The company that owned what had been the DuMont TV station in New York bought WNEW radio in 1958 then changed the television beamer’s call letters from WABD to WNEW-TV. But the two had a link before this.
In October 1944, the two began exchanging programmes. WABD already had WOR radio using its studios for TV endeavours on Tuesday evenings. They were hosted by Bob Emery, eventually a children’s M.C. on television in New York and Boston. Critics didn’t rave about him.
There were no kinescopes in 1944, let alone video tape, so the only way a live show could air again was just like in radio—you brought in the actors to do a second show. That’s what the NBC station, WNBT, did with a play called “Two Soldiers.” Winning praise was soap opera juvenile Ronnie Liss, who also played Robin the Boy Wonder on radio.
WNBT also continued airing sports, moving its cameras to St. Nicholas Arena. It also broadcast football from the Polo Grounds.
Below are reviews and news from television in October 1944. There are two reviews for WBKB shows dated October 19th. One has to be incorrect. I am presuming because it appeared in print a week later than the first one, it is actually supposed to be from the 26th. Appearing on the tube that month were future game show host Jan Murray, Broadway actress Bibi Osterwald, Peter Lind Hayes’ wife Mary Healy, and that “gypsy,” Yul Brynner.
Were fur fashion shows appropriate for the small screen? The critics can’t agree.
Sunday, October 1
WABD Channel 4
8:00 p.m. Film.
8:15 “The Crime Quiz,” WNEW feature.
9:00 “An Affair of Dishonor.”
9:30 Missing Persons Report.
9:45 Fashion Show.
“CRIME QUIZ”
With Ted Cott, Dick Manners, Jo Ranson, Dick Hoffman, Bob Lewis, Arthur Jarrett, Leonard Shera, Allan Sloane, Connie Green, Margaret Ege, Jean Winter, Doris Moger and Palmer Ward
Director: William B. McGrath
Writer: Gene Hurley
30 Mins., Sun. 8:30 p.m.
WABD-DuMont, N. Y.
WNEW, N. Y. independent radio station, began a series of television programs on the DuMont station in N.Y. last Sunday night (1) in an exchange deal, whereby the other outlet airs a program anent video in exchange for time on tele. The inter-change should be of mutual advantage.
Initial sight show, produced by WNEW's Bill McGrath, which included Ted Cott, that station's program manager, and Jo Ranson, the outlet's publicity and special events director, with several femme members of its secretarial staff, was a clickeroo.
Stanza entitled "Crime Quiz," was partly comprised of queries anent specific characters in the whodunit field, and also the dramatizing of a mystery, with the board of Ranson, Dick Manners, editor of one of the detective mags in the Hillman group of periodicals, and Dick Hoffman, of the same publishing company, with Cott as interrogator, solving who killed whom.
Acting on the program was surprisingly good, considering that majority of players, including the principals, were having their first fling at television. Ted Cott, with wide experience in radio, was completely at ease before the cameras, and aided in getting others in the show in that frame of mind.
McGrath's direction showed promise, adding production values to the stint that aided the enjoyment.
WNEW will air programs on television every three weeks, according to present plans, with Paula Stone, station's Hollywood commentator, listed as next member of the outlet's staff to be used for video.
DuMont technical stall has improved in the past few months. Camera crews have finally nabbed the technique of garnering a good picture, and the technical crews at last are getting better results in montage settings, etc. All in all, this program is a winner. Sten. (Variety, Oct. 4)
Monday, October 2
WNBT Channel 1
8:00 Film: “The War as It Happens,” newsreel footage.
8:20 Feature Film: “Here’s Flash Casey” (Grand National, 1937).
9:20 Televues: “Next Time We See Paris.”
9:30 Films: “Wedge Plays” with Howard Jones (Van Beuren, 1931), “Music of the Stars.”
The FCC yesterday (2) approved permits for seven experimental portable-mobile television relay stations for Philco radio and television. The relays would link the
One is to be located at Honey Brook, Pa.; two at Havre de Grace, Md.; one at Southeast, Pa.; two at Sappington, Md., and one in Washington. Relays would operate reversably, carrying video programs from Washington to Philadelphia, as well as from Philly to D. C.
RCA was granted a construction permit (or a new experimental video station in Camden, N. J., and also an experimental portable relay station to operate in the same locality. (Variety, Oct. 4)
Tuesday, October 3
WABD Channel 4
8:15 p.m. Televisual Specialties.
8:45 “WOR Varieties.”
9:45 p.m. Fashion Show.
WOR-DuMont
Reviewed Tuesday (3), 8:15-9:30 p.m. Style—Variety. Sustaining on WABD, New York.
In an action-filled quarter hour, I. J. Fox presented a fashion show that was a good entertainment and did a selling job for the firm. Thanks to the scripting and production of Glorianne Lehr, the direction of DuMont's Eleanor Balz, and the co-ordinated work of the technicians, the show was much more than a mere fashion parade.
From opening shot of a beautiful Conover model wrapped in a luxurious silver blue mink coat turning slowly to off-screen singing of the company's theme song, to final group pic of four outstanding fur coats, program moved and held interest.
Miss Lehr was able to show, describe and sell 30-odd stoles, jackets, coats and fur pieces in addition to introducing Tony Roberts, who's responsible for the various I. J. Fox radio songs, and pianist Ruth Cleary. No particular pains were made to exploit the duo and their static appearance doing two numbers could have been omitted.
Each model stepped into the camera frame beside the firm's regal plaque instead of waltzing into full view, thus time was saved, which was well utilized by showing a complete picture of the garment, front and back. Models were exceedingly attractive and delightfully free from standardized prancings and posturizing.
Script had a definite institutional flavor pointing up fur breeding as a post-war biz. Entire theme was a salute to the American fur farmer and trapper. Furs were grouped into luxury, semi-luxury and budget types. Each garment was not described in detail. Some interesting fact about the animal or the fur's processing replaced the usual inane patter so often associated with the fashion show.
Miss Lehr mentioned recent articles in Click and Collier's which credited I. J. Fox with encouraging the development of fur breeding. Copies of the mags were shown in close-ups, adding variety to the camera work.
Special attention had been given to light arrangements. Each model stepped into the frame where lights picked up the sheen of the fur and made it possible to clearly see the intricately worked fur products. An impression of softness and luxuriousness was also transmitted.
Glorianne Lehr has been doing tele fashion shows for the past year and a half during which time she has constantly improved. From too gay chirping she has developed into a well-poised performer. Her voice is nicely modulated and her script is intelligent and interesting. This type of fashion show will fascinate women and entertain men, an important combination.
Bob Emery's WOR Video Varieties, with the same unimaginative and unprepared production, was on for an hour. Fog- horn Clancy and Jack Knapp, from the Madison Square Garden World's Championship Rodeo, were good fun. The miniature Knapp exhibited some plain and fancy roping that highlighted the WOR show. His Donut Roll, Ring 'Round the Rosie and others came thru as excellent entertainment. Cameras and lights aided in this seg. Every movement of the rope was caught and projected. The two sang cowboy songs, while Knapp accompanied on the steel guitar.
In speedy succession, Emery conducted a political forum with six participants, introduced a vet who held a puppy and talked about the care of young dogs, interviewed Barry Gray as a WOR personality (leaving him by himself for a moment after saying "do something"), brought on a gun expert who talked about firearms and conducted a game of charades.
Before starting charades, Emery said that the game was unrehearsed. As seg progressed it was apparent that the announcement wasn't necessary. The three gals from WOR. staff, Mary Corbett, Margaret Archer and Marsha Hultberg, and DuMont technicians, Ed Woodruff, Roger Coelos and Bill Wallace, may have had fun but the audience didn't. There were long pauses, awkward dead spots and a lack of the sparkle that makes for good programing. Everyone was confused as to the game's rules and it just didn't come off.
Perhaps an hour a week is too much show for any one person to handle. Surely, it would be better to use half the time end put on twice as good a program.
More would be learned by those involved and the audience would benefit by improved presentation. Wanda Marvin. (Billboard, Oct. 14)
Wednesday, October 4
WABD Channel 4
8:15 p.m. Film.
8:30 Television Workshop.
9:00 Variety Show.
Thursday, October 5
WCBW Channel 2
8 p.m. News, Everett Holles.
8:15 “Hearts of Gold,” Gay Nineties Musical Review
8:30 “They Were There,” war interviews.
8:45 American Battle Painting Exhibit—1776-1918.”
9:00 Motion Picture.
9:15 “Missus Goes A-Shopping.”
CBS
Reviewed Thursday (5), 8-10 p.m. Style—Variety. Sustaining on WCBW, New York.
There are three words that describe CBS's Thursday night show. The words are: unenterprising, unimaginative and unadventurous. After the lead provided by brash Ray Nelson in his Boys From Boise, the web's top tele execs should have realized that video is showbiz and needs guys who will take a chance. It is new, it is unplumbed and it requires imagination and guts. Pussyfooting around with radio patterns simply because the unknown is frightening will advance neither the industry nor a network.
