvey Helm, Jeff Silver as Jimmy Lloyd, Marcia Henderson as Laura Hayden.  Written by Shirl Gordon, Paul Henning and Phil Shuken.  Directed by Norman Tokar.

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


Bob believes that his now seventeen year old nephew Chuck is ready for flying lessons, but sister Margaret is dead set against the idea.  Noting that any Air National Guard service is at least two years away, Margaret thinks her son is too young for the lessons, and she isn't swayed by her brother's status as an instructor in the Guard.  Nor is she persuaded when Bob notes that he made "aces" out of numerous recruits.

Chuck has more immediate concerns--namely, his dinner--but some timely eavesdropping the next morning gives Bob proof that he is idolized by his nephew.  Hearing Chuck repeat Bob's heroic feats to awestruck classmate Jimmy leads the playboy shutterbug to believe there's another reason his nephew doesn't want the instruction: the teenager is intimidated at the prospect of living up to his uncle's accomplishments.  Bob is thrilled when the high school's counselor Laura shows up to discuss the youngster's studies, but less so when he finds himself being analyzed by the titular therapist.

One of the last installments before Chuck's eighteenth birthday took place onscreen (The Double Date), The Beautiful Psychologist is the first of several third season entries to explore the younger MacDonald's transition from high school to college.  We're past building model airplanes (The Fallen Idol) now, as Bob feels Chuck is ready to fly the real thing.  Much as Chuck would like to follow in Bob's footsteps in other ways, the youngster is more in tune with his mother on this idea, still proud of Uncle Bob's aerial achievements without feeling ready to emulate them.

Bob's ego seems a little outsized this time out, not only mistaking Chuck's lack of current interest for fear, but attributing that fear to the feats he's been hearing about for years--air and ground, no doubt.  Truthfully, though, while Chuck continues to brag about his Uncle, it's Jimmy Lloyd who seems to have the hero worship affecting his self-esteem ("Tall, dark and handsome---I'd settle for tall!").  Indeed, when combined with all the gushing over Bob's legendary exploits, that stare that Lloyd gives Colonel Collins' Air Force portrait is almost homoerotic.

While Harvey Helm still envies Bob's life of freedom, he does have some slight corrections to the WWII stories, which might alone make flying seem more realistic for Chuck--if that was the problem.  Bob never figures out that it isn't, one of two ways that LOVE THAT BOB again subverts expectations this time.  The Beautiful Psychologist isn't all about puncturing that hot air balloon, and Bob's (fake) humility ends up giving him an avenue to a heretofore unavailable female.  Well, maybe--I'm not all that convinced he had any kind of shot (see section below).

This was the only episode for Marcia Henderson, and she pleases the eye and ear enough to make one wish she'd returned.  Well known to the era's TV viewers as the female sportswriter in DEAR PHOEBE, she's a good fit for another (at the time) traditionally male profession here.  Henderson skillfully delivers the episode's funniest line, in which she revises her diagnosis of our aging flyboy.  Her professional analysis: Collins has a "neurotic tendency to employ a decided confabulation opportune in the gratification of his dominant male psychosis".  Most creative way yet to call our boy a wolf!

Henderson already had a Theatre World award (for the Broadway version of PETER PAN) and big screen leads in THE GLASS WEB and CANYON RIVER to her credit.  Sadly, her promising career was soon cut short by a diagnosis of rheumatoid arthritis, which eventually led to her retirement from the screen in 1962.  Married for 27 years to actor Robert Ivers (G.I. BLUES), Henderson was only 58 when she passed away in 1987. 

The Beautiful Psychologist doesn't provide a decisive comeuppance for Bob, a way out of the kitchen for Harv, or a resolution for Chuck's immediate future.  Much like Bob on his confidence-builder (!) of a flight at the end, it neither soars nor crashes, providing consistent chuckles but few laugh-out-loud moments.  If Bob took Laura to his usual heights either on air or land ("just give me time, Schultzy!") he did it off-screen. 

WHO WAS BLOCKING?

For once, Bob was his own blocker, inadvertently "proving" childhood regression by riding a bicycle through the household and insisting that Harvey Helm take credit for all of their war heroics.  Schultzy and Margaret certainly weren't helping, but the former was surprisingly neutral for once.

DID BOB SCORE?

In spite of himself, Colonel Collins did manage to get Miss Hayden into the cockpit with him.  But despite that look of high confidence at the fadeout, the counselor (who we learn is doing her post-graduate work) might well be up there in a professional capacity.  She earlier seemed fascinated by his avocation, with interest level looking high--until that precise moment that he made his move.  That's a big red flag, Bob! 


A typical LOVE THAT BOB setup, agreeably but not exceptionally executed.  Par for the course during the brief third season period that Tokar and others manned the director's chair (after Rod Amateau's departure and before Cummings took over fulltime).  With Henderson living up to her titular description and providing a worthy foil, The Beautiful Psychologist has enough laughs to make for a pleasant if not quite hilarious half-hour.  (**1/2 out of four)