Thu 8 Sep 2011
PRIME TIME SUSPECTS Part 6: The Black Mask Brotherhood.
Posted by Steve under Columns , TV mysteries[19] Comments
by TISE VAHIMAGI
Part 6: The Black Mask Brotherhood
The chances are that the 1957 to 1961 TV phase of the American Private Eye will be remembered as the most slickest in the TV genre. (“Slick,” as in the sense of smooth and efficient, streamlined.) There had been nothing else like before and nothing since has managed to equal the quintessence of its visual style.
In short, it was a curious phenomenon seemingly belonging to time, by way of inspiration, aided and abetted by style. This unique time period ranges from, say, Richard Diamond, Private Detective (CBS, 1957-59; NBC, 1959-60) to Michael Shayne (NBC, 1960-61). Fortunately, the phase didn’t last long enough to become a parody of itself (unlike the later TV Spy cycle) and remains therefore a largely unblemished sub-genre.
Hollywood films of the 1940s such as the obvious contenders The Maltese Falcon (1941), the 20th Fox “Michael Shayne” films with Lloyd Nolan (1940 to 1942), Murder My Sweet (1944) and The Big Sleep (1946), featuring private detectives, and fashionably now termed as film noir, had as their inspiration the modern literary genre: from early hard-boiled works by Hammett and Carroll John Daly to more contemporary authors such as Jonathan Latimer, Brett Halliday [Davis Dresser] and Chandler. All except Latimer had been contributors to the pulp magazines (Black Mask, Dime Detective, Spicy Mystery, Thrilling Detective, etc.).
This Hollywood studio period embodied the on-screen noir tough guy, epitomized by a Humphrey Bogart or by an unlikely Dick Powell (Cornered, 1945). They were tense and tight-lipped, yet agile. Men of a cynical disbelief that slipped easily into bemused irony. Their film world was often corpse-littered and bafflingly plotted.
The early period of TV Private Eyes (around 1949 to 1954) tended to stem from radio or were under the executive thumb of proprietorial sponsors. One of the earliest series was Martin Kane, Private Eye (NBC, 1949-54), which seemed to change its leading actor with each season. Charlie Wild, Private Detective (CBS, 1950-51; ABC, 1951-52; DuMont, 1952) was an extension of sponsor Wildroot Cream’s The Adventures of Sam Spade, Detective radio series (Howard Duff).
The Cases of Eddie Drake (DuMont, 1952) was followed by The Files of Jeffrey Jones (syndicated 1954-55); Don Haggerty played the featured PI in each. Disappointingly, these on-screen characters and their milieu belonged strictly to 1940s Hollywood.
The TV Private Eye phase of the late 1950s, on the other hand, appeared to be the result of several exciting events. Primarily, the advent of paperback priginals led by Fawcett’s line of Gold Medal books in 1950 (previously, paperback books had been reprints of hard cover editions). Genre authors published by Gold Medal in the 1950s or its companion imprint, Crest, included Richard S. Prather (with the Shell Scott novels), William Campbell Gault (Joe Puma novels), Stephen Marlowe (Chester Drum novels), Curt Cannon [Evan Hunter] (Cannon/Matt Cordell stories).
Additionally, Henry Kane for Avon & Signet Signet & Avon (Peter Chambers), Thomas B. Dewey for Dell (Pete Scofield) and Frank Kane also for Dell (Johnny Liddell). Reprinted from hardcover were Mickey Spillane for Dutton then Signet (Mike Hammer, of course), a publishing phenomenon, and Brett Halliday for Dodd Mead and Dell (Mike Shayne). Hard-boiled private eye stories seemed to be flavor of the month (or should I say, decade?).
Another strong influence appeared to be the increasing sophistication of jazz music and the contemporary jazz musicians’ sartorial inclination toward what was known as the Ivy League Look (think jazz saxophonist Gerry Mulligan or Craig Stevens in the 1958-61 Peter Gunn or even Dick Van Dyke in the 1961-66 sitcom The Dick Van Dyke Show).
Collegiate, soft-shouldered suits with button-down shirts and slim ties. Rather timely, for four albums which are now considered seminal jazz records (Dave Brubeck’s Time Out, Miles Davis’s Kind of Blue, Charles Mingus’s Mingus Ah Um and Ornette Coleman’s The Shape of Jazz to Come) were all released in 1959.
