Can 2 divorced men share an apartment without driving each other crazy?

With CBS airing a new version of THE ODD COUPLE starring Matthew Perry and Thomas Lennon beginning tomorrow night, here's a post from 2008 when I was just starting to watch season 4 of THE ODD COUPLE on dvd, and I declared that the show, in my opinion is the second greatest American sitcom ever. That's right, I said it.

After MARY TYLER MOORE, no other US sitcom is more consistently funny, well-acted or holds up as well over the years. Based on Neil Simon's Broadway play and adapted into a 1968 feature starring Walter Matthau and Jack Lemmon. The TV version, starring Jack Klugman and Tony Randall premiered on September 24, 1970 and ran for five seasons in a variety of timeslots on ABC - usually on Thursday or Friday nights. The series was never a Top 10 hit, and actually was in danger of cancellation every season it aired. The first season is quite unremarkable, having been filmed with one camera and an added laugh track. The show really came to life in season two, when a live audience was added to react to the mis-matched antics of Oscar and Felix.

The show really took off in popularity in the late 1970s when syndicated reruns aired on local stations. Channel 11, WPIX air four episodes a night. Two in early evening and two at 11PM. I watched them all, repeatedly. And watching them again now on dvd is, to quote a friend of mine "a sheer delight".
What makes the show so great? Well, Felix and Oscar are such great, unique characters - and because of that, so many later sitcom characters borrow freely from them. You can certain see traits of fastidious Felix in Sheldon from BIG BANG THEORY and Niles from FRASIER. Oscar's grouchy brashness has influenced a whole generation of cranky comedy curmudgeons, notable EVERYBODY LOVES RAYMOND's Frank Barone. While the show lacked continuity in so many instances (don't get me started!), the interplay between the two leads and excellent supporting players make this the best thing Garry Marshall has ever been part of. While the show "jumps the shark" with celebrity guests (Monty Hall, Howard Cosell, Paul Williams, etc.), it makes up for it with clever plots that incorporate the guest stars into the world of Felix and Oscar. Since Felix is a portrait photographer and Oscar is a sportswriter, it makes sense that they encounter these folks in New York City. Why not? I once rode in an elevator with Howard Cosell. He had big ears. AND I was a contestant on the most recent version of LET'S MAKE A DEAL! (Even though that happened in L.A. and Billy Bush-yuck!-was the host, but Monty was there. See photo below)But enough about me. While I was watching the classic PASSWORD episode recently, with guests Betty White and Allen Ludden, I wondered if any other MARY TYLER MOORE alumni ever appeared on THE ODD COUPLE. With a little research I discovered that in addition to Betty White ("Herself" on OC,"Sue Ann Nivens" on MTM), there was Bill Quinn ("Dr. Melnitz" on OC,"Dr. Walter Richards," Mary's dad on MTM), Penny Marshall ("Myrna Tuner" on OC, "Paula" on MTM), Barbara Colby ("Monique" the drunk bartender on OC, "Sherry" the hooker on MTM) and the late, great Brett Somers ("Blanche Madison" on OC and "Aunt Rose" on MTM). Not bad, considering the shows aired on different network during roughly the same period.

Both actors won Emmy Awards for their roles. Jack in 1971 and 1973, Tony in 1975 - after the show was cancelled. The duo reunited for a misguided 1993 CBS TV-movie called THE ODD COUPLE: TOGETHER AGAIN. I guess ABC's miserable MARY & RHODA reunion movie was payback. Jack and Tony had become best friends in real life, and after Tony's death in 2004, Jack wrote a memoir about their relationship, called Tony and Me: A Story of Friendship. The book has been hailed as a touching portrait of a professional partnership that, in the end, became deeply personal. The book includes over 50 photographs, many from Jack and Tony's private collections, and a DVD of never-seen-before outtakes from THE ODD COUPLE.

In the 1980s, THE ODD COUPLE was revived - with an an almost all African-American cast. Demond (SANFORD & SON) Wilson is Oscar and Ron (BARNEY MILLER) Glass is Felix. THE NEW ODD COUPLE could have been a descent show if they didn't decide to recycle scripts from the original series that were already considered classics by fans of the show. Ironically another black version of a Neil Simon play, BAREFOOT IN THE PARK only lasted 12 episodes on ABC in 1970, also airing on Thursday evenings. I'm holding out for a new version of THE SUNSHINE BOYS with James Earl Jones and Samuel L. Jackson.

