At the start of 1945, NBC was in the television business. CBS was as well. Even Mutual’s flagship station was putting on a night of programming on the DuMont station.
Only one major radio network was left behind. But that would soon change.
And the network would be getting a name change, too. It had kept the “Blue” tag when the FCC ordered it to be spun off from NBC (which then dropped the name “Red” for its link-up of stations). In late 1944, it added the name “American Broadcasting Company,” dropping “Blue” in 1945.
The company wasn’t quite ready to build its own TV station, with the war taking up available equipment. It signed a deal with DuMont—the same as WOR and WNEW radio—to use its airwaves. In fact, the arrangement continued for several years after the war.
At the end of January, NBC announced it was going to expand programming once again on its only station, WNBT.
Television magazine, in its January 1945 edition, helpfully summed up the TV industry as of the start of the year.
StationsLooking at programming for the first month of 1945, there were repeats of some live shows (no kinescopes then, and filming simultaneously as broadcasting was not feasible). The March of Dimes made a big push in January; appearing before TV cameras with a plea was silent screen star Mary Pickford. Also making his TV debut was Arnold Stang, eventually Henry Morgan’s radio/television sidekick and the voice of Hanna-Barbera’s Top Cat. Three others who voiced cartoons at Hanna-Barbera—Bea Benaderet, Janet Waldo and Cathy Lewis—were to make their first TV appearances this month, but there was a snag.
The Blue Network is negotiating with the DuMont and General Electric stations for use of their facilities . . . Paul B. Mowrey, veteran producer formerly with the CBS video department, is now Blue’s supervisor of television.
WABD (DuMont), New York, is in the throes of expansion, with workmen busily constructing an addition to the recently opened Studio B . . . For the second consecutive year, George Lowther has directed an adaptation of Dickens’ A Christmas Carol.
WCBW (CBS), New York, is believed to be planning extra broadcasting hours on a new Tuesday schedule, which will be added to the station’s present Thursday and Friday evening schedules. WNBT (NBC), New York, is understood to have an expanded program for live shows in the works for this year—but no one’s talking—at least until the allocations situation clears up . . . A commercial rate card is known to be in preparation.
WPTZ (Philco), Philadelphia, was recently visited by a camera crew from RKO-Pathe, which photographed the station’s remote football setup at the University of Pennsylvania’s Franklin Field for a film short on television soon to be seen in movie houses.
WRGB (General Electric), Schenectady, N. Y., is expected to begin a series of experimental commercial stanzas produced by the station’s program department, which aims to learn how some productions are going to be treated commercially.
WBKB (Balaban & Katz), Chicago, is planning a lot of commercial activity with advertising agencies . . . Comdr. Bill Eddy, former general manager now on leave to the Navy, is touring the country recruiting likely youngsters for naval radar.
W9XZV (Zenith), Chicago, has been off the air while the final stage of its transmitter has been rebuilt . . . Broadcasting is expected shortly.
W6XAO (Don Lee), Hollywood, has scheduled a fortnightly program by the newly formed workshop of the Affiliated Committee for Television, which has been organized by the Hollywood guilds and unions. Shows are written and produced co-operatively for the sake of learning the video technique.
W6XYZ (Television Productions, Inc.), Hollywood, will resume this month its war-service program of touring Army and Navy hospitals in this vicinity with a mobile unit.
The war was on, so there were plenty of war shorts, along with movie features from English and B-list studios and old one and two reelers, including Amos ‘n’ Andy’s “Check and Double Check,” which wouldn’t go over too well today.
And you’ll recall DuMont in its heyday had Jackie Gleason hosting “Cavalcade of Stars.” DuMont loved the word “cavalcade” and applied it to a number of war-era shows. Among them was one this month called “Cavalcade of Corsets.”
Monday, January 1
WNBT Channel 1
8:00 The War As It Happens.
8:10 Feature Film: “The Amazing Adventure” with Cary Grant and Mary Brian (Empire, 1936).
9:14 Film Short: “Dances of the USSR.”
Tuesday, January 2
WNBT Channel 1
8:30-11:00 Wrestling at St. Nicholas Arena.
WABD Channel 4
8:15 Film Comedy.
8:30 New Year’s Greetings.
9:00 Film.
Wednesday, January 3
WABD Channel 4
8:15 Variety Show.
8:45 Films.
8:55 Shopping Show.
9:00 Variety Program.
DuMont
Reviewed Wednesday (3) 8:15-10 p.m. Style—Variety and films. Sustaining on WABD, New York.
Macy's debuted into tele advertising with a 5-minute-45-second show that probably did as much for tele programing as it did for the department store prestige. Production was handled RKO Television, directed by Tom Hutchinson and had Helen Lewis as Martha Manning taking the audience thru the store's Corner Shop.
Miss Lewis conducted her little to with the air of a friend pridefully exhibiting a collection of precious antiques. She led her audience to each piece, touched it lovingly while explaining its past and its possible future use. She mentioned prices almost as an afterthought so that watchers didn't feel they were being sold a bill of goods.
The script, the lighting and Miss Lewis's presentation made the short show an altogether entertaining bit. Every watcher will retain a visual and mental pic of the Macy Corner Shop and its wide variety of offerings. They will feel that they were on the personally conducted turn around the shop and will want to return when they are in the market for items for sale in the department.
Reversing the procedure too often followed in some tele shows, RKO productions rehearsed the 5-minute-plus program 11 hours, eight of them with cameras. The practice paid off. Every movement of the camera and mike was cued to the script. Miss Lewis and the shop's articles were at all times in perfect focus and properly lighted to bring pix of clarity and depth to the screen. Shifts from camera 1 to camera 2 were accomplished with amazing dexterity. Entire production was of a high caliber that entertained thruout, proving that an out-and-out commercial can hold viewer interest without a singer or dance in to do a stint.
Macy credits at beginning and end with background of recorded music were none too successful. The printed signs that were changed by hand are to be replaced with a film loop which will probably add a finishing touch.
Realizing that the present tele audience is in the main an upper bracket gang, items exploited were in the luxury price range. Script did not mention Macy's 6 per cent lower pitch but stressed quality and was aimed to whet the collector's and gift giver's appetite. Miss Lewis handled her chore with assurance, talking neither up nor down to her audience. Production can be termed another Macy merchandising milestone.
Harvey Marlowe, who has directed and produced a number of one-act plays on WABD, conceived, wrote and directed So You Think You Have Talent that made its bow tonight. Title is self-explanatory. Tele aspirants came on and did a turn while Bob Strauss ringmastered the proceedings.
Singers Toni Russell and Vincent James, dancer Rosito Cesio and comedienne Elsa Freed contributed to a pleasant half hour. Eddie Frank and his five-piece ork accompanied the entertainers and held the spot for a couple of dance numbers. Strauss' script was light and the emsee projected well. Facial animation and ease before the cameras indicated that he'd been there before.
Marlowe has a good program here that ought to sell. If he can produce as fast moving a seg every week he won't have any trouble. Too bad he won't be able to use the 13-year-old Rosito Cosio regularly. She's a beautiful, talented performer.
Pix Along Came a Duck [Van Beuren, 1934], Etiquette, Liebestraum and Bubbling Over [with Ethel Waters, Van Beuren, 1934] were undoubtedly shown to make the live portions of the program look good by contrast. Lever Bros. are still changing their show's format. Tonight femsee Pat Murray brought thrush Lois January on with the Jimmy Lytell instrumental trio. The two girls talked for a few seconds before Miss January started singing, during which time the warbler was faded out and in again, a trick that gave them conversation material. The singer leaned against the piano, talked to the ork and introduced numbers when they did some jamming. She looked good, sounded good and projected exceedingly well.
On the commercial a gal and a guy pantomimed while Miss Murray told how She had won Him by feeding him cake made with Spry. They went thru all the motions while the emsee's voice got in smooth product plugs. Seg faded out with couple in a clinch. Camera panned down to the gal's hands behind her back clutching a can of Spry.
Sam Cuff gave his usual Face of the War map talk and the program signed off to turning Spry cans backed by recorded musical ditties. Wanda Marvin. (Billboard, Jan. 13)
Paramount
Reviewed Wednesday (3), 8:30-9:30 p.m. Style—Variety and wrestling. Sustaining on W6XYZ, Hollywood.
This week's variety and wrestling show was notable for an experiment tried out by Klaus Landsberg. For some time he has been trying to get away from the old presentation house emsee routine, maintaining that having each act introduced in the conventional way is too stiff for tele viewers. As a consequence, in this week's show he worked the introduction of the acts right into the script, having performers themselves talk about the following turn.
Wrestling this week was good, refereed as usual by Jim Davies, head of Paramount's physical culture division. With Pat McGill announcing, the bouts got off to a fast start. First was between Paul Matty and Ralph Lewis. The boys mixed it up and managed to give the customers some action. Second bout, between Bob Creighead and Joe Morales, was the top. This pair went into all the antics usually associated with pro wrestling, grimaces, canvas beating and groans. Close-up camera was used to full advantage, getting in some nice shots on the more intricate holds.
Boys took some terrific falls and jarred the sound stage, but Landsberg has his pre-amplifiers set in rubber so that concussion did no harm. Good depth of focus was maintained thruout the bouts. Only weak point was announcing of McGill, who did not seem quite sure of himself. Tonight's show proved that wrestling makes a better tele subject than boxing, as action is varied and therefore more palatable for the viewer.
Variety show opened in a corner of a night club. Walls set up at right angles were covered with caricatures which helped the atmosphere. Two WACS and a soldier were at a table. Soldier-magician Private Brill did some card tricks, keeping up chatter with fem companions. Thad Swift, emsee, dressed as waiter, came to the table and they discussed the opening number on the floorshow, which proved to be Larry Wing on the accordion.
Opening shot showed accordion only, then when Wing's name was mentioned, camera panned to his face. He did Dark Eyes and Jolly Caballero. Wing has youth and personality on his side, coupled with musical ability. Above all, he managed to keep smiling into the cameras.
Camera panned back to Brill and WACS, who talked about next act, Happy Hall, tap dancer. Hall, a personable kid, did all right on the hoofing. Good camera shots were managed here when Landsberg used close-up of dancer's feet. Then super-imposed full image over this. On the screen it looked as if the hoofer was dancing between a pair of gigantic legs.