Thursday, for all of the sluggish two hours, with the possible exception of The Missus Goes-a-Shopping and the news, was a case in point. Following Ev Holles's well-turned commentary, the production chiefs scanned Hearts of Gold. Now Hearts of Gold is a nice nostalgic songfest with the emphasis on the gay '90s. It was no better or no worse than it has been in the past. The direction was adequate, with lighting good, the choice of material showed taste, the set provided the proper atmosphere and the talent was pretty fair.
There was just one thing wrong with the show. Bibi Osterwald, who sings quite well, first hit the Main Stem in a little thing called Broken Hearts of Broadway, a meller served with pretzels. The Empire State Quartet also appeared in the show. That set a pattern. And CBS has done nothing to change it. Instead of experimenting with the act, instead of finding out what else the entertainers can do, instead of showing that they want to improve themselves and become showmen, the CBS brains simply went along on a comparatively safe bet. That's no way to do a job.
Bibi Osterwald shows signs of being able to put over a pop tune in a Betty Huttonesque style. And the quartet might be able to do jump numbers. Why not try?
Second case in point was Frances Buss's interview of the general in charge of the Office of Dependency Benefits. Showmen would have had the fascinating story of the ODB told thru a dramatization of the problems of servicemen's dependents, integrated with special shot films of the workings of the tremendously complicated office. But no. Some time ago CBS put on a couple of interviews that clicked because the participants were good at ad lib cracks. So they got good reviews. And you can't simply go along on the 100 to 1 chance that every interviewer will be a performer. But the boys keep trying to do it all over again. But playing safe means riding the skids, and a guy who rides the skids ends up riding the rods.
The show itself was competently directed. Nothing too terrible was wrong with the cameras, the lights, the sound or the set. At least nothing was wrong with the set except for the fact that it's the same one that has been used for four or five months on a number of shows (Vera Massey and assorted interviews). You can get awfully tired of the same set week after week after week.
Number three of the CBS highlights (it's fantastic, isn't it?) was another interview. This one tried hard to utilize the visual impact of what they occasionally remember is a visual medium. Gilbert Seldes chirped his way thru a chatter piece with a woman from the National Galleries, discussing in his own inimitable, facetious manner the exhibition of battle painting currently being shown at the Museum of Modern Art in New York. Again the stuff was routine. Photos of some of the paintings were scanned and lost not more than 90 per cent of their value. If they had put on slides, and if the show were presented on a night that had no other interview, it might have meant something. It didn't.
The Missus Goes-a-Shopping, even tho it suffered a very bad night, still had some of the ingredients of a video production. But for that, no thanks goes to the program staff. It happened to have been suitable for tele as a radio show and little adapting was ever done. Thursday, most of the jokes backfired, it limped along and was very slow in getting started—not that it ever went anywhere much. The answer seems to be that you can't get anywhere if you piddle around in a rut. Marty Schrader. (Billboard, Oct. 14)
WRGB, General Electric station, will rack another "first" for television when it originates "America's Town Meeting of the Air" for the Blue network Thursday (5). Josephine Lyons, of BBD&O, is handling arrangements for the sponsor. Reader's Digest. The Blue web will send its own technicians to Schenectady to supervise the straight radio phase of the program.
Moderator George V. Denny, Jr., in announcing (28) that the discussion of “Should the Morgenthau Plan for the control of Germany be adopted?” would be held in the WRGB studio, stated listeners who did not have video sets could hear the debate on their radios. Rex Stout, chairman of the Writers' War Board, will be one of affirmative speakers. (Variety, Oct. 4)
Friday, October 6
WCBW Channel 2
8:00 p.m. News Reports
8:15 “At Home” Variety Show
8:45 Motion Picture, Registration.
9:00 Motion Picture.
9:30 “War Review” with Maj. George Fielding Eliot.
9:45 Vera Massey, songs.
Balaban & Katz
Reviewed Friday (6), 7:40 to 9 p.m. Style—News, variety, special events. Sustaining on WBKB, Chicago.
There used to be an old saying, "You can't watch the game without a scorecard," well somebody ought to repeat the slogan for television program producing—"You can't have a good video show without plenty of rehearsal—plenty of it."
One portion of tonight's program at WBKB proved the need of the slogan conclusively. That portion was the part of the show developed to a good idea which went wrong, called These Are the Marines.
For 12 weeks These Are the Marines has been presenting good video shows illustrating the work of the U. S. Marines in combat. Tonight's, the 13th, was the exception. It was bad, plenty bad. And only because the show did not have enough rehearsal. Capt. Arthur Engel, marine public relations officer in charge of the program, admitted that for some portions of the opus he was able to have only one hour rehearsal. Show of which we speak was intended to show how the marines have used the wire recorder in combat during this war. It would have done that job very well if it hadn't been for mistakes.
For example, there was the reading of scripts by Captain Engel, Brig. Gen. A. F. Lorenzen and John Winterbottom, chief of the blood donor committee of the Red Cross here. These men had conversations read, that introduced dramatic battle scenes depicting the ways in which the wire record has been used by the marines. The portions read were stiff, very bad video. The dramatic portion would have been good video if the station's production staff had bothered to keep the hanging mike out of the pix and had paid enough attention to keep noises of moving props and cameras out of the production.
Again the dramatic sections were plenty good if the above-mentioned mistakes had not been made. The way in which the battle scenes were scanned, the costumes; background scenery and sound effects were good. The transition between dramatic and commentary was very poor because of the reading of scripts and because, for example, not enough preparation was put into the show to insure that during a demonstration of the wire recorder the machine would work. When, as happened, it didn't work, the program became a farce.
Other portions of the total program tonight consisted of a news commentary by Roy Engle, and June Merrill's Merrily We Roll Along quiz. The commentary was very bad because Engle read from wire reports all the way. Miss Merrill's quiz was above average because good optical impression questions were used. Of course, the station's production staff had to fall down here too, by having lighting that made shadows of figures apparent on the background and left some portions of the stage setting almost black. Cy Wagner. (Billboard, Oct. 14)
Saturday, October 7
WNBT Channel 1
8:00 to 10 p.m. Films.
PHILADELPHIA, Oct. 7.—Relay troubles of video have started, and the American Telephone & Telegraph Company must be smiling up their sleeves. AT&T has always felt that the only certain way to get radio programs or video programs from place to place was by land lines. While they have made applications for experimental tele relay stations, they still sincerely believe coaxal [sic] cable is the only real answer to consistent quality pix service between transmitters. First test program relayed from Philco tele outlet was the Duke-Pennsylvania football game (October 7). It was partially washed out by the time it reached New York thru Philco's own relay station, and by the time it reached Schenectady it was just an unpretty collection of blotches. Explanation was dodged officially, but engineers working on the show indicated that some radio interference developed locally and the signal just couldn't get thru the barrage. Second football program, skedded for today, was canceled by NBC, but the relay boys hope to have overcome the sabotager of the signal in time for a broadcast within the next fortnight. (Billboard, Oct. 14)
NEW YORK, Oct. 7.—"Your slip is showing," yelled by a technician at the WABD tele control board, is the DuMont boys' way of indicating that the iconoscope is not electrically centered. As in every biz, a tele slang is developing that may eventually become standard and accepted in the industry. For instance, at WABD the sweep osolater becomes a swabulator and damping resisters are called swamping resistors. (Billboard, Oct. 14)
Sunday, October 8
WABD Channel 4
8:15 p.m. Film: “Hollywood Runaround”
8:30 “Coast Guard Show.”
9:00 “Trial by Jury.”
9:20 “Thrills and Chills.”
Another advertiser experimenting with television on WABD is Felix Tausend & Sons, New York, manufacturers of Cel-O-sheen Tablecloths. Tausend, Oct. 8, will present The Savoy Opera Guild in Gilbert and Sullivan's "Trial by Jury." The "commercial" will show glass china and silverware from Black Star & Gorham, New York, displayed on Cel-O-sheen tablecloths. Program will be produced and directed by Norman D. Waters & Associates, New York, assisted by the Television Workshop. (Broadcasting Sept. 18)
Monday, October 9
WNBT Channel 1
8:00 Film: “The War as It Happens,” newsreel footage.
8:20 Feature Film: “South of Panama” with Virginia Vale and Roger Pryor (Grand National, 1937).
9:20 Televues: “Rigoletto Excerpts.”
9:30 Films: “Spring Training.”
Tuesday, October 10
WABD Channel 4
8:15 p.m. Televisual Specialties.
8:45 “WOR Video Varieties.”
9:45 p.m. Fashion Show.
"MAGIC HAT SHOP"
With Jeanne Shephard, Erin Kameron, Jede Charles, Sharon Shaw, Leonard Stokes and others
Producers: Don Shaw, Eleanor Larsen
Director: Ted Estabrook
Walter: Barbara Bender
30 Mins.; Tues., 9:45 p.m.
KNOX HATS
WABD-Du Mont, N. Y.