And now it's 2015 - and THE ODD COUPLE is back on Thursday nights - this time on CBS. Will the third time be a charm?

NORMAN...IS THAT YOU?

From 2010...

NORMAN...IS THAT YOU? (1976, directed by George Schlatter of LAUGH-IN fame) is a movie that I've always known existed, even as a kid, but for one reason another never got a chance to see. I always thought Norman Lear was somehow connected because of the title and the casting. I was silly.

Until now. The movie (based on a 1970 play by Ron Clark and Sam Bobrick) opens with Ben Chambers (Redd Foxx, then star of Lear's SANFORD & SON) riding on a bus, as Smokey Robinson croons a Motown ditty about Redd being an “old-fashioned man, living in a brand new world.” Redd then arrives in Los Angeles and transfers to a taxicab which takes him directly to Hollywood (though it looks like WEST Hollywood to me).

Redd arrives at his son Norman's apartment building as his hunky son awakens from his waterbed slumber in nothing but a pair of form-fitting blue undies. Norman (Michael Warren of HILL STREET BLUES), in a panic, directs Redd to take the stairs to delay his arrival. Norman then puts on a paint of form-fitting pistachio green slacks that fit him like the skin on a grape. Norman attempts to awaken the other person in the bed, who appears at first to be a very lazy and annoying woman. But is soon revealed to be an extremely feminine and annoying man named Garson (Dennis Dugan, later of RICHIE BROCKLEMAN, PRIVATE EYE).

Garson just had the "most faaaaaabulous dream” instantly informing us that he is the embarrassing gay character that we've all seen a million times before. The mincing queen who wears caftans and delivers lines like he's Kay Thompson. To the film's credit, in 1976 we probably hadn't seen many characters like this before. But, why on earth would Norman be attracted to this? To each his own, I guess.

Norman, clearly embarrassed by Garson, makes him hide as he lets Redd into the apartment. Redd notices Norman's exquisite 1976 decor and comments on the purple drapes and declares "to each his own." (Just like I did a paragraph above!) After introducing Garson to Redd as his "neighbor" who came by to use the toilet, we learn that pops is here to visit because Norman's mother ran off to Mexico with his uncle, keeping it "all in the family". ;)

Garson, meanwhile, is visiting his puppeteer friend Larry Davenport (Waylon Flowers, later of MADAME'S PLACE). That's right, Garson's friends are even gayer than he is! Not only does Madame answers the phone when Norman calls, but Madame's sassy (nameless) black friend also makes a brief appearance, causing me to scream with laughter and disbelief. Meanwhile, Redd unpacks his suitcase and starts going through his son's drawers. So to speak. First he finds some frilly underthings and then he finds an Asian-style gown and jumps to the conclusion that Norman has a lady friend. Just then, Garson, Norman's lady friend, reappears and Redd begins to put two and two together.

After first declaring that he'll kill his gay son, he then calms down and tries to figure out what he and his wife did wrong. “Maybe we toilet trained him too soon?” Yeah, right...that's it Redd. After taking a walk through Hollywood, Redd pops into a bookstore and asks to see the gay section. He ends up picking up a bunch of books at random and buys them all from Barbara Sharma (of RHODA fame). He then plants himself on a park bench and reads them all. Out loud. He seems to harp on the fact that one out of every six people has had a homosexual experience. Hmmm....

After he absorbing all the knowledge he can, he comes to the conclusion that his son ISN'T gay - he's just on drugs. “Thank God my son is on drugs!” Did Redd ever consider that Norman is gay AND on drugs?
So Redd's denial continues and he breaks up with Garson for Norman, and they he hires CLEOPATRA JONES to fuck the gay out of his son. Yes, the stunning Audrey the hooker (Tamara Dobson) attempts to turn Norman straight, but alas the boy flees for the comfort of his fruit fly Melody (Vernee Watson of CARTER COUNTRY and a hundred other sitcoms), who gets him drunk in order to fuck the gay outta him. Doesn't work, and pisses her off.