Private Brill then did trick at his table with bottle and glases [sic]. Heckler at the next table, played by Frank Faylen, Paramount contract player, got the laughs by swiping bottle.
Next on was Ernie Baron record of Danny Kaye's version of Dinah, played from control room which Baron mimicked. He also went thru a mugging routine on Alec Templeton's Night at the Met.
Another magic turn at the table done by Brill was the old bottle of water trick. After turning uncorked bottle upside down so that no water would come out, Frank Faylen picked it up and immediately got an eyeful of the aqua pura. This got the biggest laugh of the show.
Brill and his two fem companions, Sgt. Betty Beyers and Corp. Betty Good, then went into a pitch for WAC recruits, but it was deftly handled instead of being dragged in by the heels. This is the way Landsberg feels that commercials should be presented, building them into the action. For finale, accordionist Larry Wing came back for chorus of Tico Tico.
Landsberg, who recently was handed TBA award for utilizing motion picture technique on tele, followed thru with this type of production on the entire show, using fades, pans, close-ups and long-shots to full advantage. Only handicap here is lack of space. But Landsberg expects to move onto a larger stage. Dean Owen. (Variety, Jan. 13)
Philadelphia television outlet nabbing the inauguration of President Roosevelt in Washington Jan. 27 for its video audience would mark the first inauguration on television.
Philco currently is experimenting with several relays between Washington and Philadelphia to bring out the clearest transmission possible with equipment on hand.
NBC's video outlet in N. Y. may also take the program on relay from Philadelphia [WPLZ], but this too is in the embryo stage. GE Schenectady [WRGB], also a possible link. (Variety, Jan. 3)
Thursday, January 4
WCBW Channel 2
8:00 News, Everett Holles.
8:15 January in New York for Service Men and Others.
8:45 Musical Show.
9:00 Selected Films.
9:30-10:00 “The Missus Goes A-Shopping.”
CBS
Reviewed Thursday (4) 8-10 p.m. Style—Variety film. Sustaining on WCBW, New York. Paul Belanger's January in New York, a once-monthly feature, remains what it was in its first showing, a potentially good, currently spotty program in which too many ingenious tricks and too much material are lumped together. The general format of the show is to do a variety sequence built around a serviceman who wants to know what goes in the Big Town.
Just what's wrong with the program may be summed up in a general way by listing the topics that were covered in one short half hour Thursday night. Belanger had a number from a Stem show, dramatic criticism, highlight of the Hayden Planetarium, description of a museum exhibit, description of a benefit show at Madison Square Garden, basketball exhibition, literary criticism, showing of several Degas statuettes and a comic, all thrown into an exhausting 30 minutes. The only thing that was missing was a shot of Gilbert Seldes singing the Trolley Song in his bathtub while Tony Miner and Ben Finer do a pas de deux.
Fortunately nothing went wrong, but one of these days something will, inevitably, simply because too much is being attempted in too short a time.
Taken individually, some of the sequences had a great deal of merit. The portion of the show in which the assistant curator of the Hayden Planetarium lectured on the stars was particularly neat. A model of the Planetarium projector, in scale, was scanned and then lap dissolved to a black disk on which stars had been painted. The disk was revolved and gave the viewer, particularly during the time that the projector was visible, the feeling that he was right to the Planetarium. Background music was used and the effect was perfect.
Some of the camera work in close-ups of Bibi Osterwald, who's now making good in Sing Out Sweet Land, were very fine, but the long shots, smelled thruout. They were out of focus in spots, unclear and poorly composed. Eliminating the big desk from the set would have helped. It seemed to hinder camera movements. The sequence with Madison Square Garden prexy Ned Irish, basketball coaches Red Wolfe and Nat Holman, emsee Leslie Fitzgerald and "serviceman" Gordon MacDonald was badly grouped with performers falling all over each other at the slightest provocation and in general looking very awkward.
Another idea, having some basketball players up to demonstrate their shots fell flat because they simply stood on the set end tossed the ball around. If they had moved around, Belanger would have had a sock visual bit. The pieces of Degas sculpture didn't register at all because there were few close-ups and the lighting wasn't strong enough and several parts of the show were much too talky.
Leo Hurwitz tried a new one this week on his news show when he aired a disk, made a few minutes before, of CBS correspondent Bill Downs reporting from the First Army front. Broadcast was visualized thru map animation. Excellent idea. In spots the animation was behind the sound and at one time the camera started to move away before it was off the air.
A musical interlude with one Betty Reilly and a Latin trio, Los Panchos was a bore. It was straight singing, and not very good at that ... not a vision in a carload. Marty Schrader. (Variety, Jan. 13)
Balaban & Katz
Reviewed Thursday (4), 7:30 to 8:45 p.m. Style—Drama, news, interview. Sustaining on WBKB, Chicago.
If Chicago isn't the video center of the country, at least it is the city in which a station, working with great space and technical limitations, is using programing ingenuity that results in tele techniques from which the trade can learn plenty of lessons. Tonight's show at WBKB, altho it was far from is perfect (in fact, pretty sad in some parts), proved that.
The vehicle WBKB used tonight to prove that its staff knows the value of video ingenuity was an adaptation of Hansel and Gretel, adapted for television and produced by Pauline Bobrov and using a cast from the Chicago College of Music. Hansel and Gretel was far from top-notch entertainment one must decide, if stage and movie drama is taken into consideration. But if one also takes into consideration the fact that WBKB's staff is compelled to use a 30 by 40 foot studio, no ork and only two cameras, one must give the station a bouquet for effort and, again, ingenuity.
The sets for the show proved the staff used plenty of ingenuity in their construction. Backgrounds of forest, home and other outdoor sets were painted on paper, and in spite of that, gave a very good impression of depth. The forest scene, in fact, was painted on brown wrapping paper. So was the background for a home scene laid in front of a hearth. Some of the backgrounds were made by girls who had never done that type of work before. This, we believe, refutes the theory that television stations will, in the future, need staffs of experienced stage designers.
Other ingenuity was plentiful. Particularly effective was the staff's use of lap dissolve and the kaleidoscope for special dramatic effects. By having the famed sandman of the show do his stuff in front of a black curtain while a camera was focused on him (only in this case it was a her) and by having another camera focused on H and G, it was possible to superimpose the images caught by the two cameras into one shot, so that it seemed the kids were having a vision about the sand-thrower who was appearing in front of the same background as that in back of the children. This is possible because black backgrounds do not show up in video and thus the background for the children prevailed.
A dissolve with kaleidoscope also was very effective. One camera was on the kaleidoscope projector while another was on a dancer, again in front of a background, during a scene depicting the children's dreams. This made it appear that the dancer was doting her stuff in the center of the weird, moving, geometric, kaleidoscope designs.
During one other sequence the staff used ingenuity that didn't do a good job. So that they would have time to move studio sets while the studio mikes were turned off, the staff focused the projector camera on cartoon slides while a bit of recorded narration was used to carry on the story. Because at WBKB the projector is outside the studio, as is the record pick-up machine, the studio could be cleared without the noise of changing sets. However, we believe that a short intermission of mood music with kaleidoscope would have been much better, because the drama was getting a bit tiring at that point anyway and the customers would have welcomed a rest, and also because the cartoons, with their inactivity, slowed down the entire production.
We also think the 40-minute length of the show could have been cut down at least 15 minutes without ill effect, merely by the elimination of some of the singing. Video is predominantly a medium for action and not for music. Too much music slows down dramatic action in all art forms, but particularly in video.
Other portions of the program were devoted to a newscast by Ed Humphrey and an interview of Marie MacDonald by Iry Kupcinet, columnist of The Chicago Times. Cy Wagner. (Billboard, Jan.13)
Friday, January 5
WNBT Channel 1
8:15 “The World in Your Home.”
8:30-11:00 Boxing at Madison Square Garden.
WCBW Channel 2
8:00 News, Everett Holles.
8:15 “At Home,” Variety Show.
8:45 Films.
9:00 “Opinions on Trial.”
9:45-10:00 Vera Massey, songs.
Paramount
Reviewed Friday [5], 8:30-9:30 p.m. Style—News analysis, travel talk and comedy. Sustaining on W6XYZ, Hollywood.
This Friday night spot was taken up with T. B. Blakiston's news analysis, a George Brandt tele-travel feature, and another comedy stanza built around the title, Embarrassing Situations. Opening spot featured Blakiston, before a large map, analyzing the German break-thru on the Western Front. To clarify the situation for the viewer, he used lettered arrows which showed the position of our armies.
There was good depth on the long shots, but on close-ups it is hard to keep narrator and map in focus at the same time. This fault will be eliminated when new camera equipment is available. Maps are white, gray and black, mounted on celotex so they will hold pins. Each week, cutouts are made which show territory occupied by enemy troops. These are pinned over maps so that viewer always knows what is going on. This was especially effective where news turned to China situation. Another good visual point was used when Blakiston pinned a long arrow on Tokyo. He swung this from side to side, showing how close our bomber bases were getting to the Jap mainland. These points are valuable because they give the viewer a graphic account of what is happening. In other words, he can see the tremendous distances in the Orient without being burdened down with a lot of figures.
Blakiston makes a distinguished appearance on the screen and has the happy tele faculty of looking into the camera without peering down the viewer's throat. He makes no attempt to editorialize but simply presents straight facts, spicing up his talk now and then with humor.
After this evening, Landsberg cut in from the control room to announce the next act and set it up. At this point screen went blank. Landsberg does not hold with those who believe there should be something on the screen during intermission. Now these breaks are necessary to set up the two cameras, but even in the days when 15 or 20 cameras are used, he believes a break is necessary and that no visual effects on the screen should be used. This gives set owner and guests time to get up and stretch, get a glass of water and then come back for the next act. He claims no matter how good a tele show may be, that the viewer will get restless over too long a period without a break.
George Brandt's Friday night tele-talks are always good. Camera showed Brandt sitting at a table announcing that his subject would be London. Landsberg superimposed Brandt's face just above a picture of London Bridge, which made an effective opening.
Brandt has loosened up over a period of weeks and puts out a glib spiel. Illustrative pix are 11 by 14 inches, mounted on an easel. After each pic is discussed, there is fade, and next one is on screen. Brandt does not dwell too long on one subject, which gives the talk movement. On night scenes, Landsberg decreases the d. c. level of the picture, while slightly increasing the contrast. This gives the desired nocturnal effect.