(Geyer, Cornell & Newell)
Representing a new approach to the presentation of a fashion show on television, "Magic Hat Shop"' on DuMont Tuesday night (10) proved to be an entertaining half-hour commercial stanza that succeeded in its objective showcasing of wearing apparel in a way to make people want to buy them.
Switch from other fashion shows is that the agency for the sponsor, Geyer, Cornell & Newell, built an entire dramatic and variety format around the models who displayed the hats. As a result, the program was entertaining as well as commercial and held the interest of viewers throughout. Camera crews did a good job of nabbing models and their wares from proper angles to bring out the best points, an improvement over several other DuMont fashion shows in the past.
However, the program schedule of this television outlet leaves much to be desired. Too many stanzas stated for certain tee-off time have started late, always with a plausible excuse from execs at the station. Last minute cancellations of shows, moving those that do go on up to an earlier hour, have also resulted in many video viewers missing programs because they dialed in too late. This particular program, due to begin at 9, did not get underway until 9:45 p.m.
Jeanne Shephard, as the magic milliner, and Erin Kameron were presented in a dramatic sketch. Jede Charles and Sharon Shaw vocalized several tunes capably, while Leonard Stokes delivered a well-played violin solo. Models on this stanza were all lookers, with plenty of poise. Sten. (Variety, Oct. 18)
Wednesday, October 11
WABD Channel 4
8:15 p.m. Film: “Always Kicking” with Jimmy Gleason (Educational, 1932).
8:30 “Celebrities Are People”.
9:00 “Wednesdays at Nine.”
Du Mont
Reviewed Wednesday (11) 8:15-9:30 p.m. Style—Drama and film, Sustaining over WABD, New York.
Reducing the running time of an evening's program and using two studios has made for smoother running video shows at DuMon't WABD, even tho a motion picture short used seemed to date the entire program. It was a football tale that ran about 15 minutes and it was corn from the word go.
If women's styles didn't change, it would have only been the script that seemed corny. As it was, everything about the pic, from the hats and football rules to the field goal kicked in the last 30 seconds seemed to be yesterday's sweetheart.
The first live show was produced by the Television Workshop, the Irwin Shane outfit. It was a video version of the standard one-acter, Angels Don't Marry, by Florence Ryerson.
The set, a hotel bedroom, seemed a little too homelike for a hotel room (with well-filled bookshelves, etc.), but at least it did seem like a room, which was something. What was wrong with the half hour was that sophisticated comedy must be played to the hilt on the visual air medium—or else attention wanders. It did in this case. A tale of a pair of scrapping ex-mates who really love each other, even tho they're supposed to be divorced, either moves with the impact of a machine gun or else you hear the sound (as we did) of the cameras moving around the studio—and you look at the artwork on the wall of a girl slipping out of her slip.
Performers must be good, extra good to mold an audience in one small set. Unfortunately Tileston Perry and Ana Lincoln, of Chicken Every Sunday, who played the scrappy pair, weren't. They were heavy-handed, and the maid who tried to advise them on the "nuances" of staying married, as played by Bobby Tibbetts, didn't lift the performance out Of the morass. With present lighting conditions it's not possible to obtain the clarity in all scenes that motion pix produce, so the voice must make up for what can't be seen.
And while on the seeing business, it's questionable video taste to have the scene end with the couple in bed and milady's hand seen in close-up hanging over the side of the bed holding a hankerchief [sic] which falls from her hand as her arm relaxes. One little boy asked, with good reason, "Why did the lady drop her handkerchief, mama?"
Camera work was good, lighting fair and the performers did okay job. The only trouble was that good wasn't enough to carry the material on a television set so small that movement on even a normal scale was impossible.
Following Angels Don't Marry, a telegenic fem, Eleanor Dennis, did a sales pitch on Pulitzer ties. She sold herself (lighting was so good it modeled her face) and what she had to sell, ties. They didn't do what they have done in the past, i. e., try to show technicolor ties in black and white. It doesn't work yet. She proved, however, that a close-up of a natural personality speaking directly to her audience can't be beat for commercial oomph. Miss Dennis had what Dotty Wootin has shown so often, announcing the DuMont shows—real warmth. Unfortunately Dotty didn't have it this night and besides they were so busy producing the Ruthrauff & Ryan Rinso show in the second -floor studio that they didn't light Miss Wootin even passably well.
The R. & R. production, a lift from one of the daytime soapies (Big Sister) well produced, proved a whale of a lot of points. First it answered beautifully the question whether or not radio players would bridge the change from sound to sight and sound. All three performers were top radio performers and came thru like a load of bricks. Whereas the legit performers in the Shane opery forced the viewers to concentrate on the pic to get the entire story, the radio actors, trained as they are to make their voices carry the illusion of character, created the parts they are playing without a wrinkling concentration. They made you look, but it wasn't necessary to watch every facial movement to get the story.
After the usual turntable display of Rinso boxes, Pat Murray, Lever Bros.' announcer who came thru okay, altho not as well as Eleanor Dennis, due to lighting, told how much the audience, in the past, hnd enjoyed meeting the radio personalities they had been hearing.
Not only did this R. & R. Lever Bros. presentation prove that daytime cliff-hangers can be good video but, to repeat, it also proved that a radio performer with something on the ball does a better video job under present conditions—and these conditions will continue for a long, long time—than a legit performer or any performer who hasn't had mike experience. Give Joe Julian (Steve) and Ann Shepherd (Rick) a double check on that list of mike people who are air-pic okay.
Also check Lieut. Com. Bob Edge as a swell television interviewee. Apparently the ideal net-up for an interview spot is to give the personality something visual to talk about. Bob Edge had some Jap trophies, each with some connection with the war, and Pat Murray let his tongue roll over each memento. He was real and really at ease before the mike and camera.
Lever Bros.' commercial was done in pantomime by a good-looking young married man who found that his wife used a strong soap that raised merry hob with his shirts. Wife being wise, wised up and used Rinso the next week and all was hunky-dory. Pat Murray ran the commercial gamut while the boy mimed.
Than the usual revolving stand, with the Rinso singing commercial and a bit of flag-waving musical, and Dotty Wootin signed off for DuMont and WABD. Lights weren't set too well this time either, and Dotty didn't facially shine. The minute anybody becomes casual about this thing called television ... something goes sour. Joe Koehler. (Billboard, Oct. 21)
Cleveland—United Broadcasting Co., which operates three radio stations—WCLE, WHK, Cleveland, and WHKC, Columbus—has asked the FCC for authority to build a new commercial television station in Cleveland. (Variety, Oct. 11)
Thursday, October 12
WNBT Channel 1
8 p.m. “Meet the Artist.”
8:15 Harvest Barn Dance
WCBW Channel 2
8 p.m. News, Everett Holles.
8:15 “Opinions on Trial.”
9:00 Motion Picture.
9:15 “Missus Goes A-Shopping.”
NBC
Reviewed Thursday (12) 8-9 p.m, Style—Interview, longhair music and barn dance. Sustaining over WNBT (NBC), New York.
If a program manager started out to try to mix the incongruous he couldn't have done a better job than NBC did video-wise this evening. They took an interview, a longhair piano recital and a barn dance and tied them all together—or rather they had one follow another, realizing perhaps that any attempt to tie up this trio was impossible.
The interview (opening offering) with Ens. Theodore P. Wallower was typical of those kind of shows that television will bring its audience off the cuff. It obviously wasn't rehearsed and the cameras kept shopping around for interesting shots, finding some, but most of the time getting run-of-the-mill pix. Interesting was the idea of having a noted sculptor do a head of the interview subject at the same time he was being given the conversational works. The two-ring attraction saved the interview from being a washout visually, but at the same time it frequently slowed down the verbal stuff to a walk. Eventually, it should be possible to combine two things like this, but it didn't quite come off this time. The fact that power failure threw the station off the air for some nine minutes might have cut the portion of interview that was really sock. Your reviewer was in no position to judge this with a dead-end tube.
Second feature was the piano playing of William Kappell, who knows how to make with the longhair keyboard. His playing was really something to listen to, but the camera work was pretty terrible. There must be some video producer who will realize that shopping around for camera angles while the pianist is playing Chopin is as wise as a girl using lip stick while kissing. Typical of most off-the-cuff presentations were the missed cues and one or two pauses where the viewer wondered if the pianist was waiting for applause—which said applause wouldn't be a bad idea when a pianist of Kappell's ability is at the ivories. Keep that camera still, boys, it will help viewing nerves.
Piece de resistance of the hour's entertainment was the Harvest Barn Dance, as rowdy a half hour as has hit the visual air. Ernest Colling, who produced the seg, deserves a deep bow, or whatever should be done to give clue credit in bare feet. Altho there were more than 20 performers, including a real horse on the barn set, it never once seemed crowded, and while a maximum of clarity was achieved only in close-ups it still was a grand shouting time for all tele fans. Some of the make-ups were slightly on the corn aide, but despite the fact that this was a city slicker cast (few of whom had ever farmed a half acre) it came thru the ikes okay. If it wasn't as smooth as radio barn dances that have top followings that could be traced simply to the fact that Colling tried to crowd a great deal into a short time. He was tops at grouping singers and dancers, and wisely cut a square dance routine to a minimum. With present camera limitations, square dances can't be followed and kept in focus too well. Only negative for this session was one that can't be licked at this time. That was the fact that on close-ups the background and atmosphere bits were always out of focus. Naturally, NBC sacrificed atmosphere clarity to obtain good close-ups.