I remember reading somewhere that the tough-as-nails TV Western hero evolved from his place on the prairie to the mean streets of the TV Private Eye. Interestingly, the Private Eye phase was active during the time of the TV Western stampede (where kiddie actioners like The Lone Ranger and The Gene Autry Show gave way to “adult” Westerns like Cheyenne, Rawhide and Gunsmoke in the mid-1950s).
For me, Scott Brady’s Shotgun Slade (syndicated 1959-61) may have been enjoyable for its account of a gun-toting investigator in the Old West — complete with jazz score! — but I am not at all sure about the theory that Jim Hardie (Tales of Wells Fargo), for instance, might have become someone like Stuart Bailey (77 Sunset Strip).
A listing of relevant TV Private Eye series during this period would include The Investigator (NBC, 1958), Markham (CBS, 1959-60), 21 Beacon Street (NBC, 1959; ABC, 1959-60), Coronado 9 (syndicated 1960-61), Bourbon Street Beat (ABC, 1959-60), Hawaiian Eye (ABC, 1959-63), Philip Marlowe (ABC, 1959-60), Johnny Midnight (syndicated 1960), Surfside 6 (ABC, 1960-62), The Brothers Brannagan (sic) (syndicated 1960-61) and Michael Shayne (NBC, 1960-61).
Some interesting-sounding pilot shows from the decade include “The Girl from Kansas” (1952) with Barry Sullivan as sleuth Nemo Grey (I can’t tell if the would-be series, to be called Nemo Grey, would be about a police or private detective); “Death the Hard Way” (1954) had William Gargan as PI Barry Craig (directed by Blake Edwards); “Mike Hammer” (1954) was an early try-out starring Brian Keith (written and directed by Blake Edwards); “The Bigger They Come” (1955) from A.A. Fair/Erle Stanley Gardner’s first Cool and Lam novel; “Man On a Raft” (1958) had Mark Stevens as Michael Shayne in an early attempt for a series; “The Silent Kill” (1959) was based on author William Campbell Gault’s Brock Callahan p.i. character.
I left my personal favorites until last. The phase included also the bloodthirsty Mickey Spillane’s Mike Hammer (syndicated 1958-59) with a suitably brutal, street-fighting, crew-cutted Darren McGavin (and yes, the author’s and character’s names together is the full title). The enterprising (answering service/car phone) Richard Diamond, Private Detective (CBS, 1957-59; NBC, 1959-60) with the always-watchable David Janssen (his first series) and an outstanding jazz score by Pete Rugolo.
Perhaps the best of the Warner Brothers TV private eye shows of the time, 77 Sunset Strip (ABC, 1958-64) was the first to offer an agency-based ensemble private detective team as well as a snappy signature tune. Blake Edwards’ Peter Gunn (NBC, 1958-60; ABC, 1960-61) stands as the epitome of late 1950s TV Private Eyes for me, dealing out action and sophistication in equal doses, along with Henry Mancini’s entirely jazz-based score.
The latter presentation went on to influence many other TV shows, most notably Staccato (aka Johnny Staccato; NBC, 1959-60; ABC, 1960), John Cassavetes’ gift to the small-screen as jazz pianist/private eye working out of a small Greenwich Village jazz club, often accompanying house band musicians Barney Kessel, Shelly Manne, Red Norvo and Red Mitchell.
They were all were taut crime dramas which if anything improved as they went on. The writing and direction was efficient, being vigorous and well-staged despite some unavoidable weaknesses in plotting and performance. The 1950s private eyes were indeed masterful but mannered heroes. By contrast, later makers of TV Private Eye series seemed to suffer from that garish and nervous over-sophistication which bedevilled so many producers in the age of color television.
A significant TV phase of the past that was sadly brought to a halt by two unrelated forces — the Federal Communications Commission (FCC) and the 1960s TV Spy craze — was the TV Gangster period, led by Quinn Martin’s The Untouchables (ABC, 1959-63). It’ll be my next project.