Tonight's showing of the seg, Embarrassing Situations, was the best done so far. Utilizing screen technique thruout, Lansburg turned out what might be called in film circles a sock two-reel comedy. Two sets were used, one showing a kitchen stove, table, back door and curtained window; the other, living room with fireplace, mantel, console radio, dining table and chairs.
Cast included Frank Faylen, Catherine Craig and Charles Quigley. Aside from Landsberg's direction, one of the contributing factors to good showing was that all three cast members had legit or vaude experience.
Piece showed what can be done with comedy on video. Scenes were fitted together intelligently, and if it had been film, the cutter would have garnered a good share of the credit. Script, written by J. Gordon Wright, was excellent tele fare, allowing for moveemnt ,[sic] with dialog at a minimum and only in those spots where it was not spoiled by action. Dean Owen. (Variety, Jan. 20)
Saturday, January 6
WNBT Channel 18:00 Film: “Under Secret Orders” with Erich von Stroheim, Dita Parlo, Claire Luce, John Loder (Trafalgar, 1937).
9:09 Film: “What the Puppy Said” with Woggles the Puppy (UK, Newman Productions, 1935).
Sunday, January 7
WABD Channel 4
8:15 Programs.
NEW YORK.—Frank Fay will do a television shot for Schutter Candy Company Sunday [Jan. 7] over DuMont’s television station WARD [sic]. (Hollywood Reporter, Jan. 4)
Blue network television topper Paul Mowrey shoved off Sunday (7) for Chicago, to survey the video setup m the Windy City, and look over visual possibilities of several network shows originating there, including Don McNeil's "Breakfast Club" and the "Quiz Kids."
Blue reportedly is considering the possibility of using, in the main, suitable network radio shows for television, basing the premise on fact that currently, video is solely an exploitation medium for its stanzas, with wartime experimentation leading to strong television programming when the medium gets rolling.
Current plans, as blueprinted by Chet LaRoche, web operations head, call for teeoff of the network's television programming late in February with a trio of stanzas on established television stations. Web has been discussing deals with both General Electric's WRGB, Schenectady, and DuMont's WABD, N.Y., to broadcast Blue-produced video stanzas regularly, with another deal cooking for remote pickups of current events by Philco's tele outlet in Philadelphia.
Mowrey, and other Blue network program and homeoffice toppers, for the past several weeks, have been making regular midweek trips to Schenectady to study GE's video setup with a tie-up between GE and the Blue resulting. Mowrey reportedly set the inaugural Blue show at GE on his last trip to the upstate N.Y. outlet last week (3).
In Chicago, Mowrey will look over the Balaban & Katz television operations with a view toward putting Blue shows on that outlet weekly. (Variety, Jan. 10)
Monday, January 8
WNBT Channel 1
8:00 “The War As It Happens.”
8:10 Feature Film: “Zamboagna” (Phillipine Films, 1937).
9:10: Televiews: “Private Life of the Gannets.”
9:20 Film: “Cover to Cover.”
Tuesday, January 9
WNBT Channel 1
8:30-11:00 Wrestling at St. Nicholas Arena.
WABD Channel 4
8:15-10 “WOR Varieties.” 9:00 Film.
Balaban & Katz
Reviewed Tuesday (9), 7:30 to 8:45 p.m. Style—Variety, news. Sustaining on WBKB, Chicago.
The quality of some off the talent on tonight's program at WBKB was above average, but the way in which it was handled in many cases left much to be asked for.
For example the Chords, well-known male vaude-duo now appearing at the Chicago Theater, did good vocal imitations of various orchestras and musical instruments. With their comical gestures and their zany antics they made good visual, and thus good video, material. But the production stuff loused up their part of the program by having a member of the station's personnel interview them before they went into their stuff. Their act would have been much better video entertainment if it had opened with their doing their stuff, sans interview.
Another portion of the program which could have been handled better was that given out to the navy recruiting office for the purpose of drumming up interest in the service's radio technicians school. The talent used here was of an exceptional professional caliber. Oscar Chausow, former violinist of the Chicago Symphony and now concertmeister of the Great Lakes Naval orchestra, did okay by classical numbers including Chopin's Nocturne in C Sharp Minor. Once or twice there were good close-ups of his finger technique on the strings, but too often there were only static distant and full shoulder, head and violin shots.
Chief Petty Officer John Carter, famed tenor, sang Danny Boy, Shortnin' Bread, and a bolero. The singing of the bolero would have been more entertaining if as he sang, another camera was trained one dancer doing that type of dance. Just a little imagination would have brought about much better results here. And since the B&K staff knew a week ago what was going to be on tonight's navy program they had plenty of time Ito plan a more imaginative offering. During one intermission the station showed how not to produce present or future movie coming attractions advertisements for video. While a narrator read a very corny script, slides depicting scenes from the movie, Frenchmen's Creek, were shown. The pace was too slow, the narration too long. Present quickie radio spots advertising coming movies are more effective. Other promotion of the program was a news discussion by Fran Weigel and Paul Battenfield, cartoonist for the Chicago Times. As Weigel discussed the news, Battenfield drew cartoons depicting personalities in the news. It was very good video combination of sight and sound. Last, and least, was a discussion of little-known facts by Charles Sebastain. Sebastain intended his program to be serious, but his script was so poor he turned his offering into a burlesque of his intentions and unknowingly out Benchleyed Benchley. Cy Wagner. (Billboard, Jan. 20)
Wednesday, January 10
WABD Channel 4
8:15-9:15 Variety Show.
Thursday, January 11
WCBW Channel 2
8:00 News, Everett Holles.
8:15 “At Home” with Paquita Anderson and guests.
8:45 To be announced
9:00 Films: “Eighth Air Force Report,” “Sicily, Key to Victory” (NFB Canada, 1944).
9:30-10:00 “The Missus Goes A-Shopping” with John Reed King.
BALABAN & KATZ TELEVISION
With Fran Harris, Ann Hunter, Kay Neuman, Everett Westman, Wanda E. Raab, A. B. Rodner, Jr., Rex Hogan, Lee Phillips, Glenn Morgan Directors: Helen Carson and Beulah Zachary
Cameras: Rachel Stewart and Esther Rajewski
75 Mins.; Thurs. (1) [sic], 7:30 p.m.
WBKB, Chicago
Considering the fact that WBKB is still operating on an experimental basis and pays no salaries for talent, it would be unfair to professionally criticize most of their players, inasmuch as many amateurs and untried performers appear before the station's cameras. This develops a programming problem that is difficult to overcome at times, with the result that shows are often colorless and uninteresting.
Jan. 11 show was just so-so with no great effort called upon by the production department. Camera work, for the most part, was satisfactory although lacking definition in spots.
Ann Hunter, doing her last show before leaving overseas for station WAIT on which she does “A Woman Views the News,” deviated from her usual news stint and conducted a round-table discussion on “What Youth Expects of the Future” with two 17-year-old high school boys and two high school girls expressing their views. Made fairly good listening. Miss Hunter, probably the most telegenic of all the personalities who have made regular appearances on the station, will be looked forward to on her return from overseas.
“What's Cooking wlth the Scotts,” a domestic skit played by Kay Neuman, Everett Westman, Wanda E. Raab and A. B. Rodner, Jr., and sponsored by the Commonwealth Edison Co., was amateurish, the cast all being employees of the Edison company and non-professionals Director Beulah Zachary got all she could out of the players and the script, but it got very tiresome at times. A plug for the electric range was worked in during the dialog. If listeners didn't tune out the station at this point they were rewarded in the three-quarter stretch by Rex Hogan's baritoning of "Songs from Down Under," a trio of tunes he brought back from Australia while in the armed forces. Songs were prefaced by explanations of their meaning and whole thing added up to pleasing entertainment. Morg. (Variety, Jan. 17)
Friday, January 12
WNBT Channel 1
8:15 “The World in Your Home.”
8:30-11:00 Boxing at Madison Square Garden.
WCBW Channel 2
8:00 News, Everett Holles.
8:15 Dance Ballet: “Folksay.”
8:45 Films: “Poland Forever,” “Movies at War.”
9:15 “Opinions on Trial.”
9:45-10:00 Vera Massey, songs.
NBC
Reviewed Friday (12), 8:50-9:30 p.m. Style—Musical comedy duo and salute to fifth birthday of network television. Sustaining over WNBT (NBC), New York.
It's a shame that Niles Trammell and Bill Hedges had to follow Jay C. Flippen and Margaret Johnson in this program saluting Schenectady's WRGB and the fifth year of network televising. The latter duo were a swell entertaining pair, well lighted and well produced, while the NBC big shots were poorly handled, badly lighted and "not up on their lines."
Television must find a way to make key men, be they web biggies or sponsor brass hats, seem real friendly, clear thinking (not reading) guys. It can't be done by having Bill Hedges (NBC station relations v.-p.) sitting at a desk reading from an unfamiliar script and frequently missing his place. Nor can it be done by having Hedges finish with an intro-salute to Prexy Trammell who walks into the frame with an inept "nice seeing you tonight, etc." It's too pat to have one man get up from a desk after introducing another and then have the other sit down and go to work on his talk which was obviously lying under the script of the first reader.
Video does and will demand a new type of public relations job on the part of key men in industry. It's going to toughen their jobs (think of having to learn a routine in addition to all the other duties that a web exec has to worry about these days). Either they'll have to stay off the pic-air, or else skip the Algonquin Limited a couple of nights.
Getting back to Niles Trammell, he has an infectious something which made you smile when he permitted his eyes to wander away from the typewritten page and had a bag of trouble trying to find out just where it was he was supposed to be in his pitch. This proves something, but personality can't replace the authority that a key exec is supposed to have by the consuming public. That it helps, was amply tabbed by the difference between the home audience's reaction to the two men. They instinctively liked Trammell and just as naturally didn't cotton to Hedges. Latter seemed, said they "big business."
The two scripts were interestingly short, with Trammell giving more into on the air pix subject and making comparatively few "dream predictions." It was a straight-forward presentation of what can be expected that was plus stuff.
Back to the RCA part of the program that preceded the tele net salute, Jay C. Flippen was just as swell on this program as he was lousy on a CBS At Home recently. He was easy, casual—a terrific piece of homemade corn, with his homely puss balanced beautifully by the top - drawer beauty of Margaret Johnson. Funny thing about the Johnson dame was that she plucked a mean string and yodeled a nice Western in spite of the fact that she looked just what she was, a Powers' peaches-and-cream model.