NBC proved in this session that fairly sizable groups can be handled by today's video cameras as long as the producer doesn't stretch the camera's optical limitations too far. More light might have helped the barn dance session, but that's carping. It was okay stuff for all the hillbillies—city and farm. Joe Koehler. (Billboard, Oct. 21)
Balaban & KatzReviewed Thursday (12), 7:30 to 8:30 p.m. Style—Fashion show, singing, news. Sustaining on WBKB, Chicago.
Television will still have to be technically improved a great deal before it will be a sound commercial medium for the selling of women's clothes, especially furs. That was the most important thing developed by this program at WBKB. Station put on one of its elaborate attempts, a fur fashion show arranged by June Merrill for the Evans Fur Company. Altho the station's production staff and Miss Merrill did a good job, we just could not see how the program would have sold many coats. Technical limitations of the medium today are such that texture of fur, its luxury and richness are just not video noticeable. Papa would never buy a mink coat after watching tonight's WBKB fashion frolic.
The way one of the experts at the station explained, the technical limitations went something like this:
There is a lot of color in fur that has to be shown in all its many varied shades before the depth of the fur (one of its earmarks of luxury) is apparent. Today's black and white video misses these colors and thus fur depth is not discernible. What could have been a joy to behold to the feminine eye, is nothing but flat whites, greys and blacks without color perception.
When, however, pieces with predominant stripes or checks of black and white were used, the fur did show up a little better, altho still not to advantage. That is something for video boys and girls to remember. If they have to put on a fashion show before the days of color tele, they should use clothes that are contrasting in color and texture.
Lighting, the work of the models and backgrounds which made the girls appear as if they were coming out of a mirror, left nothing to be desired.
We did, however, find fault in the musical background used. This consisted of the piano playing of Johnny Betts. It was just too much for the human senses to grasp—the looking at the models, the listening to Miss Merrill's well written commentary and the sharp notes of the Bett's piano. It would have been much better if the station had used soft string music which would merely have set a mood. Than Miss Merrill's commentary would not have been lost as many times as it was. The combination of listening to the commentary plus looking at the models would not have been too much to require of the human senses of perception.
Another thing not cared for was the type of interlude used between portions of the show. During these interludes the cameras were focused at Betts at the piano, while he went thru the routine of singing and playing. This broke up the show too much. If it bad been necessary to have any interlude at all (altho we can't see why it should have been), it would have been much better to have used kaleidoscopic film with nothing but music.
Variety portion of program consisted of the singing of Sugar Cain, thrush currently appearing in the Park Row of the Stevens Hotel. Miss Cain didn't do badly, and someone had been smart enough to tell her to wear a striped suit that showed off very well because of its contrasting nature. Once the entire picture was blurred and out of focus because one of the technicians adjusted the wrong camera at the wrong time. News portion was handled by Joe Wilson. Station production staff, seeing evidently that they couldn't force Wilson to comment without reading, was smart enough to get him at right angle with good light that prevented his blending into the background. They had him use maps, too, which were effective. Right angle was from the three-quarter view approach. This made it impossible, as sometimes happens while televising commentators sitting down at a table looking down as they read—for the cameras to pick up the unbearable highlights of a commentator's forehead. Cy Wagner. (Billboard, Oct. 21)
General Electric
Reviewed Thursday (12), 8:10 p.m, Style—Variety. Sustaining on WRGB, Schenectady, N. Y.
As a full evening's entertainment, this show wasn't too good. Of course, if you're a Roy Rogers fan then the first hour, a Western movie, was okay, but the live portion of the show wasn't up to snuff. At least not for the first half hour.
Where this show really showed was in the last 32 minutes, with the standard one-acter out of the Sam French library. It was a farce, titled A Wedding, by John Kirkpatrick. Using a cast recruited from GE employees, obviously some of them not amateurs, WRGB presented a farce that clicked.
The play is simple and familiar to anyone who ever participated in little theaters as a performer or as part of an audience. Its one set and parts that show everyone off to advantage is a video plus. Where it was outstanding was in the staging.
The players were never cramped. Movement and motion was honest, and the cameras were always on the beam. These GE cameras take pictures that are no wider than those of other video studios, but they certainly seem wider. Even with four people on stage there was never a reeling of crowding or squeezing.
The story, a natural for laughs, takes place in the groom's bedroom. He loses his collar button, is afflicted with a nervous best man, a cynical friend, a weeping mother, a jittery aunt and a temperamental bride. Before it's over the groom is so punchy that he gets into an argument with his bride-to-be and the wedding is off. Of course, at final curtain the wedding is on again.
There's slapstick, as when the friend gets hit in the kisser with a towel. There's more when the same friend throws the groom on the bed and tries to stick his own collar button into the groom's collar. There are good performances by George Lascelles as the best man, and Don Putman as the friend. The rest of the cast, Loren Jenne, groom; Jane Garrett, bride; Myra Ripley, mother; Dave Kroman, pop, and Florence Sanford, aunt, were close behind.
Charles Wilder directed and Bob Stone produced and both did a good job. Good trick was the way they introduced the cast, with the familiar lap dissolve technique of films. With the name of each performer on a page, the performer fades in over his name, does a bit of business that identifies him and then fades out. Very effective.
Where the show was ineffective was in its special Columbus Day sequence and the Moylan Sisters. Former was a fast run-thru of the story of Christopher Columbus, with a narrator and couple of actors. It started with a kid day-dreaming in school, moved to Chris trying to get backing, his selling the queen on financing him, etc. Idea was good and the use of vignettes as a technique was also effective, but the entire presentation was a quickie and pointless and should never have been done unless it was going to be done well.
Worst bit, and this was a hunk mot of a bit, was the Moylan Sisters. They did five numbers in their familiar sing-song voices, as the Thrivo Kids. They had no appeal as video vocalists. Their voices and drab faces and personalities just didn't belong. Lou Frankel. (Billboard, Oct. 21)
Friday, October 13WNBT Channel 1
8:30 to 11 p.m. Boxing at St. Nicholas Arena, Monty Pignatore vs. Danny Bartfield (eight rounds), five other bouts. (debut).
WCBW Channel 2
8:00 p.m. News Reports
8:15 “At Home” Variety Show
8:45 Motion Picture.
9:15 Play: “Two Soldiers.”
9:45 Vera Massey, songs.
CBS
Reviewed Friday (13), 8-10 p.m. Style—Variety. Sustaining on WCBW, New York.
Gilbert Seldes's adoptation of William Faulkner's short story, Two Soldiers, the CBS magnum opus for the evening, was distinguished by two factors—fine acting and an encouraging feeling of uninhibited experimentation. As a production, it lacked that sense of cohesiveness and action required to hold an audience, but it was certainly the best of the few dramas CBS has attempted since its resumption of active broadcasting some months ago.
There is one over-all criticism of the production—a criticism holds the clue as to why it was not the smash success that the story's inherent dramatic qualities should have made it. Thruout the entire half hour there was not one single continuous sequence to give the viewer the feeling that here was a related dramatic presentation rather than a series of more or less unrelated events tied together with a slender thread of narrative. Brief scenes, indoor and out, interspersed with still photos and narration by the central character were, in all probability, a result of difficult studio conditions, but the total result left this reviewer with a feeling that many things had happened but none of them was clearly explained. The total impression was one of jumpiness.
Further, the presentation suffered from a static production. Action, which would have greatly enhanced the visual impact was at a minimum. In Faulkner's story. the portion dealing with the boy's trip to Memphis was a fine piece of writing. In video it became a bore. The group of scenic photos accompanied by the boy's narrative fell as flat as a flounder. The time could have been much better occupied with the development of the boy's feeling that be must join his brother in the army or by emphasizing the wastrel character of his father.
And another sequence, the one in which he is taken to dinner by his brother's lieutenant and his wife, was still another unnecessary gesture that had little bearing on the development of the plot. There are times when it is more than permissible to take liberties with the work or even so accomplished an author as Faulkner.
The opening shot, a still of the mountain home where the early scenes take place, accompanied by harmonica music, was impressive for its simplicity and effectiveness in establishing the mood. Sets were excellent, particularly the cabin interior, but the lighting was spotty. Direction rated fair with only one fluff, scanning of a size-up shot by a moving unfocused camera.
Gertrude Onnen, as the mother, turned in an accomplished job. even tho she was sometimes thrown by the Deep-South high-mountain accent. Ronnie Liss, well-known child actor, carried his role with elan, and Bill Thomas, as the brother, Pete, was excellent. Credit also goes to Robert Simon for his performance in the small but important role as the father. And it should be noted that adapter-director-producer Seldes was assisted by Frances Buss.