Meanwhile, back at gay, Garson comes over and bonds with Redd and the two go to see Madame's drag puppet show. Redd later has a dream where he's decked in glitter and accepting some gay award. GLAAD? When Garson awakens Redd from the dream, the old man yells "Rape!" Yeah right, like Garson is a top!

The next day, Norman's mother Beatrice (the legendary Pearl Bailey) shows up and when Redd tells her that their son is gay, she's not having it. Until Audrey the hooker shows up and Beatrice asks her, "Norman...is that you?".

Then real Norman shows up and announces that he's joined the Navy! What? Yes - so Norman decides to abandon his lover, and his parents by joining the military. Don't ask, don't tell. But what of poor tragic Garson? Well, Redd invites his new "son" to live with him and his wife in Arizona and to work in their shop (I'm thinking it's a dry cleaners for some JEFFERSON-inspired reason). All's well that ends well. Before the end credits Redd looks out to the viewing audience and wonders who out there might be gay as Thelma Houston belts out “One Out Of Every Six.”

Wow.  I actually enjoyed this more than I thought I would. I guess despite all it's internalized homophobia, the film was way ahead of its time. I mean, there are still gay films being made today that deal with this same exact subject and are no less preachy and just as filled with bad stereotypes. The film totally feels like a stage production, though the original characters were Jewish and not African American. I think this was a bold choice by the producers since homophobia was (and still is) very prevalent in the black community. I also think the late actors Redd Foxx and Pearl Bailey deserve to be commended for appearing in a project that was intended to teach tolerance in a time when it wasn't very popular. Despite it's many flaws (and numerous plot holes), the film is certainly a curiosity and should be seen (to be believed!). 7 outta 10.

THE MOTHERS-IN-LAW: The Loud & The Furious

From 2010

I'm currently nearing the end of Disc 7 in the eight-disc THE MOTHERS-IN-LAW Complete Series collection. For those who are unfamiliar with the show, the series was a two-season wonder from producer Desi Arnaz that ran on NBC Sunday night between megahits WONDERFUL WORLD OF DISNEY and BONANZA from 1967 through 1969.

THE MOTHERS-IN-LAW was a big, brassy sitcom built around sweet, lovable wisecracking actress Eve Arden and loud, abrasive musical-comedy performer Kaye Ballard. The two are cast as long-time neighbors: WASPy Eve Hubbard and ethnic Kaye Buell whose college student children (Eve's daughter Susie and Kaye's son Jerry) have decided to marry. The two moms are constantly competing with each other — and for attention of their lovelorn children. After the kids marry they move into the converted garage between the Hubbard and Buell houses, creating an additional reasons for friction between the Moms.

Eve and Kaye's henpecked husbands, the cantankerous lawyer Herb Hubbard (played by Herbert Rudley) and frugal TV writer Roger Buell (played by gay actor Roger C. Carmel in season one, replaced by gay actor Richard Deacon in season two), always get drawn into the ludicrous situations their wives create. The Lucy-like plots usually wind up with all four of the parents either covered in some kind of goop or performing a big musical number.

While some episodes border on unwatchable, there are several that stand out as great time capsules of the late 1960s when "the generation gap" seemed to be the trigger of so many comedic conflicts between television characters. One interesting episode features handsome game show panelist Scoey Mitchell as a lawyer who tries to rent the garage when Susie and Jerry plan on moving out. The girls are trying to be open minded about having an African-American tenant but wind up coming off as extremely prejudiced. It's an awkward situation and aside from a terrible watermelon joke, it's very well-played.

Jokes always seem to stem from situations involving Roger's cheapness, Kaye's Italian heritage, and Eve's penchant for redecorating. The Hubbards and Buells have a love-hate-love relationship and often end up arguing loudly about something ridiculous before each episode is over. Kaye and Eve can't help but interfere in almost every aspect of their kids' lives - a situation aggravated even further in season two when Susie gets pregnant.