Jay and Maggie (wonder if anyone before ever called that gorgeous piece of flesh Maggie?) were so perfectly at home that they were in your home. The lighting on the close-ups was so well spotted as to model each face and catch every highlight. In the two-shots the lighting wasn't perfection—but it's enough today to find good lighting in close-ups. Nice handling of switches from pic to live stuff avoided any black level moments and even the GE commercial screening, selling television, carne thru the Sites okay.
Check this showing as another collection of object lessons for the video world acomin'. Joe Koehler. (Variety, Jan. 20)
“FOLKSAY”
With Jane Dudley, Pearl Primus, William Bales, Woody Guthrie, Tony Kraber, New Dance Group
Director: Leo Hurwitt
Writer: Carl Sandburg
30 Mlns.; Fri. (12), 8:15 p.m.
Sustaining
WCBW-CBS, N. Y.
Repeat performance of Sophie Maslow's modern ballet, "Folksay," via CBS television Friday night (12) gave ample demonstration that this art form has a definite place in the video programming picture, although it's doubtful that such presentations ever will wind up as valuable commercial properties. However, for those who appreciate such things, "Folksay" undoubtedly belongs.
Interest of non-ballet fans in this presentation was whetted by the sideline song commentaries of balladers Woody Guthrie and Tony Kraber. Seated together near, the wings, Guthrie and Kraber delivered the eloquent Carl Sandburg lines, culled from his "The People, Yes," interspersed with occasional guitar-accompanied folk songs. Humor was strictly backwoods stuff, but the material was handled sincerely and without affectation throughout.
Dancing troupe of 10, starring Jane Dudley (wife of director Leo Hurwitz), Pearl Primus and William Bales, were outfitted in ginghams, overalls, etc., for the authentic rustic touch and did their stepping and posturing to the simple folk music of the American hinterlands. Group numbers and solo stints came over okay thanks to skillful camera work and a good lighting job. Dance sequences were all full-stage shots with closeups used only to pick up Guthrie and Kraber on occasions.
Stunt of using pictures of typical American faces to underline part of the Sandburg text looked amateurish, though, and contrast between this bit and the rest of the show was a jarring touch. Donn. (Variety, Jan. 17)
Washington—A last minute request for permission to televise the Inauguration next Saturday was turned down by the White House, it was reliably learned here yesterday, because arrangements for press, radio and pix coverage had already been worked out. Philco had asked for permission to arrange a special Washington hookup to permit it to relay the scene to New York and Philadelphia.(Radio Daily, Jan. 12)
An extensive program of expansion, renovation and interior decoration has been undertaken at the studios and offices of WABD and Du Mont Laboratories, Inc. at 515 Madison Ave. The entire second floor set-up is being revised, with walls coming down, and others, many of them specially sound-proofed, going up, improved studio, prop room, and dressing room facilities being created, and much attention being given to the subject of interior decoration. Differing from the usual attempts made to have everything ultra-modern, Du Mont plans to stress comfort and “home-like” atmosphere in their furbishings. It is estimated that the second floor will be completed around the middle of February.
The entire third floor has been leased by the tele firm, which will take possession around March 1st, after the present tenant vacates. This, too is slated to undergo the same comprehensive “face-lifting” received by the firm’s present quarters. This program of remodelling is in line with Du Mont’s reported affiliate with the Blue Network in the tele field. (Radio Daily, Jan. 12)
Saturday, January 13
WNBT Channel 1
8:00 “Fundamentals of Siding” with Hubert von Pantz.
8:20-10:00 Films.
NEW YORK, Jan, 13.—Blue web's entre into video will be a three-ring circus, with shows going simultaneously on WRGB, Schenectady; WABD, New York, and WPTZ, Philadelphia. The promotion gimmick will probably tee off around the middle of February. Plan, it was learned this week, is to build a hot press with a quiz show, probably Breakfast Club or the refurbished Ladies Be Seated on the GE station, variety with Milton Cross, Victor Borge and Eddie Condon's jazzsters on the DuMont outlet, and a basketball remote from Convention Hall, Philadelphia, using Philco's mobile transmitter, all to be on at the same time, same night.
Blue originally intended to ask DuMont for a closed circuit to try out shows and then move the good ones up to GE, but it is known that the DuMont crowd turned thumbs down on the idea. They felt that giving a closed circuit in return for a vague promise of purchase of post-war equipment would make them fall-guys. Consequently, web toppers had to figure out a new gimmick. It is felt around the Blue shop that using Ringling Bros.' technique will bring in a good press, which is what all nets' front office demands of tele right now. (Variety, Jan. 20)
Sunday, January 14
WABD Channel 4
8:15 Programs.
NEW YORK, Jan. 6.—WABD, usually content to rely on advertising agencies for programs, is building a commercial of its own for January 13. Half-hour show will be produced by Sam Medoff, who wrote the score and conducted The Boys From Boise, two-hour musical on the DuMont station last fall. Station staffer Bob Jamison will direct.
Spanish music and Spanish dancers will be featured on the show for the Duff-Gordon Company, a Spanish firm. Plans in the works now are for a one-shot, but it is possible that the liquor company may sponsor a series of like shows on WABD. (Variety, Jan. 13)
Monday, January 15
WNBT Channel 1
8:00 “The War As It Happens.”
8:10 Feature Film: “Five Were Chosen” with Victor Kilian and Howard Da Silva (Clasa-Mohme, 1944).
9:10: Televiews: “Song Bird of the North Woods.”
9:50 Boxing from St. Nicholas Arena.
Washington, Jan. 16.—FCC flashed the go-ahead signal to commercial television for post-war expansion in its frequency allocation report issued yesterday (15). Commercial, video remains in the same place in the spectrum and maintains its present 6 mc. channels, and 525-line definition. In addition, a large chunk of the ultra-high frequencies are earmarked for television experimentation both for improved monochrome and for color.
Other highlights of the report:
1. Tele. won its battle with FM, the latter service being forced to move higher in the spectrum. FM goes from the 42-50 meg. band to the 84-102 meg. band. FM will maintain its 200 kc. channels. (Variety, Jan. 17)
Tuesday, January 16
WNBT Channel 1
8:30-11:00 Wrestling at St. Nicholas Arena.
WABD Channel 4
8:15 U.S. Maritime Service Recruiting Show.
8:45 Quiz: “It’s a Wonderful World.”
9:15 Films.
DuMont
Reviewed Tuesday (16), 8:15-10 p.m. Style—Film, quiz, variety. Sustaining on WABD, New York.
Raymond E. Nelson's Maritime Service Show did one good thing for Raymond E. Nelson. If national service is passed by Congress, Nelson can be sure that the merchant marine will have nothing to do with him. He certainly did them dirt.
The best thing to do would be to enumerate, in chronoligical [sic] order, just what was wrong with the show. The first thing that happened to be perfectly honest was not Nelson's fault. His credits shots were, as usual, a series of plaques, with a seaman, for variation dissolving in and out between flips. Some of the dissolves were full and some of them three-quarter, a lamentable but not too important inconsistency. Second, was extremely poor lighting on singer Tommy Mercer's face, which threw his left side in shadow. Then after Mercer's first chorus the camera remained trained on him instead of moving to the band, permitting the assembled maritime service brass hats to enjoy the enlightening sight of Mercer chewing his gum and grinning.
The next fluff came when a merchant marine award was about to be presented to its winner. In that one, the camera remained trained on the band and emsee, as a woman's voice, with no previous warning, started to tell the recipient how happy she was to present him with the medal. By the time the camera did move over, the presentation was half over and no one knew what it was all about.
After that the band started the intro of a second chirper. The cuing here was so slow that the band had to fake for nearly two minutes before the singer sang his first few hesitant notes. To wind up the specific clinkers, the lights in the studio didn't go on at the end of a film which was part of the night's festivities.
There are also a few over-all objections. First, the program was too heavy on music. Hollywood has learned that a band number requires a production if it runs long, and so does a singer. Nelson hasn't. There is a limit to the visual appeal of an ork or a chirper. When those two are nearly all the live show, audiences switch away, but fast. Second, in order to make a big deal of what developed into a small farce, Nelson put a 14-piece band, three singers, an emsee and several other assorted characters into a studio a bit smaller than an out-size phone booth. The result of this pleasant little bedlam was the terrible lack of room for camera movement and a static pic.
We would also like to register our vigorous objection to Nelson's use of lap dissolves in places where they are totally unnecessary. Dissolves should be used for an arty effect (and jive is not arty) to establish a mood in drama or in other situations which call for them. They should not be used to cut from a singer to a band.
To stop pummeling Nelson for a while, Ens. Phil Lang's band is a hot outfit with plenty of drive and a solid brass section. Singer Tommy Mercer has a nice voice that needs training, but he has good phrasing.
Bob Emery put on a quiz show for his Video Varieties. If you like dull, un-imaginative quizzes on natural history, plus a lecture about black snakes, he was your meat. Emery would be much better off, in quizzes as well as the other shows he does, if he either decided to be either the emsee or the director. You can't do both.
On second thought we'd say that he should direct and stay away from the camera. Things are bad enough these days. Marty Schrader. (Variety, Jan. 28)
Balaban & Katz
Reviewed Tuesday (16), 7:30 to 9 p.m. Style—News, variety, drama. Sustaining on WBKB, Chicago.
William Mogle, writer and narrator of the dramatic offering on tonight's show, presented by the Cook County Chapter of the National Infantile Paralysis Foundation, introduced his opus by saying that it was going to be an entirely new form of television program. It was new, at least, in that up to now nothing at WBKB has been as bad.
First, and biggest mistake, was attempting to put on the show without a rehearsal. It would take a group of geniuses to put on a dramatic television show without rehearsal, and Mogle and the staff at WBKB are far from that. Over-all mistake was in production conception of the drama. It has narration, speeches, a few scenes portended to be dramatic, slides—all mixed up in a hodgepodge that had no transition or continuity. The show opened with shot of Mogle reading introduction remarks and introducing the cast, Chapter workers, and members of the family's whole case history was to be related.
The family was the Gallaghers, mother and seven children, four of whom had been stricken by paralysis and cured by proper treatment.