At Home was about the same as usual, which isn't bad. This department was pleased to note that one of its oft-repeated suggestions to use Bibi Osterwald, of the CBS video show, Hearts of Gold, in some pop numbers was finally acted upon, or perhaps too much credit is being taken. And this department is also very pleased to be able to say that Miss Osterwald acquitted herself well, indeed. She can slug in a Betty Huttonesque manner and if she will only learn that her hands can be a valuable part of her vocal equipment she'll get along. Youle Bryner, the gypsy Frank Sinatra, is back and still does a good job. Paquita Anderson once again demonstrated her excellence at rolling the boogie, proving that she should keep away from the arty stuff she has been dishing out. Patricia Bright did a broken-down set of alleged satires, and Don Weismuller danced well enough. Ben Feiner handled his cameras unobtrusively, which is the way they should be. He seemed to be enamored of extremely long shots that detracted a great deal from the show.
A good deal of the slush has been extracted from Vera Massey's Will You Remember?, leaving her only with some of the vilest lighting this side of Lum's Gardens to contend with. One shot in particular, which had her placed next to a bright lamp, was bad enough to merit some sort of booby prize. The light took attention right away from the singer. Several other shots put her in a position where the glare was so great as to obliterate her features and in others it was so dark that she couldn't be seen at all.
Some of the best animation that we have ever had the pleasure to see high-lighted Allan Jackson's news commentary. Jackson, subbing for Ev Holles, turned in a fine performance. Sequence of still photos to illustrate some of his talk was also neatly done. Marty Schrader. (Billboard, Oct. 21)
General Electric
Reviewed Friday (13), 8-10 p.m. Style—Variety. Sustaining on WRGB, Schenectady, N. Y.
The movie end of this show was not important. There were a number of shorts and an episode of Custer's Last Stand and a film cliffhanger. They, like most other films on video, were adequate filler and nothing more.
On the plus side were the live talent parts of the program. There was a good telenewscast, a good concert by a couple of high-brow vocalists and a good play.
Irma Hamilton, mezzo soprano, and Duke Marston, baritone, were the singers. As voices they were swell but the camera emphasizes the obvious routine bits of business used by this type of performer. It's not long before you're wondering bow adults can bring themselves to goof-off so in public. Camera work and lighting here was good. There was depth to the picture and none of the feeling that the performer had been warned to stand still and not move on penalty of walking off the screen.
Still a problem, are mezzo sopranos. No matter how good their voice there just doesn't seem to be anything that gives them a dramatic reason for being, at least not in television. The baritone can sing anything from a ballad to a chanty and be accepted but not the soprano.
The play, Conquest Over Darkness, was a prime chore. Larry Algeo, staff producer, wrote, cast, directed and produced what was more than just a television skit. Conquest is the first of a series about the development and growth of electricity. This chapter was subtitled The Golden Ox, or The Motor Which Harnesses Electrical Energy.
Algeo had to do a sizable amount of research, delve into WPA red tape for a permit to use raw film and finally go shoot some original footage to document his drama. He did a good job all the way.
Play is about the hardship of one Tom Davenport, a Vermont blacksmith who had an idea and wouldn't stop until it came thru. His idea was to build a motor to harness electricity. He did, too.
First scene had Tom in workshop ripping up his wife's wedding dress to get silk material to bind his wires. Second had Tom showing a working model to his pastor. High spot was Tom telling on the padre as a shortsighted gent holding back the world by his saying that the Almighty meant human beings to sweat at their work, therefore the electric motor should be destroyed not invented.
Then film took, over to show various electric motors at work and to emphasize their connection with Tom Davenport's original model. There were slide pix of his original scale model drawing from the patent office and pix of Tom and Mrs, Tom, too.
As a framework, the author used a storyteller. He took over the mood music and pencil sketches of man looking for light that served as scene setters. The storyteller was also anotator, narrator and commentator, latter when the film slides were on.
It was a good job all the way with Ed Flynn, the manager of WSNY no less, taking the accolades as Torn Davenport. He was really good. George Lascelles as the padre and Tudor Deming as Mrs. Davenport were not far behind. Charles Wilde was a happy choice as the storyteller.
Camera work was swell and thanks to the lighting there was a feeling of depth behind the players. This outfit has the answer to good television. It's quite simple. Plenty of rehearsal and plenty of thought before the show goes on the air. Lou Frankel. (Billboard, Oct. 21)
Saturday, October 14
WNBT Channel 1
8:00 p.m. Film: “Headline Woman” with Heather Angel, Roger Pryor (Mascot, 1935).
9:17 Film: “Global Air Route.”
9:32 Film: Short Subjects
Sunday, October 15
WABD Channel 4
8:15 p.m. Film: “Two Black Crows in Africa” (Educational, 1933)
8:30 “The Sketch Book.”
9:30 Coast Guard Show
Monday, October 16
WNBT Channel 1
8:00 Film: “The War as It Happens,” newsreel footage.
8:10 Film: “Battle of the Marianas.”
8:30 Film: “Shadows Over Shanghai” James Dunn, Linda Gray, Ralph Morgan (Grand National, 1938).
9:40 Televues: “Rigoletto Excerpts.”
Tuesday, October 17
WABD Channel 4
8:15-9:15 “WOR Video Varieties.”
Washington, Oct. 17.
Video will be used, for the first time in a war bond drive in the coming 6th War Loan...
Television will be used in New York, according to an announcement by the Treasury War Finance Division.
War Finance Committee of New York has made a tieup with DuMont for telecasts ever WABD, As a preliminary to the drive there will be seven half-hour broadcasts between Oct. 31 and Nov. 9 to recruit and train bond salesmen by the visual method. Plan is for stars of stage, screen and video to fill some of the spots on these programs.
Du Mont will install receivers in 12 of the 13 N. Y. bond offices and will provide volunteer workers from the 13th with a viewer at the DuMont headquarters. In addition, letters have been sent to all owners of tele receivers in and around New York, asking them to invite potential bond salesmen to watch the telecasts, with a view toward getting the largest possible audiences.
Arrangements are also being made for band sales telecasts during the drive. These will announce totals, display campaign posters, etc. (Variety, Oct. 18)
Wednesday, October 18
WABD Channel 4
8:15 p.m. Film: “Moonlight and Cactus” with Tom Patricola (Educational, 1933).
8:30 “The Magic Carpet”
9:00 “Wednesdays at Nine.”
DuMont
Reviewed Wednesday (18), 8:30- 9:30 p.m. Style—Variety. Sustaining on WABD, New York.
Bud Gamble's show for Armstrong Carpets, The Magic Carpet, is still a smooth, well-integrated and slightly unusual way of presenting a tele travelog. Gamble's show, considering the limitations of the DuMont studio, which gives directors double ulcers, is about as good as anything in its line.
There are, however, improvements that could be made. The transition shot, in which a model of a carpet and of the characters in the skit are used in front of a moving panorama of clouds to give the impression of a flying carpet, could be improved in three ways. Greater wobble to the camera in shooting the model would give a more realistic flying effect. Moving the roller-mounted panorama would also help. And the model should be reversed or the shot taken from a different angle in the return sequence, the portion of the show in which the performers are supposed to be returning to their home. The direction in which the model was heading was the same in the outgoing seg as in the return.
Director Gamble could also have improved his show if the same voices which were used in the opening skit narrated the travelog film.
The Lever Bros’ show, Wednesday At 9, was more than decent entertainment, featuring Vera Holley, singer on CBS's Fun With Dunn program, and pianist Si Walter. Pat Murray did her usual fine job in the emsee and commercial spiel, and the commercials themselves (how to make waffles) were mouth-watering, smart plugging for Spry. Cards showing the recipes were interspersed among the shots of the mixing and making and showed a grasp of the medium's visual impact.
However, there seems to be one great fault with the direction. Too many shots reached the air before they had been properly set up. Far too many times the camera, in the opening seconds of the take, was out of focus, off center or poorly placed. Panning, trucking and other moves are swell in a show, but the actual setting of a shot does not go.
A three-quarter dissolve on one of the closing shots, showing the piano and the singer, was not all it was intended to be because there wasn't enough light contrast in the set. One of the causes of that lack of contrast was the light-eating black piano. Even tho the top had been covered with a piece of light-colored paper, the exposed part still absorbed a great deal of light. Also several shots were taken too close to the performers and cut bodies and heads. Shots of two actors, four or more feet apart, should be taken from a distance where cameras have a wider frame.
All told, tho, the direction was not nearly as bad as might be gathered from the criticism above. There were several nice shots of the pianist and the keyboard and a swell pan from the singer to Walter's hands. The thing moved along well and should have pleased if not excited an audience. Marty Schrader. (Billboard, Oct. 28)
Thursday, October 19
WNBT Channel 1
8 p.m. Chaplain’s Commemorative Program, Mary Margaret McBride, others.