Note: The introduction to this series of columns by Tise Vahimagi on TV mysteries and crime shows may be found here, followed by:
Part 1: Basic Characteristics (A Swift Overview)
Part 2.0: Evolution of the TV Genre (UK)
Part 2.1: Evolution of the TV Genre (US)
Part 3.0: Cold War Adventurers (The First Spy Cycle)
Part 3.1: Adventurers (Sleuths Without Portfolio).
Part 4.0: Themes and Strands (1950s Police Dramas).
Part 4.1: Themes and Strands (Durbridge Cliffhangers)
Part 5.0: Theatre of Crime (US).
Part 5.1: Theatre of Crime (Hours of Suspense Revisited).
Part 5.2: Theatre of Crime (UK)
September 9th, 2011 at 6:33 am
The private eye era on TV has always been of interest to me probably because of my love of the detective pulps and digests, not to mention the vintage paperbacks of the 1950’s and 1960’s which often had PI’s as the main character.
Of the TV shows mentioned above, my favorites are the following:
Darren McGavin in MICKEY SPILLANE’S MIKE HAMMER, which will soon be out in a big box set. Amazon has it heavily discounted now for preorder. I had two bootleg sets of this series which I can now get rid of. McGavin played Mike Hammer with a nice sense of humor amid the violence.
David Janssen in RICHARD DIAMOND, PRIVATE DETECTIVE, which is not yet out on an authorized dvd, but is available on the bootleg market. Not as violent as MIKE HAMMER but interesting because of Janssen’s sensitive portrait of a working PI.
Speaking of sensitive PI’s, John Cassavetes is excellent as the jazz pianist trying to solve cases. This is also available in a nice box set on amazon. I even had this series on bootleg VHS tapes and bootleg dvds.
Of course when we mention jazz, then PETER GUNN comes to mind and the first several shows are available on dvd. I don’t believe the entire series is out yet.
The above four series are my favorites. Did I leave out your favorite show?
September 9th, 2011 at 6:49 am
I never saw the MIKE HAMMER TV show as a kid, and I’ve come across only one or two episodes since then. I also have the forthcoming box set on order.
I’d have to add 77 SUNSET STRIP as one of my favorites, but perhaps that’s based on nostalgia more than its actual quality. I watched it faithfully while it was on, but I haven’t seen it since. Where’s the DVD set for this one?
RICHARD DIAMOND, PETER GUNN and JOHNNY STACCATO would also be in my Top Four, no doubt about it.
September 9th, 2011 at 8:57 am
Nice summary. I would argue that the TV gangster trend overlapped with rather than supplanted the Eisenhower-era PI cycle, but maybe Tise’s next installment will change my mind. The other drama-suspense trend in the ’60s that did supplant the PIs, to my mind, were the man-on-the-run dramas that began with THE FUGITIVE. Once the spy splurge fizzled and private eyes returned to the movies in the late ’60s (HARPER, PJ, MARLOWE), there was a modest TV resurgence with MANNIX, THE OUTSIDER, and BARNABY JONES — maybe the topic of a future installment?
September 9th, 2011 at 11:26 am
Duh. I misread Tise’s sentence about the gangster shows. My misreading reflects considerable density of skull tissue, since the sentence was crystal clear. At any rate, my comment belabored a point that Tise never made in the first place. I look forward to the next installment, and next time I’ll read more carefully.
I will note, Steve, that I watched a gray market pack of 77 SUNSET STRIP episodes a couple of years ago. It was the third season of episodes, and overall didn’t live up to my memories from 50 years ago. One episode was set in a dime-a-dance joint, leading me to wonder whether a) such establishments really continued to exist in the late ’50s, b) the writers were recycling old ’30s crime movie cliches and figuring the viewers wouldn’t question the anachronism, or c) they had originally used a house of ill repute as the setting, got censored in the final script, and had to come up with another setting fast.
September 9th, 2011 at 12:04 pm
I’ve been assuming that a DVD set of 77 SUNSET STRIP would come along eventually, so I’ve passed up the chance to purchase any of the gray market variety, but perhaps I’ll have to take the plunge.
Lewis’s Law: As soon as I do, then’s the time an official set will be announced. Never fails.
And Fred, your report of 50 years later only confirms my fears! Don’t know how Kookie and his comb will stand up either.
(I suppose everyone knows that Edd Byrnes was the killer in the pilot for the show?)