Next, the camera was panned on the workers and on each of the family members. Then Mogle went into some corny, sentimental narration about how the family had been gathered around a piano one night a few years ago just before polio struck. Bang, fade into piano scene. But the kids wouldn't sing one remarked how hot the lights in the studio were. It was a mess. Then, for no apparent reason, a fade into a scene of the head of the Cook County Chapter seated at a desk explaining work of the paralysis organization. From here on it was confusion all the way. Too many changes of unrelated scenes, shots of pictures that could not be seen because the prints were not contrasty enough, and finally a close with a donation plug and a last shot of the family.
The entire story could have been told very effectively with a few simple scenes of the family or with a few words from the mother and children. The history of the family was filled with pathos that in itself supplied enough dramatic impact. It was loused up by an attempt to produce drama with over-production.
Best portion of the program was that put on by the navy as part of its campaign to recruit radio technicians. An excellent group of musicians and the world's champion typist were presented here. Pianist O. H. Colvin did a good job. The camera girls, however, should have used more close-ups of his hands on the keyboard. Jack Sher, M/2c, proved he could play 12 instruments. Cecil Leeson, former member of the New York Philharmonic, gave a recital which was excellent. Floyd Swink proved he could type at a furious speed material he read in a book that was upside down in front of him while he gave the Latin names of flowers whose English names were given to him as he typed. All of this was good aural entertainment.
Also on the program were newscaster Joe Wilson, and Bill Vance who gave another one of his excellent X Marks the Spot murder talks. Cy Wagner. (Variety, Jan 28)
Schenectady, Jan. 16.—Children definitely like television, a recent telephone survey by General "Electric's WRGB, here, disclosed. Twenty-six percent of the video audience consisted of youngsters under 18 years of age. Other personal contact surveys revealed that it was the 'teensters who could answer most promptly the questions asked and who could tune in the television set most accurately. WRGB telecasts a number of programs for young people. Some are performed by adults: in others, children participate. Several shows have proved equally entertaining to adults and kids. "Hansel and Gretel," produced by the Julius Hartt Foundation of Music, Hartford, was one in this category. "Alice in Wonderland," presented by Prof. George William-Smith's dramatics class at Russell Sage Women's College, Troy, was another. Special effects, possible in television but not on the stage, add charm to the fantasy for children, according to WRGB officials.
"Story of the Willow Plate," produced as a moppet's program and done in pantomime, with a narrator and musical background, elicited favorable comment from parents. Early Sunday evening was selected as the best time for children's programs over WRGB. A series of "Uncle Gene" programs were originated. Each week, Gene Graves, then of WSNY, Schenectady, and now with a Philadelphia station, read comic strips to a seven-year boy. Slides of the selected cartoons were projected so that the viewers at home could see, what Uncle Gene was reading. For a variation, cartoonist was brought to the studio to draw for the boy and a girl playmate.
Circus Party Clicks
The most ambitious and popular children's program to date at WRGB was in celebration of Children's Book Week, Conceived by Mrs. Dorothy McFadden, president of Junior Programs, Inc. (which has produced many radio shows and presented legitimate stage performances for kids), it was divided into three parts. The first depicted youngsters visiting a Schenectady library. The second was a dramatization of the bookshop-drug store of John Newbery, who 200 years ago published the first book intended to entertain rather than to instruct. The third was a dramatization of "Jack and the Bean Stalk," with an adult cast.
"Big Top" circus party, to which the children under 16 of all set owners in the Albany-Schenectady-Troy area were invited to the studio, was a clicker. Joe Owens and Family, described as a favorite act with young and old, operated their puppets for the kids. (Variety, Jan. 17)
Wednesday, January 17
WABD Channel 4
8:15 Lovely Lady.
8:45 Film.
9:00 Hypnotism Demonstration.
9:30 Teleshopping.
DuMont
Reviewed Wednesday (17), 8:15-9:45 p.m. Style—Variety and films. Sustaining on WABD, New York.
Apparently disregarding the male audience tonight's program was strictly for fems. Two out-and-out commercials plugged dainty unmentionables for the bride and corsets for the broad. Even the entertainment portion was full of dames. In this seg, a hypnotist put the gals in the studio to sleep.
Macy's Bride's Shop was better than Cavalcade of Corsets—it was shorter. Opening with 25 seconds of film that included four clips, the department store's four-minutes, 35-seconds had Mendlessohn's Wedding March as background. The recorded music faded out as Helen Lewis came on with a model appropriately garbed for the last mile. The youngster was a non-pro and her make-up had evidently been applied by someone of the same status. Heavy brows and too dark lipstick drawn past the corners of her mouth created anything but the sweet demure bride.
While the bride beamed, Miss Lewis did a fast-running patter job on the fine points of the dress, veil, etc., mentioning the economy of a Macy outfitting. Switching to a one shot, the commentator was shown at a clothes rack holding matched lingerie for the audience's inspection. As she discussed each item, she stressed its low price.
Entire Macy production was below the standard set at the firm's recent telentre, when good writing and much rehearsal resulted in an entertaining selling job. Tonight it was just another fashion show, not too bad but certainly without a single imaginative innovation. Tom Hutchinson, director and RKO Television Productions have done better work.
Television Workshop produced the corset show thru Lester Harrison Agency for Diana Corset Company. Altman's, which features the product, came in for plugs. Store had announcements of the DuMont show in its corset department. David Kaplan did the writing, and Irwin Shane, the direction, for the 17-minute seg.
Eleanor Dennis and Jackie Ensell played the roles of young girls gushing over a new male. In high-pitched voices, the two reeled off inanities that would infuriate the average teenager. Tiresome script built up to the revelation that a box on the mantle (from which the two didn't budge) contained the secret for a successful evening that was coming up, a Diana corset. At last, the audience was permitted a peek at the precious figure-moulder. Then one gal gaily snatched it and squirmed behind a screen to dress for her date.
While they gloated over being modern girls privileged to wear these dandy garments and poked fun at their ancestors' clothes, models in period costume paraded. In each instance the model reached off screen for a plaster-cast model of the corset worn with her outfit. She waltzed around to permit full appreciation of the corset to piano accompaniment.
This portion of the show would have been entertaining enough, as it was certainly visual and lights and cameras were on the beam, but the tedious twitterings of the two gals made it seem just too silly. The idea was a good one but the heavy-handed script bogged down the whole production.
Sam Cuff was shunted to a siding tonight to make way for Allan Neilson, amateur hypnotist. Four girls were seated on a couch after Neilson had explained to Miss Murray that he would hypnotize them if they would co-operate. The girls reacted well and soon he had the quartet sound asleep. While in a trance, each was called upon to sing, lecture, etc. Cameras moved in for close-ups of each girl as Neilson put her thru her paces.
It was an altogether entertaining bit. Most of the time the hypnotist was off the screen, stress being placed on the visual reaction of the girls to his voice. Beg gave rise to speculation on further possibilities of hypnosis on tele. Neilson said he could hypnotize an audience miles from the studio.
Faust, an ancient quickie, and Florida Cowboy gave the men with strong eyes and not too much discrimination something to see if they survived the corset routine. Wanda Marvin. (Variety, Jan. 27)
Two television shows on CBS’ outlet were off the air as a result of AFM headquarters reminding all locals that staff and network musicians, were not to do television shows. This the AFM said, is an old-standing rule of the union, but recently has not been adhered to by the tele stations, nor watched by the AFM locals.
The two shows involved over CBS’ WCBW are “At Home” a variety program and Vera Massey, piano act. Both are heard Friday night. Presumed the programs of at least one will return Friday, under some arrangement. (Radio Daily, Jan. 17)
Lever Bros., through Ruthrauff & Ryan has bought a new television idea by John Reed King entitled, "Thanks for Looking." Stanza, with King featured, tees off on DuMont’s WABD, Tuesday, Feb. 9, in the 9:30 to 10 p.m. niche.
Format of show finds, the m.c. calling owners of video sets in the N. Y. area on the telephone and making with the chatter. Background will include a shelf on which is prominently displayed the sponsor's products, with Lever Bros, alternating the commercials among its various products.
Sight questions will be used, such as holding up a map and asking the person called to the phone what state is being pointed out, and so forth. Prizes will be given. (Variety, Jan. 17)
Thursday, January 18WCBW Channel 2
8:00 News, Everett Holles.
8:15 “Young Women in Wartime,” “Design For Living.”
9:00 Films: “Prices Unlimited” with Leon Errol (OWI, 1944), “Lady Marines.”
9:30-10:00 “The Missus Goes A-Shopping” with John Reed King.
CBS
Reviewed Thursday (18), 8-10 p.m. Style—Variety, film, quiz. Sustaining on WCBW, New York.
Madamoiselle magazine's Young Women in Wartime, originally skedded as the CBS piece de resistance for the evening, was canceled out for production reasons Thursday night and the time filled by Hardeen, magician-brother of the late Harry Houdini. Considering the short time he had to set up the show, director Ben Finer did a more than competent job.
There was nothing too-extra special about the show, but it held the audience. The tricks were good and the camera work as good as can be expected on an off-the-cuff show. Hardeen, who says he has inherited all of his brother's tricks, is a good magician, a fine one in fact. But he has one flaw. That flaw is his non-registering patter line. It's neither funny nor clever. It's just talk and in a none-too-pleasant voice at that. Credit Feiner, tho, for a good hurry-up job, altho it would have been better had he cut the card tricks because of their low visibility.
Paul Belanger turned in one of his best efforts to date with an illuminating and effective interview show on the army and navy nurse corps. Under Belanger's direction, staffer Frances Buss did a neat job of pumping an army nurse, with a recruiting film thrown in the middle. Timing was fine, talking was swell, and some of the close-ups were terrific. Best part of the show was the idea of intergrating [sic] a movie into the seg. The trouble with most interviews in the past was that they actually exhausted their subject matter after five minutes or so. In this case the film occupied the other 10 minutes, usually a rather deadly bore.
The Missus Goes A-Shoppin' is still top commercial material, with John Reed King continuing like crazy-crazy like a fox. A new seating arrangement, first tried out two weeks ago, helped to concentrate the audience and make the cameramen and director breathe more easily. The live lookers have been divided into two groups and put on either side of the stage instead of stretching back to infinity. Marty Schrader. (Variety, Jan 28)
Friday, January 19
WNBT Channel 1
8:15 “The World in Your Home.”