Other recurring gags include Eve being referred to as "Mother Hubbard", the garage door in the kid's apartment opening to comedic effect, Kaye insisting that their grandchild will be a boy and Eve convinced it will be a girl (spoiler alert - Susie has twins!). All-in-all the show is quite entertaining. The live studio audience adds to the theatrical feeling and the performers always seem like they are giving it their all. A  special treat and curiosity on Disc 8 is the unsold Desi Arnaz pilot for THE CAROL CHANNING SHOW. 

Jean Stapleton (1923-2013)

Dougsploitation: The San Francisco Treat!

A re-post from 2009 (in honor of Doris Day's 90th birthday!) As a child I fell in love with the city of San Francisco. Not even knowing where exactly it was on the map, I often declared that it was a place that I wanted to live. I think my first exposure to the city by the bay was a famous commercial for a noodle product.
Over the years many TV shows I watched were set in the city of cable cars, including several seasons of THE DORIS DAY SHOW.Every week when I saw this classic opening, I knew it was where I wanted to live.
A few years later, PHYLLIS moved from Minneapolis to SF–therefore making my desire to live there even greater.Another TV show from the 1970s that fueled my desire was the Quinn Martin production, THE STREETS OF SAN FRANCISCO.
Many other dramas also took place in SF, notably cop shows like IRONSIDE and McMILLAN & WIFE, soapy shows like FALCON CREST and HOTEL and doctor shows like TRAPPER JOHN, M.D. and PRESIDIO MED. Did anybody ever watch that last one?
Other famous sitcoms that were based in the city included TOO CLOSE FOR COMFORT, MY SISTER SAM and FULL HOUSE (which to this day, I'm proud to say, I've never seen one episode of!)
But the show that really pushed me over the top was the original 1993 PBS adaptation of Armistead Maupin's TALES OF THE CITY. Having read the first five books, I was already in love with Maupin's wonderful cast of characters. But seeing them come to life in the city that was a much a character as the people themselves drove me to move to the city in 1995, making it my home for six years.

Since then, there were 2 very good TV sequels for Showtime, plus a dreary film adaptation of Maupin's tangental spin-off, The Night Listener. A 6th Barbary Lane novel, the wonderfully melancholy Michael Tolliver Lives was published in 2006.

Followed by 2010's lovely Mary Ann in Autumn.

All this SF talk really makes me miss the city by the bay. Oh, by the way, if you're wondering...nobody in San Francisco eats Rice-A-Roni. Ever.

Bonnie Franklin (1944-2013) Dale Robertson (1923-2013)

Karen Valentine's Day

Celebrate VALENTINE'S DAY with Karen and a post from 2009.

When I was a kid, Friday nights were one of my favorite nights of television. THE BRADY BUNCH, THE PARTRIDGE FAMILY, THE ODD COUPLE and LOVE, AMERICAN STYLE were all among my favorite shows. But somewhere in the middle of the night lurked the black hole known as ROOM 222.

The thing about ROOM 222 was that it was supposed to be a comedy (the first episode even had a laughtrack) - but it wasn't funny. In fact, it was depressing. Who wanted to watch a show about an inner-city high school on a Friday night???

I recently tried watching an episode to see if the show was any funnier or less depressing. Guess what? No, it wasn't.

The main focus of the show was the American history class held in Room 222 of Walt Whitman High School in Los Angeles, CA. The class was taught by Pete Dixon (Lloyd Haynes), a preachy and idealistic teacher. Pete's patient girlfriend Liz McIntyre (Denise Nicholas) was the guidance counselor. Principal Kaufman (Michael Constantine) and sweet student-teacher Alice Johnson (Karen Valentine) rounded out the cast.

Lovely Valentine later starred as Gidget in the TV film GIDGET GROWS UP, and in her own short-lived series KAREN (1975).

Karen also guest-starred on many series, including LOVE, AMERICAN STYLE and LOVE BOAT.

ROOM 222 aired on ABC from September 17, 1969 to January 11, 1974, for 112 episodes and won a bunch of Emmy Awards. The show featured appearances by many actors who went on to become stars, including Bernie Kopell, Cindy Williams, Teri Garr, Jamie Farr, Rob Reiner, Anthony Geary, Richard Dreyfuss, Kurt Russell, Mark Hamill and the late Bruno Kirby.