8:15 Opera: excerpts from “The Bat,” with Marita Fareli, Ralph Dumke, John Hamil, Earl Wrightson.
WCBW Channel 28 p.m. News, Everett Holles.
8:15 “They Were There.”
8:45 Books, Lloyd Goodrich.
9:00 Films: “The World We Want To Live In,” “Australia Has Wings” (1940)
9:30 “Missus Goes A-Shopping.”
CBS
Reviewed Thursday (19), 8-10 p.m. Style—News, variety and art appreciation. Sustaining over WCBW, New York.
Some of the productions that come forth from CBS's Grand Central Terminal studios seem skedded to justify the CBS opening announcements that "These programs are not presented to encourage you to buy a television receiver now." Going further, some of them would justify the announcer adding "Now—or forever."
With the exception of Ev Holles's news telecast, this was one of those "or forever" presentations. Holles's show is so well produced and the maps so vitally animated that it makes the rest of the airing seem off-a-worn-cuff. The news analysis doesn't stop with a map that's alive, but uses the top still news pix of the day to make the stuff seem alive. It's all done so smoothly that it proves that a top formula can be repeated day after day and still not stale. It has, however, to be a top formula.
They Were There, often a vital CBS tele seg, missed the ike this time with a USO troupe. The troupe, altho individually talented, came thru the pic tube as foreshortened hunchbacks and missed the rehearsal room atmosphere entirely.
The most difficult tele show is still and [sic] ad lib. affair. The cameramen and the producer must be supermen with three pair of eyes and multiple sets of cars. On this show lighting, camera handling and selection of material was all of the mechanical scanning era of video. Chalk it up as an error.
Third "attraction" was Lloyd Goodrich who talked about the painter Winslow Homer, about whom he has written. Goodrich is an author who should be neither seen nor heard. His book's swell stuff. The "art" of Homer is also tops, but when scanned in black and white it lacked depth and most of the art lost at least 50 per cent of what it had in the photos that were televised.
The only possible excuse for a tele seg like this is as a breather between two good shows. The viewer can walk away and listen and then drift in to see what the painting, about which the commentator is talking, looks like. That's okay, but on that basis the commentator has to have something in his voice. Lloyd Goodrich hasn't.
Following Goodrich there were a couple of documentary films, than the final offering, The Misses Goes A-Shopping, the housewife's Truth or Consequences. Here again the fantastic foreshortening made 'em all look like a bad night at Coney Island. John Reed King barked his way thru this session without an inspiration or a good gag. A swell way to kill a "party" like this is to force it. The half hour this evening should be definitely rated nolo contendere.
Ev Holles did justify the looking in. One other good air pic would have made it worth the price of admission. Nothing can replace thought in any facet of showbiz. It doesn't matter when an experiment goes wrong. What does matter is when a routine becomes stagnant and everybody fluffs an opportunity. Joe Koehler. (Billboard, Oct. 28)
"THEY WERE THERE"
With Mimi Dworsky, Jan Murray, Jean Darling, Paula Bane, Vivian Francis, Arnold Furst
Producer; Frances Buss
30 Mins., Thurs., 8:15 p.m.
Sustaining:
WCBW-CBS, N. Y.
During the time that "Variety" has been reviewing video programs with any amount of regularity it is doubtful whether there have been many stanzas; acted, written, performed, staged and directed on a classier level than "They Were There," which went out over the CBS N. Y. station, WCBW, last Thursday night (19).
If anyone had the idea that the fighting men overseas were being entertained by inferior performers sent over by USO-Camp Shows, this program knocked that premise into a cocked hat, A troupe of five entertainers, guys and gals who have been around in vaude, radio and films for several years, but still plenty youthful, were responsible for a real enjoyable show. This troupe is heading for overseas again shortly, despite the fact that all have been over least once before.
Telecast, half-hour in length and capably produced by Frances Buss, teed off with a short talk by Mimi Dworsky, of USO-Camp Shows, who invited the audience to visit a rehearsal hall with her, where a group of five performers were going through their routines prior to hopping off. Met at the door by Jan Murray, who proves to be the m.c. of the group and a comedian in his own right, Miss Dworsky is shown into a studio where Paula Bane is singing a tune, accompanied by a pianist. While she is rehearsing, Murray explains who Miss Bane is, and then introes Vivian Francis, tapster; Jean Darling, "Our Gang" comedies child star, who has blossomed into a peachy blonde dish with a swell voice, and Arnold Furst and his rabbit Oscar, magic act.
After some repartee between Miss Dworsky and each of the acts in which the kids tell a little about themselves, they put on a show typical of one they will do before servicemen, except that each does only one number because of time limitations. As long as there are youngsters around as eager and capable as these, those on the homefront need not fear for the morale of our boys on the fighting fronts. This troupe is capable of doing a topflight job wherever they play.
And another thing. There is nothing amateurish about the way WCBW technicians go through their paces, either. They start a show on time, are plenty hep about the handling of cameras and equipment, and even though the video lenses failed to do justice to the feminine pulchritude on display, the crew did a worthy all-around job. However, there still remains plenty of room for improvement in the makeup department. Those telecameras sure can distort a gal's beauty, especially in closeups. Sten. (Variety, Oct. 25)
Balaban & Katz
Reviewed Thursday (19), 7:30-8:30 p.m. Style—News commentary, variety, dramatic, home economics. Sustaining on WBKB, Chicago.
The best part of tonight's show was too short; its worst part, too long. The best part was the singing of Donna Dae, soloist with Fred Waring's orchestra. The worst part was a section of the home economics dramatic skit devoted to explaining the mysteries of making a veal roast.
Miss Dae, for some reason, sang only two songs, but she did them very well. The combination of expert vocalizing plus telegenic qualities (accentuated by the blackness of her hair) made her ideal television material. She held the attention of her audience with clever nuances of vocal shading. Her comeliness did not detract from her singing. Thereby she proved once again the "old" television axiom that sight plus sound, when each is good, makes for the most completely satisfying entertainment. If only the station had been able to program her for at least four numbers her portion of the show would have entirely satisfied her audience.
What's Cooking With the Scotts, the dramatic home economics part of tonight's show, had at one point the lowest television quality of the entire evening. What's Cooking, a regular series presented by the Commonwealth Edison Company, got off to a good start tonight with an opening that took place in a simulated average American kitchen. Mr. and Mrs. Scott discussed the rigors of fall house cleaning, a la Fibber McGee and Molly. But when the woman next door dropped in for a chat and Mrs. Scott explained to her for more than 10 boring minutes the fine points of making a veal roast (fine points, of course, that needed the assistance of an electric range) the show fell apart. The words electric range were brought in again and again until, just to retain his spirit of independence, every person in the audience must have wanted to go out quickly to buy a gas oven. It will make for much better television that will hold interest and thus increase sales effectiveness if in the future Commonwealth will stick to more comedy and entertainment and will stay away from dull home economies and sales punches that combine to put an audience to sleep.
News commentary on tonight's program was handled by Ann Hunter. Miss Hunter interviewed prodigious, young Joan Etlinger, who stated the reason why she was saving her pennies to make a contribution to the Community and War Fund. Joan's youthful charm and sincerity gave this portion of the commentary an effectiveness that undoubtedly resulted in the members of the audience resolving to contribute to the fund. Miss Hunter also described a visit she made recently to a European refugee camp in Oregon. It was interesting, and no mistakes were made in lighting or camera work. Lee Phillips rounded out the program with his Magical Mysteries excursion into the land of sleight of hand. Phillips must be complimented for one thing at least, and that was his use of very large pasteboards during his card trick routines. The cards were about 6 by 10 inches, and altho their unusual size made them a little difficult to handle, they showed up with complete detail on the television screens now being used. A few times, however, notably during his use of a small wand and rings, his props were not seen by the audience and his tricks could not be followed. The use of the large cards points the way. For television magicians will have to use big props at all times. Cy Wagner. (Billboard, Oct. 28)
Friday, October 20
WNBT Channel 1
8:30 to 11 p.m. Boxing at St. Nicholas Arena, Tony Janiro vs. Santa Bucca (lightweight, eight rounds), Jackie Connors vs. Nat Liftin (welterweight, eight rounds).
WCBW Channel 2
8:00 p.m. News Reports
8:15 “At Home” Variety Show
8:45 Margaret Arlen interviews Milton Bacon.
9:30 Discussion: Presidential Campaign Strategy
9:45 Vera Massey, songs.
Saturday, October 21
WNBT Channel 1
8:00 p.m. Film: “The Rogue’s Tavern” with Wallace Ford, Barbara Pepper (Puritan, 1936).
Sunday, October 22
WABD Channel 4
8:15 p.m. Film: “Torchy’s Loud Spooker” (Educational, 1933)
8:30 Coast Guard Show
9:30 “Blackout Mystery,” drama.
9:30 “Light Fingers, Warm Heart,” drama.