8:30-11:00 Boxing at St. Nicholas Arena.
WCBW Channel 2
8:00 News, Everett Holles.
8:15 “At Home,” variety show.
8:45 Films: “Invasion of Europe” (United Artists, 1943), “Sing-Song.”
9:15 “Opinions on Trial.”
9:45-10:00 Vera Massey, songs.
Television Productions, Inc.
Reviewed Friday (19), 8:30-9:30 p.m. Style—Special events and commentary. Sustaining on W6XYZ, Hollywood.
Tonight's telecast gave the viewers a clear indication of the possibilities of special events for video. It was a pitch made by the War Man-Power Commission for workers to return to war industries. Klaus Landsberg wisely did not try to inject any dramatics into the show or anything that would necessitate long rehearsal time. Femsee on the show was Etheldean Winn, who managed to get intelligent answers out of the war workers who showed up to give the set owners an idea of the different types of jobs they held.
Opener featured H. R. Harnish, State man-power director, who told of the vital need for war workers. His speech was concise and gave the viewers an idea of what was to come.
First act on the bill was Don Carter, shipyard worker, who did well with a couple of semi-classical numbers on the piano. Landsberg had a chance to play around with different types of angle shots on this one. Good lighting and fast work by camera dolly-man produced some excellent shots of Carter's hands on the keyboard. Landsberg also super-imposed hands above Carter, which made an effective shot. It was artistically done and relieved the monotony of straight music for the viewer.
Mavis Anderson, former model, made a good tele subject but when she tried to give the audience an idea of her job as chemist at an aviation plant, nothing happened. Vapor from test tubes and fizzing liquid might have produced the desired visual effect.
Tire expert, Reginald Hanson, gave the audience a few pointers on manufacture of tires for war planes. Blown-out tire from Super Fortress was interesting to the viewers. Another good bit was David Pang's contribution, showing how he tests the armor plate which goes behind pilot's seat in bombers. Demonstration walkie-talkie and how it could be used in post-war civilian life was given by Toussaint Wilson.
Ed Canta, who works for company making combination record player and projector, showed the workings to the audience. Navy training film was used. Landsberg used a transparency screen, back-projected. Film strips showed various ways for navy personnel to protect themselves from flashburn. Strips came over well enough in spite of inadequate lighting used when films were made.
Ardeth Russell, aircraft worker, rendered a violin solo. She is partially blind and had a seeing-eye dog at her feet. Landsberg kept the cameras on the canine for a good share of the time. Prompting from one of the cameramen caused the dog to look right into the lens and assume a variety of comical expressions.
Last act on the show featured Ralph Dostal, singer. He exhibited a powerful voice on a difficult number, entitled Captain Mack.
Regular Friday news commentary shot was taken over again by T. B. Blakiston. A new angle was tried out this week by Landsberg, who had newscaster Ted Bently read the latest United Press dispatches. Then Blakiston would interpret the news by use of his maps.
Picture quality on the entire hour show was very good, with details, such as figures on blouse worn by one of the fems, coming over clearly. While the amateur part of the presentation was rough in spots, it held together sufficiently to afford maximum enjoyment for the viewer. Dean Owen. (Variety, Feb. 3)
Saturday, January 20WNBT Channel 1
8:00 Film: “South of Panama” with Virginia Vale, Roger Pryor (PRC, 1941).
9:05 Films, short subjects.
CHICAGO, Jan. 20.—The Blue Network's Central Division will take part in the net's recently announced plans to engage in experimental television production on already established video stations, by starting a series of programs telecast by the Balaban & Katz Chicago Station WBKB, late part of February. The net will use Blue shows and WBKB facilities in a co-op deal that does not involve contracts, the payment of money to WBKB binding agreements, or anything other than "a gentleman's agreement," Merrit Shoenfeld, second in command of Blue here, said.
Breakfast Club and Quiz Kids
The first shows to be put on by the Blue at WBKB will be the Breakfast Club and Quiz Kids. Other Blue shows originating here will be telecast as the experiment continues. Blue tees off at WRGB, Schenectady February 25 and on WABD, New York, February 28.
Schoenfeld said that no agreements for television wage scales would be entered into by the Blue with the unions representing the talent on the shows. The APRA members on the shows will contribute their services in the interest of developing the television industry. Musicians, if any are used, undoubtedly will be paid by the Blue and their video work will be figured into the number of staff hours they work for the Net.
No Producer Set
No producer will be assigned the video shows as a full-time chore. Production will be under the immediate supervision of Clint Stanley, staff Blue director who was recently discharged by the navy. Gene Rouse, local program chief, will supervise.
Blue's tele shows over WRGB and WABD will be a half-hour weekly after the preems. (Variety, Jan. 28)
Sunday, January 21
WABD Channel 4
8:15 Film.
8:30 WNEW Presents “AAF Newsreel.”
9:00 “Thrills and Chills” with Doug Allan.
AN ORIGINAL presentation of WRGB Schenectady, General Electric television station, was produced Sunday [21] for the first time on a New York video station. The Golden Ox, first of a GE institutional series, was televised over WNBT, NBC station. (Broadcasting, Jan. 22)
Monday, January 22
WNBT Channel 1
8:00 “The War As It Happens.”
8:10 Feature Film: “Secret Evidence” with Marjorie Reynolds, Charles Quigley (PRC, 1941).
9:20: Film shorts: “Singing Wheels” (Van Beuren, 1936), “Check and Doublecheck” with Amos 'n' Andy (RKO, 1930).
9:50 Boxing from St. Nicholas Arena.
Deal to put a fashion show on Don Lee's W6XAO [Hollywood] January 22 fell thru.
Clothing manufacturers are believed to have backed down on the proposition, due to the tight condition of the market. With no suitable models to show, Lynn Randle publicity office decided to call it off.
Idea was worked up by Randle office and was to feature Bea Beanderet [sic], Lurene Tuttle, Janet Waldo, Cathy Lewis and Jeannie McKeon, all featured on leading air shows. None of them has been on tele.
However, there is a possibility that it will go on sometime after March 1. Negotiations are now under way for Adrian to furnish the clothes if the deal goes thru. (Variety, Jan. 28)
Tuesday, January 23
WNBT Channel 1
8:30-11:00 Wrestling at St. Nicholas Arena.
WABD Channel 4
8:15 “Night Over Broadway.”
8:45 Society of Amateur Chefs.
9:15 Films.
DuMont
Reviewed Tuesday (23), 8-10 p.m. Style—Variety, film. Sustaining over WABD, New York.
Geyer, Cornell & Newell's first show for Nash-Kelvinator, a tele version of a meeting of the Society of Amateur Chefs, was, to be blunt, a bust. And it was a bust not because the basic idea was un-sound, but because its tremendous commercial potentialities were not exploited to the slightest degree.
Ted Estabrook's direction was as good as can be expected in the DuMont studio with its limited space. By that we mean he succeeded, within reasonable bounds, in keeping his cameras in focus. In addition, he didn't lose any of the performers as they moved around.
However, Eleanor Larsen's production job was nowhere near what it could have been. The general idea of the show was to have some of the members of the society (Ben Irwin Butler, Otto Soglow and Rube Goldberg, with Quizmaster John Reed King assisting) demonstrate how they cook their foods. In addition, one of Goldberg's inventions was used as the unsuccessful comedy peg. What came out of it was a dispirited bit of nothing that even King's effervescence could not overcome.
There was an opportunity to make the show interesting to women by giving the recipes used to cook the foods. It was not done. There was a real chance to sell the products by pointing out how effective the Kelvinator home appliances are in keeping foods fresh. This, a natural in a cookery program, also was not done. The gags missed fire, the drawings were done well, but not properly exhibited and the whole effect was terribly turgid.
Bob Emery presented what was for him a superior effort in Night Stars Over Broadway, a variety show in which two servicemen and a gal were supposed to make the nitery rounds. The chief trouble with the program was the fact that it was overly heavy with music, particularly pianos. Only one act, Pat Bright from 1 Fifth Avenue, varied from the music theme and even her impersonations depended on a piano background. In addition to Miss Bright, Emery had Rowney and Vaughn (piano), also from 1 Fifth Avenue; Marion Inclan (singer-guitarist), from the Pierre, Billy Martin (piano), of the Weyland Bar, and Hum and Strum (piano-songs), fresh from the USO cirk.
There isn't much that can be said about the production. It was fair. Even the best director in video could do little better in DuMont super small Studio A. Emery's closer, in which the two servicemen stood with nothing at all to do, in front of the camera, was quite a thud. The director should be careful about his groupings. With today's short focal depth, it's wise to place actors on the same plane as much as possible. In several spots some of the performers were out of focus because they were too far behind or too much in front of the others.
All told it was a distinctly uninspiring evening. Marty Schrader. (Variety, Feb. 3)
Dumont telecasts six hours weekly and CBS telecasts a minimum of four hours. For the first time, television stations will be competing for viewers and telecasting against each other on same nights and time of week. (Hollywood Reporter, Jan. 23)
Hollywood, Jan. 23.—Despite favorable recommendation by local panel, 10th regional War Labor Board in San Francisco nixed request of Screen Cartoonists Guild for 20% of box-office from reissues and television emanating from Walt Disney studios. WLB panel here ruled that request for share in box-office take was proper subject for negotiations but regional board stated "the union's request with respect to this issue is hereby denied." Decision can be appealed to Washington but in majority of cases regional findings are sustained. (Variety, Jan. 24)
Wednesday, January 24
WNBT Channel 1
9:00-10:00 Public Service in Television, Dr. James P. Angell.
WABD Channel 4
8:00 Fashions Coming and Becoming.
8:15 “The Magic Carpet.”
8:45 Film.
9:00 Variety Show.
NBC
Reviewed Wednesday (24), 9-10 p.m. Style—Drama, film, talks. Sustaining on WNBT, New York.
If anyone ever asks us where to go to learn how to present a video show, we're going to suggest that he consult NBC's producer, Edward Sobol, and Director Ronald Oxford, both of whom, along with their staffs, amply demonstrated Wednesday night their technical and theatrical competency. And that last falls into the department of extreme understatement.