The melancholy theme song was by film composer Jerry Goldsmith. Here it is to depress us all...

Conrad Bain (1923-2013)

Larry Hagman (1931-2012)

Happy 50th Birthday, Kristy McNichol

Here's a post from a few years back, slightly updated. To me, September 11th will always be remembered as Kristy McNichol's birthday. Born 50 years ago today in Los Angeles, Kristy is best known for her roles as tomboy 'Buddy' Lawrence on the ABC drama series FAMILY (1976–80) and later as tomboy-ish Barbara on the NBC sitcom EMPTY NEST.Kristy's first TV series was the CBS drama APPLE'S WAY (1974). The short-lived family series was unfortunately scheduled Sunday evenings at 7:30PM opposite the still-popular THE WONDERFUL WORLD OF DISNEY on NBC.
Then came FAMILY, the highly acclaimed series for which McNichol won two Best Supporting Actress Emmy Awards. I remember watching this show with my parents, and wishing that my family was more like the Lawrences.

In 1977 and 1978 McNichol appeared on two Carpenters Christmas specials. Following in Karen and Richard's footsteps, Kristy and her brother Jimmy recorded an album, Kristy & Jimmy McNichol, and released a single covering the Chiffons 1963 hit "He's So Fine".
Also in 1978, she starred in the acclaimed NBC TV-movie SUMMER OF MY GERMAN SOLDIER and had a role in the hit Burt Reynolds comedy THE END. I still think THE END was the best film Burt ever starred in.Then came LITTLE DARLINGS. This dirty little 1980 teen comedy co-starred teen rival Tatum O'Neal. Kristy and Tatum played high school girls away at summer camp involved in a contest to lose their virginity to Matt Dillon.
I cannot tell you how much I loved this film when I saw it in high school. I so wanted to be friends with slutty girls like Kristy and Tatum...and boys like Matt.After the success of LITTLE DARLINGS, Kristy appeared with Dennis Quaid and Mark Hamill in THE NIGHT THE LIGHTS WENT OUT IN GEORGIA (1981), based on the wacky Vicki Lawrence song from the early 1970s. From what I recall, the film does not tell the same story as the song.
Later that year, Kristi co-starred with Marsha Mason in Neil Simon's ONLY WHEN I LAUGH and was nominated for a Golden Globe Award for Best Supporting Actress.
McNichol's next project was the ill-conceived musical THE PIRATE MOVIE, co-starring THE BLUE LAGOON's frequently naked gay icon Christopher Atkins. This film was a crazy Gilbert & Sullivan mash-up that I tried watching about a year ago and it made my head hurt.
Next up came WHITE DOG, a controversial and highly acclaimed 1982 drama directed by Samuel Fuller, based Romain Gary's 1970 novel of the same title. The film depicts the intense struggle of a dog trainer named Keys (Paul Winfield), trying to retrain a dog that is trained to attack any black person. The film carries a powerful anti-racism message, but due to its sensitive subject matter it received very minimal release. It is currently out on dvd as part of The Criterion Collection.
When McNichol stormed off the set of the film JUST THE WAY YOU ARE, rumors of alleged drug use made Kristy a tabloid darling. She was diagnosed with clinical depression, and she eventually completed the film, but her professional reputation was damaged.After taking a few years off, Kristi was ready to work again. In 1988, she was cast in EMPTY NEST, a spin-off from the huge Susan Harris hit, THE GOLDEN GIRLS. Kristi seemed happy, healthy and looked great. But unfortunately her on-set behavior soon became an issue and was she let go from the series 1992 when she was diagnosed with bipolar disorder. She did return to the series for the final episode in 1995, which became her last screen appearance to date.Since 1995, Kristy has only taken voiceover roles. Her last public statement was in June 2001, when she said: "A lot of people have wondered what I've been up to. I retired from my career after 24 years. My feeling was that it was time to play my biggest part — MYSELF! I must say that it has been the best thing that ever happened to me. So many fans are disappointed that I'm not currently acting, however some may not realize that the process I'm in at this time is necessary and vital for my personal happiness and well-being."

Happy Birthday Kristy, this fan hopes to see you on screen again one day soon.