First use of television to advertise men's underwear will occur Oct. 22 when Augusta Knitting Corp., Utica, N. Y., sponsors the Blackout Mystery on WABD, DuMont video station in New York, for Jones Health Underwear. Agency is Norman D. Waters & Assoc.; New York Television Workshop, New York, assisted in the production. (Broadcasting, Oct. 9)
Monday, October 23
WNBT Channel 1
8:00 Film: “The War as It Happens,” newsreel footage.
8:12 Film Feature: “Nothing Sacred” with Carole Lombard and Fredric March (UA, 1937).
9:28 Televues: “Beethoven’s Violin Concerto.”
10:00 Boxing From St. Nicholas Arena, Billy Arnold vs. Ernie (Cat) Robinson (welterweight, eight rounds).
Tuesday, October 24
WABD Channel 4
8:15 p.m. Televisual Specialties.
8:45 “WOR Video Varieties.”
DuMont
Reviewed Tuesday (24), 8:15-9:15p.m. Style—Dance, drama. Sustaining on WABD, New York.
Rhythm was the title of Ray Nelson's show for the evening and rhythm was what it had, plus a dash of sex, plenty of showmanship and enough commercial appeal to make it a salable tele package. Nelson made mistakes—plenty of them, and they will be pointed out later, but outstanding about this show was the fact that it was what the public wants—entertainment.
Rhythm was strictly a dance and music. No talk allowed, even in the commercial. Program opened with plaque plug for Tintex, and scanning of a gal deciding what to do with some old unmentionables she had around the house. Comes a flash of inspiration and she gets the bright idea of dyeing them with Tintex. That was all. Nothing sensational, but it should get viewers to buy Tintex.
From there the camera went to a plaque explaining that the earliest dances were purely rhythmic. Screen took to a whirlpool effect (painted on a piece of cardboard and spun) that blended well with jungle drums. It dissolved to a gal dressed in a leopard skin, one Anita Carroll, who did a primitive ritual dance that left viewers, male and female, not limp, but tense. From there the show moved along to a series of dances in the modern, Spanish, impressionistic, Russian and classical ballet veins, all well executed by Margaret Severn, the United Nations dancers, the Georges Leon dancers and Miss Carroll.
Dance sequences were separated by the whirlpool effect and the jungle music. The whirlpool gave a good impression of transition, and the music, perfectly cued and dubbed off disks on to e. t. worked beautifully. And it eliminated the necessity of using the studio mike.
Camera work, however, was hardly a model of directorial perfection. In several places, bodies and/or heads were cut. On two occasions Director Nelson's anxiety to catch a dancer going up into the air led him astray. The DuMont studio has a low ceiling and the overhead lights came into the picture. One of his dissolves from whirlpool to stage was swallowed, spoiling the whole effect. Towards the end one of the cameras moved off the whirlpool before the next shot was put on the air, and viewers saw an out-of-focus pic of a none-too-decorative prop man.
In one of the interpretive dances, Margaret Severn used masques, as she has on the stage for many years, to satirize several types of personalities and, wearing them, danced out her interpretation of the people. Dances would have been more effective if Nelson had used close-ups of the masques, thus giving the viewer an idea of what Miss Severn was driving at.
Otherwise the program was typical of the director's recent work—brash, experimental, different and intelligent. He makes mistakes but his is one of the most refreshing minds in New York video. And Georges Leon rates a bow for some pretty fine dance direction.
Bob Emery put on a decent show for the SPAR recruiting drive. It was rather routine video drama, not at all enhanced by amateurish acting, but it put across its point without too many fluffs.
DuMont's announcer, Dotty, does a fairish job on the intro chores, but she should be more careful in the future not to move away from the camera (and the hot lights) before the dissolve to the next shot is complete. Marty Schrader. (Billboard, Nov. 4)
Washington, Oct. 24.—Eleanor M. ("Cissie") Patterson, publisher of the Washington Times-Herald, and member of the Patterson-McCormick clan, filed an application Mon. (28) for a commercial FM and television station here.
Similar applications filed by Filene, Boston department store, for outlets in that city. (Variety, Oct. 25)
Wednesday, October 25
WABD Channel 4
8:15 p.m. Film: “A Hockey Hick” (Educational, 1932).
8:30 “Pulitzer Creations Presents.”
9:00 “Wednesdays at Nine.”
Thursday, October 26
WCBW Channel 2
8 p.m. News, Everett Holles.
8:15 “Opinions on Trial.”
9:00 Films.
9:30 “Missus Goes A-Shopping.”
Balaban & Katz
Reviewed Thursday (19) [sic], 7:30 to 9 p.m. Style—Drama, news, home economics. Sustaining on WBKB, Chicago.
October 19, 1944 ought [sic] to go down in the books at WBKB as one of the few times the station did first-rate television programing that indicated that station personnel knew how to use ingenuity and thereby did their bit toward concretely illustrating the potentialities of the video medium. Most of the ingenuity and good work was shown in the dramatic offering, Perfect Ending. Some of it was shown in a news commentary program utilizing the combined and commendable efforts of Commentator Don Ward and Cartoonist Charley Werner, of The Chicago Sun.
As Ward commented about the news, Werner drew cartoons depicting scenes and characters in the news. Seldom has a more effective way of doing a television news program been seen. The words of the commentator were not lost while attention was being directed toward the work of Werner. Sometimes the camera was on the cartoons while Ward talked; sometimes they were on Ward while Werner drew. But each time they were focused on one or the other it was at just the right time, just when he was making his most noteworthy contributions. The director, Kit Carson, and the girls who handled the cameras and lights, deserve much credit for the success of this portion of the program. The station’s map department deserves credit for the excellence of the news segment, too. Up to now the station has been satisfied to use pin and ink map work. For tonight's news program, however, they had prepared topographical maps. They made a paste and shaped in an exact reproduction of regions in the news. Mountains, valleys, land and sea stood out in bold relief, thus increasing the visual impact of the maps.
The dramatic portion of the program presented under the direction of Fran Harris left little to be asked for. It was dramatic entertainment that, considering the technical and studio space limitations of video today, was almost as artistically satisfying as anything Hollywood could offer with the same plot, actresses and setting.
Miss Harris took a one-act play written for the stage by Ryerson and Clements, adapted it for television, rehearsed her cast for about 7 hours and came up with television that would be satisfactory video entertainment even 10 years from now.
Much of the success of the drama can be attributed to good settings, excellent lighting that was well modulated, and to the acting of Elmira, Roessler, Dorothy Jacobson and Ruth Shames, but most of the success was directly traceable to the use of ingenuity. The plot concerned the efforts of a fem Hollywood playwright to get a scenario finished and how she finally got her inspiration from a triangle situation in which she herself was involved. The entire story, using only three women, was laid in a Hollywood apartment decorated in a sophisticated style that reflected the general theme and setting of the story's plot. To establish this theme the station used its first bit of ingenuity. At the beginning, one camera was focused on a photograph of a skyscraper apartment house. Another camera was focused on type giving the credits to actresses, authors, etc. By the use of a television dissolve the electrical impulses of the subject matter picked up by each camera were fused together. The camera on the credits panned down while the other stayed on the photograph. The result was that the apartment house was the background of the credits, which because of the panning action of the camera, seemed to move up and out of the picture. It was very effective. As good as Hollywood could do to establish pre-drama mood and theme.
Even tho ingenuity was also displayed at times in the drama production-as for example, when a door bell rang there was a close-up of a hand pushing a door bell button—common sense was not used often in the co-ordination of sound and sight. For example, one time when the authoress pounded a typewriter it sounded as tho someone were operating a trip hammer in the studio. FM, which is used for sound at WBKB, picks up the slightest noises and presents them with exaggerated clarity. Someone should have thought of having the authoress use a noiseless typewriter, or someone should have moved the boom mike back.
Ingenuity was also used in the programing of a news shot that was more in the nature of a special events. Dr. Margaret Mead, an official of the Committee on Food Habit, now holding a meeting in Chicago, was featured. But instead of merely interviewing Dr. Mead, the station wove a little drama round her and thus more effectively explained, by utilizing the potentialities of television, the dietetic aims of her oganization.
The home economics portion of the program consisted of June Merrill presenting George Mordikian, famed San Francisco chef. He explained the ways in which he makes salads and other foods for which he is best known. We still can't understand why the station doesn't program this type of show in the afternoon. It would be much more enjoyable for a predominantly feminine audience than for one including men. Cy Wagner. (Billboard, Nov. 4)
Friday, October 27
WNBT Channel 1
8:30 to 11 p.m. Boxing at St. Nicholas Arena, Cleo Shans vs. Nat Litfin (lightweight, eight rounds).
WCBW Channel 28:00 p.m. News Reports
8:15 “At Home” Variety Show
8:45 Films: “The Battle For the Beaches” (OWI Dept., 1943), “Report to Judy” (OWI, 1944).
9:15 Play: “Two Soldiers.”
9:45 Vera Massey, songs.
“TWO SOLDIERS”
With Ronnie Liss, Bill Thomas, Gertrude Onnen, Gilbert Ferguson
Writer: William Faulkner
Director: Gilbert Seldes
30 Mins.; Fri., 9:15 p.m.
Sustaining
WCBW-CBS, N. Y.