September 9th, 2011 at 12:04 pm
Well, almost never. I’m still waiting on a few.
September 9th, 2011 at 12:52 pm
Kookie was a fleeting presence in the episodes that I watched. I believe Byrnes temporarily left the series that year. Didn’t Michael Mann produce a retro PI series in the late ’80s, set in the ’50s, that featured Josh Brolin as a character modeled after Kookie? Steve, given the stagnation in DVD releases these days, I would be surprised to see Warners release a mass-market 77SS box, but not so surprised if they put out a DVD-R release in the Warner Archive series.
September 9th, 2011 at 2:25 pm
Once Byrnes realized that 77SS’s popularity with mostly due to him, yes, he did hold out for more money for a while. The ratings must have dropped, since (as I recall) he was soon signed up again.
September 9th, 2011 at 1:17 pm
Fred, do you mean CRIME STORY?
https://www.youtube.com/watch?v=TSuztm869TV
September 9th, 2011 at 2:19 pm
Michael
I couldn’t get that link to work, but CRIME STORY starred Dennis Farina as a Chicago cop. It was on in the late 80s, but look place in the early 60s.
How about this one instead? PRIVATE EYE
https://www.youtube.com/watch?v=T2I2Ktpa8MI
It was on in 1987, but took place in the 1950s. I don’t remember ever seeing it.
http://www.imdb.com/title/tt0092430/plotsummary
The problem is that Michael Mann didn’t have anything to do with PRIVATE EYE, and he was the executive producer of CRIME STORY.
September 9th, 2011 at 3:20 pm
I’m surprised that nobody has mentioned that Richard Diamond’s secretary (you only saw her legs) was Mary Tyler Moore.
September 9th, 2011 at 3:51 pm
You’re right, Ray. The second most famous pair of legs in the world!
September 9th, 2011 at 6:35 pm
Try this.
https://www.youtube.com/watch?v=tSuztm8G9TY&feature=related
September 9th, 2011 at 6:47 pm
Those were the times , when you could watch TV AND enjoy it.
I started to look for, and, if possible, watch some of the series mentioned in this article, I’ll work it through. Most of the shows were new to me.
Nice work,Tise !
The Doc
September 10th, 2011 at 9:44 am
This is a fascinating article.
Pointing out that a private eye boom (which I never knew about before) took place at the same time as the TV Western boom is really interesting.
The super-hero revival in comic books, the “Silver Age”, was also occurring in this era. Wonder if there is any connection.
*
I used to watch PRIVATE EYE in the 1980’s. The stories were just OK. But the 50’s sets and costumes were eye-popping.
September 11th, 2011 at 12:57 pm
Tise
As always I enjoyed your post.
There was no production connection from CASES OF EDDIE DRAKE to THE FILES OF JEFFREY JONES. Google books has the archives of BILLBOARD magazine. During the fifties they were considered a trade magazine for TV syndication. There I found production credits for both series. The only match is star Don Haggerty.
The May 28, 1955 issue is especially interesting. There is a guide for buyers attending NARTB (National Association of Radio and Television Broadcasters) where it lists the production credits for the “over 250 different TV Film series on the air”. Pages 25 and 26.
September 11th, 2011 at 2:42 pm
Thanks for the correction about the (non)connection between the two series, Michael. I’ve changed the text accordingly.
Tomorrow I’ll also be posting the third in your series of articles on EDDIE DRAKE. Some questions have been answered, some not, but progress is being made!
September 12th, 2011 at 4:36 am
Michael/Steve –
Yes, you appear to be quite correct that there is very little connection between THE CASES OF EDDIE DRAKE and THE FILES OF JEFFREY JONES.
My apologies for not taking heed of your excellent pieces on the former series, Michael. And for my rather rash generalization over production matters (based on Lindsley Parsons Productions and Don Haggerty).
Given these indefensible errors I think it’s about time I retired from any further attempts at an exploration of aspects of TV history.
Regards,
Tise
September 12th, 2011 at 9:06 am
Tise
I hope you are not serious about retiring. I enjoy reading your work. I thought “extension of sponsor Wildroot Cream” was the perfect way to in one sentence explain Charlie Wild and Sam Spade’s connection.