Sidney Kingsley's Men in White was the feature of the extremely pleasant evening. And about it we can only echo the remark made by one viewing companion not too well acquainted with the new medium. She said: "Why, it's almost as good as a movie." She was right. Head cutting, out-of-focus shots, failure to follow the actors, unnecessary camera movement and inability to exploit fully the dramatic potentialities of a situation—all common faults of today's tele—are errors which seemed in this show to be unheard of in the NBC studio. A bright garland of adjectives could be woven around the sets, lights, over-all production, acting, direction, work of the cameramen and adaptation, but let it suffice to say that Men in White was for the most part, what audiences will demand of commercial video.
There are one or two critical thoughts that may be recorded here. The close of the first scene in the library over-ran its climax. The sequence should have ended as Dr. Ferguson (Vinton Hayworth) walked out of the door. Instead, there was a dramatically unnecessary two minutes in which Laura (Jane Middleton) brooded a bit and made a phone call which was intended to further emphasize the point of the preceding action. The call actually served to over-emphasize and, in fact, blunt that point of conflict.
The second scene, in which Dr. Ferguson saves the life of a child suffering from insulin shock, could have been more effective had the dramatic tension been sustained. The climax (the child's recovery) came too soon. It should have been carried for several minutes more. The maturing love interest between the nurse and Ferguson might have been told with greater effect had it been sustained too.
In addition to producer Sobol and Director Oxford, Vinton Hayworth, Jane Middleton and Rupert La Belle deserve special mention. Miss Middleton's interpretation of the role could possibly have been a little less hard and a bit more sympathetic, and Rupert La Belle (as Dr. Cunningham) would probably have done an even better job if he had watched his diction. A few Brooklynisms crept in here and there.
Dr. James Rowland Angel, NBC's public service consultant, opened the evening with a mercifully short speech, and a film rounded out the hour. Marty Schrader. (Variety, Feb. 3)
DuMont
Reviewed Wednesday (24), 8-9 p.m. Style—Fashion show. Sustaining on WABD, New York.
Young & Rubicam's first show for Sanforized Products, a fashion show featuring the work of designer. Clare McCardle, was strictly ho-hum video, with nothing in it to prove that Y &R will particularly distinguish itself in tele. It was a fashion show, no better and no worse than the attempts which have clogged the channels in the past.
Miss McCardle sat statically ensconed [sic] on a couch with Betty Furness and discussed her clothes as the usual array of thin-legged, flat-chested models paraded around. There was some attempt to add a bit of visual action to the thing by having the models ride stationary bicycles and pop in and out of curtains. And, for laughs, if there was one, a vague masculine character tottered around leering and ogling.
To be perfectly fair, Miss McCardle's charming spring clothes undoubtedly would have held a daytime woman audience. But if Y &R is to continue to put on these shows, some grain of showman-ship and entertainment will have to be interjected. Even the most clothes-conscious woman will not want to sit week after week and stare at the robots gliding around.
Wes McKee did a fairly competent job of directing, altho his timing was off in shots and his cameramen lost models once or twice. At one time the gals talked at some length about shoes, but McKee never did show them. All told, it was nothing to get even mildly excited about. Marty Schrader. (Variety, Feb. 3)
Columbus—Crosley Corp., Cincinnati, has asked the FCC for a permit for a new commercial television station here. (Variety, Jan. 24)
Thursday, January 25
WCBW Channel 2
8:00 News, Everett Holles.
8:15 “Opinions on Trial,” Subject, Nurse Drafting.
9:00 Films: “Black Marketing” (OWI, 1943) “Man Wounded.”
9:30-10:00 “The Missus Goes A-Shopping” with John Reed King.
Friday, January 26
WNBT Channel 1
8:15 “The World in Your Home.”
8:35 Film: “March of Dimes” with Greer Garson.
8:30-11:00 Boxing at Madison Square Garden.
WCBW Channel 2
8:00 News, Everett Holles.
8:15 March of Dimes show
9:00 Films: “Cicada,” “Russia’s Foreign Policy” narrated by Lorne Greene (NFB Canada, 1944).
9:30 Fencing Exhibition.
9:45 Film: “The TVA.”
CBS
Reviewed Friday (26), 8-10 p.m. Style—Variety, film. Sustaining on WCBW, New York.
Under Leo Hurwitz's expert direction, Alan Jackson came thru with a top-notch telecast. Utilization of the Rudy Bretz animated maps, the outline maps and the stills resulted in an interest-holding and highly informative analysis of domestic and foreign news. Jackson cleverly camouflaged his script, only an occasional downward glance betraying its existence.
March of Dimes, with Frances Buss calling the shots, could have been pared 50 per cent. It was a good show, but too long. During its 40-minute run, Mary Pickford made a brief speech, number-less excellent stills were shown, film clips projected, live enactment of dramatic bits came on, charts showing vital facts were featured, and even the studio audience walked across the screen at the end, dropping contributions into bottles.
Dr. Don W. Gudakunst, medical director of the National Foundation For Infantile Paralysis, participated in a skit with Frances Fuller depicting the story of a child who was stricken with paralysis and cured. Carol Preiss, a youngster who actually recovered from paralysis, was the victim, and Mrs. Agnes Muller, as a nurse, demonstrated methods of treatment.
This seg and a later live portion, with Gwen Barlow, as a nurse, telling how the Foundation stepped in when a polio epidemic hit one section of the country, were very well done. Thruout it was a well-nigh perfect technical job, with stills, music, film clips and the rest of the business moving along at steady pace.
A government release on car pooling came to life in the hands of Charles Hatch and Rudy Bretz. Effective opening had a car apparently spinning along a scenic highway, with wheels turning and the vehicle bouncing slightly. A look into the studio revealed a painted cylinder and toy car, with another clyinder [sic] moving the wheels. While an off-screen commentator talked about gas conservation, cartoons with some animation dramatized his words. The show's entertaining quality sold the official message solidly.
Pix, Cicada and Russia's Foreign Policy, weren't exactly tele-binding.
Fancy fencing provided a lively quarter hour. William F. Strobel, director of public school fencing in New York, described and demonstrated fine points of the sport, assisted by students from N. Y. U., Pratt Institute and Fencers' Club. Strobel had his lines down pat.
Rudy Bretz directed the seg titled On Guard. All involved were at ease and turned in first-rate exhibitions of the art of fencing. None wore make-up with the exception of two fern fencers who had on street make-up. Bretz wanted to focus attention on their agile bodies rather than their faces and he accomplished that effect. Cameras were wide open for this seg, and lights were carefully adjusted to eliminate shadows.
The Valley and its People, a documentary based on the book by Charles Krutch and Robert L. Duffus, took top honors tonight. Paul Belanger wrote and directed the quarter-hour seg and wisely chose Gordon Heath as commentator. Heath has appeared with the Pearl Primas Dancers and the American Negro Theater and is currently doing a daily radio show. His voice came on before he was seen, and his excellent delivery sold the well-written script and himself.
Film clips, stills, charts and maps enlivened the show. Recorded background music was used in spots and, in a couple of instances, it was blended beautifully with industrial sounds subdued to heighten the dramatic impact of Heath's performance. Tele needs more of this type of entertaining, educational offering and certainly more actors of Heath's ability. Wanda Marvin. (Variety, Feb. 3)
Balaban & Katz
Reviewed Friday (26), 8:30 p.m. Style—Variety, drama. Sustaining on WBKB, Chicago.
A noble experiment attempting to prove that little dialog is needed on television dramatic shows was tried at WBKB tonight. And it failed. Fran Harris, who wrote and directed the show should, however, be given credit for trying for now is the time for video programers to try as many experiments as possible. Only if the people in the field work out all kinks and bugs now, will television be ready for general acceptance by the public when the day volume of set sales comes.
Miss Harris' experiment was titled Bright Star Shining, and was an attempt to depict the emotional strain put on a wife whose husband is overseas in the army and who has to make up her mind whether she should stick with him or divorce him and marry a civilian who loves her. Miss Harris attempted to illustrate the emotional conflict in her main character, Amy, played by Mary Dean Moss, by having her go thru silent action. Many close-ups of Amy's face and the other principal characters in the drama were used.
The close-ups were unsuccessful because facial expression cannot be adequately projected on the present small receiver screen. Maybe later, when projection screens 15 x 20 are used, close-ups will do much to tell a dramatic story. But not now.
The silent action failed too. For example, after Amy was phoned by the civilian, Van, played by Hitous Grey, she walked around silently, dressing herself, pacing nervously, looking at the picture of her husband, Allen. The silence was oppressive. It made the show drag and nothing in the way of dramatic impact was gained. The authoress had intended that this portion depict the mental strain under which Mary was laboring.
Poor transitional effects were used a few times during the drama. As Allen, played by Don Faust, stood looking out at some stars, there was a dissolve to Amy looking out of the window of her apartment also at some stars. Obvious attempt was to present a carry-over between two scenes. But the job was not done. However, when another transition was required and mood music was used, the effect was created. The music was in a tempo simulating increasingly-fast movement thru space. Lesson here is that even video cannot get best results with dramatic effects that make an impression on the sense of sight only. The sense of hearing must be appealed to also.
One other obvious mistake was made. As Van and Amy sat in a restaurant, singer Gloria Van was heard, supposedly entertaining the customers. Once in a while the camera was focused on Gloria. But her voice had already been heard. Most of the time it was too loud and overrode the conversation. An accordionist was used in this scene, and should not have been. He merely hindered the continuity flow.
Finally, Amy decided to stick with Allen. But she did it in a scene that left the audience cold. She merely sat down to write to Allen that she was all for him. But because the reasons for her deciding to stay had not been sufficiently brought out previously, the audience felt like saying: "Is that all? You left us up in the air. Why don't you get us down?"
In spite of the mistakes made, due credit must be given Miss Harris and her associates for the sets used. In a studio 31 ft. x 40 ft., they were able to build eight sets, each small, of course, but giving the impression of realism.