Repeat performance of William Faulkner's short story. "Two Soldiers," two weeks after its first presentation by the CBS video stuff, was praiseworthy if for no other reason than because Seldes, his light crews, cameramen and other production personnel were willing to experiment. Instead of the usual one-set tele show, bathed in floodlights, this CBS venture boldly strode in the opposite direction.
Half lights, shadows, striking silhouette shots and fast camera switches gave the show production values comparable to current film fare and, although not always successful, the new approach at least made for attention-grabbing technique without which television is going to be hard pressed to build and hold the looked-for postwar nationwide audiences.
But, instead of depending entirely on camera effects to sell the show, Seldes wisely gathered a cast of first-raters with narration burden of the hillbilly yarn well taken care of by young Ronnie Liss. As a matter of fact, "Two Soldiers" also might be considered an experiment to decide whether tele can stage shows during which the ear alone will be sufficient to follow the story line. This, of course, has been discussed in relation to daytime programming aimed at housewives unable to give full attention to the screen.
"Soldiers," sifter the scene and situash was set early in the videocast, could he followed reasonably well from the spoken lines—after all, a writer of Faulkner's stature doesn't appear in copiously illustrated volumes. His racket is creating pictures via written words.
Story, dealing with outbreak of war and its effect on a simple Tennessee mountain family, packed plenty of Joe Louis along with heartthrobs and a touch of patriotic fervor. Biz of trying to create illusion of youngster traveling by bus to join his older brother, who enlisted in the Army, didn't quite come off. Studio and set limitations just were too much to overcome, although technique tried probably will wind up standard practice when “studios of tomorrow” arrive. Bill Thomas, as the older brother, together with Gertrude Onnen (Maw) and Gilbert Ferguson (Paw), kept pace with the Liss performance. Frances Buss assisted in production chores. Donn. (Variety, Nov. 1)
Saturday, October 28
WNBT Channel 1
1:45-2:00 p.m. Preview
2:00-4:30 Football: Army vs. Duke at the Polo Grounds.
PHILADELPHIA, Oct. 28.—Philco Radio & Television Corporation has filed with, the FCC an application for a new experimental television station on Channel 4 for the metropolitan area of Washington, to be located in Arlington County, Va. Proposed as part of the experimental Philadelphia-Washington television relay link granted by the commission October 2, the new video outlet would also be used to explore the area of Washington and vicinity as a television area.
Philco, which operates WPTZ here, pointed out that the investigation would be "original, as no television transmitter has yet been put in operation as a terminal for a two-way experimental television relay link, or operated. in the Washington area." Estimated cost of the project is $150,000.
A portion of the 100 television receivers in the Philadelphia area, distributed among the company's executives and engineer, are to be removed to the Washington area for the experimentation. Washington operation would be of a technical nature, as program testing already has been conducted by Philco elsewhere. Materials for the outlet are to be obtained thru the WPB directive of July 22 authorizing materials for developmental construction. (Billboard, Nov. 4)
NEW YORK, Oct. 28.—RCA-Victor will sponsor over WNBT, NBC station, a series of video shows featuring Victor recording artists, Walt Disney CIAA pix and special events. The series, which preems November 17, will be presented every Friday.
Tentative format calls for some live shows with Victor artists, films that Walt Disney made for the CIAA that have never been shown before in this country, and several other types of pix. Program, called The World in Your Home, will be bossed by John Williams, tele manager for NBC; Paul Alley, who heads the web's film set-up, and Dr. Herbert Graf, tele opera director. (Billboard, Nov. 4)
NEW YORK, Oct. 28.—CBS tele is readying a new show, Next Month in New York, dealing with local items. It will attempt to scan future events of interest. Actual format has not yet been set by Director Paul Belanger.
It is understood, however, that a great deal of the material will be slanted so that it can easily be made into a participating sponsored show. (Billboard, Nov. 4)
NEW YORK, Oct. 28.—For the first time in history, three New York video stations will telecast election returns November 7. CBS's WCBW, NBC's WNBT and DuMont's WABD will all try their hand at giving video audiences visual coverage.
CBS's plans call for scannings of a dummy newsroom, interpretations and analysis and animation of trends on the animator. DuMont, whose show will be run by the Charles M. Storm ad agency, the New York Daily News and Station WNEW will rely on pretty much the same techniques as will NBC.
Trade feels that the coverage will be a test of the impact of the three orgs, since for the first time viewers will be able to stack them up against one another in the same type of show. (Billboard, Nov. 4)
Sunday, October 29
WABD Channel 4
8:15 p.m. Film: “Loose Relations” (Educational, 1933)
8:30 “Thrills and Chills” with Doug Allan.
9:00 “Arthur Murray Time.”
Arthur Murray and his wife will teach the rhumba and jitterbug routines to Tars and Spars on the DuMont, N. Y., station. WABD, Sunday (29) at 9 p. m. Stanza will be sponsored by Flatterite Hosiery Co.
Television Workshop is producing and the Norman D. Waters agency is handling for the sponsor. (Variety, Oct. 11)
Monday, October 30
WNBT Channel 1
8:00 Film: “The War as It Happens,” newsreel footage.
8:10 Film Feature: “Forty-Eight Hours” with Leslie Banks and Elizabeth Allen (British-AFE, 1942).
9:35 Televues: “Excerpts from Schubert’s Unfinished Symphony.”
10:00 Boxing From St. Nicholas Arena, Lulu Costantino vs. Leo Dulmaine (lightweight, eight rounds).
Tuesday, October 31
WABD Channel 4
8:15 p.m. Treasury Series No. 1
8:45 “WOR Video Varieties.”
DuMont
Reviewed Tuesday (31), 8-10 p.m. Style—Interview, pix, variety. Sustaining on WABD, New York.
Bob Emery, who has been struggling along trying to do variety shows for WOR over DuMont, reverted Tuesday to his most noteworthy talent, kid shows, and did rather well at it. If he cleaned up some of the very rough spots, changed the angle from Halloween, a one-shot at best, and put it on at 5 o'clock as a kid's barn dance, he would have a salable format.
General idea was a Halloween barn dance with variety acts and a hodge-podge of several other ideas thrown in the stew. A couple of teen-agers sang well enough; the entire cast did a square dance; a quartet went thru a standard chirping routine; people played games; there was a costume contest and an exhibit of Halloween masques. All of that might conceivably fit into a general pattern. It did not come off too badly.
What we couldn't understand, tho, was the purpose of having one of the cast switch on a prop radio and have everyone sit around listening to an e. t. of Bob Emery reciting something or other about goblins. It was certainly not visual and had no place in the show—except perhaps to satisfy a "director's" ego.
The camera was handled in such a way as to make the viewer feel that Director Emery played little part in setting the shots. A stronger hand on the helm, trying and getting definite angles, would have eliminated the deadening succession of routine long and close shots. One effect, in particular, was intriguing. That was the certainly unequal and charming idea of having an out-of-focus doughnut, suspended from a string, swinging in front of the faces of a singing duet. A little rehearsal and planning could prevent miscarriages like that. Most of the music was dubbed on a disk but part of it came from a piano in the studio. The music cues, also because of insufficient rehearsal, came in slowly or overlapped.
In one portion of the show one of the characters told a ghost story that was handled very nicely. General idea of the tale was about a dead woman who comes back to haunt the living. A lap dissolve was used to show the ghost appearing in the mind's eyes of the kids to whom the story is told. It came thru effectively, giving an eerie overtone to an otherwise gay scene. There was, however, one error. The sound cue preceded the visual cue by at least three minutes. The woman who did the talking was almost half way thru her spiel before the camera moved over and singled her out, giving the viewer the momentary impression that she was off camera rather than in the background of the shot.
A few production pointers would not be amiss. There were far too many people on the set for ease, camera convenience and clarity. The square dancing, theoretically a gay, happy and lively part of a party, was singularly uninspired. One Mary Healy was introed to judge the costume party. Just who she is was never explained, nor why she is an authority on costumes. Too many of the people in the show were obviously not actors and their ages ranged, literally, from 6 to 60, giving the impression that Emery had invited all his friends to be on the show, whether they had anything to contribute or not (most of them had not). The finale, in which everyone waltzed around the place, was dismal, as half the people didn't know how to waltz and those who did had no waltz room. Emery might also be more careful to see 'that his credits are centered on the screen. Some of them were not Tuesday night.
Doug Allen opened DuMont's evening with one of his Thrills and Chills shows. It was neither thrilling nor chilling. It was, however, a fair enough way to intro the films taken in China by Capt. Ray Scott, signal corps photog who spent many years covering the early phases of the Sino-Japanese war. The interview was handled well enough and Capt. Scott's pix, while losing a great deal of their effectiveness in tele, still had much interest. Allen's show, certainly no sensational flash of genius, was a decent vehicle for educational material on film. Marty Schrader. (Billboard, Nov. 11)
No comments:
Post a Comment