Also on the program was the piano playing of Jeanette, and Stella White's interview of The Chicago Times aviation editor, Maurice Roddy. Jeanette was excellent, and camera work was above average because it brought out the dexterity of hand and finger technique. The interview, altho it was centered around model airplanes that were depicted in close-ups, was not video. It was just radio. Most interviews are. Cy Wagner. (Variety, Feb. 3)
BALABAN & KATZ TELEVISION
With Stella White, Maurice Roddy, Jeanette, Mary Dean Moss, Hitous Gray, Ilka Diehl, Gloria Van, Don Faust
Directors: Helen Carson, Fran Harris
Cameras: Rachel Stewart, Esther Rajewski, Beulah Zachart, Marilyn Rosenberg
60 Mins., Fri. (Jan. 26), 7:30 p.m.
WBKB, Chicago
Best thing on this program was “Bright Star Shining,” a half-hour dramatic sketch written and produced by Fran Harris. Based on a good idea, which could have been projected more completely if elaborated upon, play lost its effectiveness by being patterned to fit the studio’s limited facilities. At that, Miss Harris is to be commended for playing marked craftsmanship in unfolding her story, a simple plot concerning temptations that beset wives of soldiers overseas. She kept her cameras moving fairly smoothly. With no waits, but more thought could have been made on scenic effects and lighting for a better video picture. Camerawork was very light and hazy. As the wife who thought she was falling in love with another while her husband was overseas, Mary Dean Moss was adequate. Fair performances were turned in by other members of the cast. In a cafe scene, Gloria Van showed definite television possibilities, both from a pictorial standpoint and vocal ability. Morg. (Variety, Feb. 7)
Saturday, January 27
WNBT Channel 1
8:00 Feature Film: “The War Bride’s Secret” with Josephine Hutchinson, George Houston (Astor, 1943).
9:17 Film: “What the Parrot Saw” (UK-Butcher, 1936).
Just when NBC will get underway on actual telecasting nobody seems to know, except that it will be as soon as the web gets permission from the FCC and new equipment, which, says the trade, will be shortly. It is possible a co-operative deal with WBKB, comparable to the one made by Blue here last week, will be made. If not, as soon as cameras, scenery and other equipment is available, experiments will start.
CBS kicked around the idea of experimenting shows at the Zenith Studio, but finally decided to let the New York headquarters handle all tele. MBS has announced no plans, except to wait until after the war to start actual production. (Billboard, Feb. 3)
HOLLYWOOD, Jan. 27.—Morey and Sutherland, who produce the Daffy Ditty cartoon are organizing a new company to make television shorts. Company will produce cartoons called Teletoons, strictly for video. Actual production on the new unit won't begin until war restrictions are lifted on film. (Variety, Feb. 3)
Sunday, January 28
WNBT Channel 1
8:00 Mystery: “Heartbreak,” and variety acts.
WABD Channel 4
8:00 Play: “Sham” with Frieda Inescort, Melville Cooper, Harry Stephens.
8:30 “The Queen Was in the Kitchen.”
9:00 Film program.
"SHAM"
With Frieda Inescort, Melville Cooper, Harvey Stephens, Charles Williams
Producer-Director: Ransom P. Dunnell
Writer: Frank G. Tompkins
Cameras: William Lloyd, Raymond Kirkebey
30 Mins.; Sun. (28), 8:15 p.m.
KNOX HATS
WABD-DuMont, N. Y.
Sophisticated one-acter, staged by Ran Dunnell with topdrawer cast of legit performers, for Knox Hals from DuMont's N. Y. studio Sunday night (28) demonstrated that this sort of presentation shapes up as good commercial programming when television reaches its hoped-for postwar circulation. Tompkins' play had Frieda Inescort and Melville Cooper, husband and wife, surprising a gentleman burglar (Harvey Stephens) in their home and depends for comedy on letter's lack of desire to steal anything. He, an art and antique lover, complains that the couple possess nothing worth stealing and chides them that, when they report him to the police and confess nothing was stolen, neighbors will be tipped off that their home furnishings are a bunch of junk.
Result is that the property owners wind up begging the burglar to steal something to save their reputation. Confined to a single living-room set, "Sham" was short on action and long on chatter. Cast, as to be expected, turned in a smart overall job although Stephens "went up" a couple of times, and once the voice of the prompter came through, lending a ghostlike quality at that particular point. Camera work was okay, with longshot and closeup switches worked effectively. There was no lighting problem, set being bathed brightly throughout. Makeup, too, was satisfactory. Only bad technical blunder was the use of stiff wrapping paper during the business of preparing a picture for the thief to make off with. Mike picked up the crackling noise with a glacier-like effect which detracted from conversational exchanges going on at the time. All in all, "Sham", can be marked down as a successful experiment, and it's to be hoped the venture will result in other performers of Inescort-Cooper-Stephens caliber lending their talents to the budding medium.
Plugs for Knox hats were confined to printed lilies at open and close and a couple of references to Cooper's "Knox hat" written into the play proper. Donn. (Variety, Jan. 31)
"THE QUEEN WAS IN THE KITCHEN"
With Allen Prescott, Abby Lewis; Dickie Monahan, Leonard Sherer, David Herman, Amy Sedell, Woody Parker, Arnold Stang
Producer: Gerald O. Kaye
Director: Ted Cott
Writer: Sheldon Stark
AMERICAN CENTRAL MFG. CO.
WABD-DuMont, N. Y.
This show made good use of the combined sight-and-sound media and in the face of studio and other technical handicaps prevailing at the DuMont tele setup, came off as an unusually smooth affair. Technique involved used narration, dramatics and a brief film shot, the narration, dramatic phases resembling the style popularized in film shorts by Pete Smith. That is, the narrator's lines, geared to accompany the actions of the cast when they were working in what amounted to pantomime, were flip and casual in nature. Done in an engaging fashion, it paid, off well. And, obviously, it did away with the necessity for the cast memorizing a slew of sides, as an additional advantage.
Program was sponsored by the makers of American Kitchens, and was slanted to show housewives what kitchens will look like, postwar.
Basic premise was that a kitchen is one of the busiest "crossroads" in the world—newsreel clips showed traffic in Times Sq., etc., as a gag contrast—script developing this premise by visiting in a kitchen with a housewife. Done mostly in a comedy vein—a brat kid, a gasman, milkman, gabby neighbor and a negligent husband who forgot a wedding anniversary date.
Special kitchen set, built by the sponsor, screened with effective realism, Allen Prescott, narrator, being out of sight most of the time after his original opening. Brunt of the acting fell on Abby Lewis, as the housewife, who, except for a few timing lags, did well. Support by Amy Sidell, Woody Parker, Arnold Stang, Leonard Sherer and others was okay.
Commercials were based on an intriguing idea, focussing the camera on model kits used by the sponsor's salesmen to design miniature kitchens to fit any sized room, kits having scale sinks, refrigerators, stoves, etc. While Prescott read off dimensions of various shaped rooms, camera picked up the model being adapted to fit the needs. Clever merchandising.
Flaws in the program, outside of occasional off timing, were primarily technical—out-of-focus shots cropping up several times. By and large, though, a well-directed, better-than-average telecast. Merr. (Variety, Jan. 31)
AMONG nearly a score of new applications filed with the FCC during the past two weeks are requests for seven standard stations, eight FM outlets, a non-commercial educational station, an experimental television station and one—WLIB New York—for a commercial television outlet.
WLIB, owned by Mrs. Dorothy Shiff Thackrey, publisher of the New York Post, has applied for a commercial television station on channel 17.
Sherron Metallic Corp., Brooklyn, has filed for a new experimental television station to operate with 10,000 w on any or all channels between Channel 6 to 18.
- - -
THREE construction permits have been granted by the FCC for new experimental television stations, all to use frequencies to be assigned by the Commission's chief engineer. Philco Radio & Television Corp. was authorized a station to be located in Arlington, Va. and to operate in connection with the Washington end of the Washington-Philadelphia relay system. The second station, also authorized for Washington, was granted Allen B. DuMont Labs. The third station goes to P. R. Mallory & Co., Indianapolis. (Broadcasting, Jan. 29)
Monday, January 29WNBT Channel 1
8:00 “The War As It Happens.”
8:10 Film: “March of Dimes” with Greer Garson.
8:15 Film Feature: “Federal Fugitives” with Neil Hamilton and Doris Day (PRC, 1941).
9:22: Film short: “Ocean, Thou Mighty Monster” (Hoffberg, 1939). 9:32: Film short: “Greece Gets U.S. Relief.”
9:40 Boxing from St. Nicholas Arena.
Tuesday, January 30
WNBT Channel 1
8:30-11:00 Wrestling at St. Nicholas Arena.
WABD Channel 4
8:15 WOR: Al Bernard’s Minstrel Men.
8:30 Television Producers Association experiments.
9:30 Motion Picture.
Kelvinator division of Nash-Kelvinator is sponsoring a new series of television shows on DuMont's WABC, N. Y. titled "Fun in the Kitchen." Stanza is videod Tuesdays from 8:45 to 9:15 p.m., with initial show last night (30) having Otto Soglow and Rube Goldberg as guests.
Sponsor showcases its postwar ranges and refrigerators, with commercials devoted to related institutional messages. Program is tied in with the Society of Amateur Chefs, with Ben Irving Butler, president, acting as m.c.
Eleanor Larsen produces, and Geyer, Cornell & Newell is the agency. (Variety, Jan. 24)
Washington, Jan. 30—Film industry has applications in with FCC to build four video stations on the Coast and one FM station, according to a survey of new California applications.
In the television field, Warner, Metro and Howard Hughes all want channels in the Hollywood area, and Hughes also wants to place one in San Mateo county. Only video outlets now operating in Cal. are the experimental ones owned and operated by Don Lee and Television Productions, Inc., subsidiary of Paramount Pictures, both in Los Angeles.
At present there are applications for...14 video stations to be erected in California. (Variety, Jan. 31)
Washington, Jan. 30.—FCC has already received requests from the following to make oral arguments on the new frequency allocations beginning Feb. 28: Television Broadcasters Assn., Allen B. DuMont Labs, Inc.; NBC, the Yankee Network, Association of American Railroads, RCA, RCA Communications, American Tel. & Tel., the Journal Co., Milwaukee. (Variety, Jan. 31)
Hollywood, Jan. 30—Screen Cartoonists Guild has announced that no appeal would be taken from the WLB decision in its contract dispute with the Walt Disney studio. This ended the union's request for a share in the receipts of reissues and television, and was expected to lead to a quick settlement of all pending contract disputes between the cartoonists and the cartoon producers. (Variety, Jan. 31)
Wednesday, January 31
WABD Channel 4
8:00 Motion Picture.
9:00 Play: “The Colonel and the Lady.”
9:30 Shopping program.
DuMont
Reviewed Wednesday (31), 8-10p.m. Sytle [sic]—Film, drama. Sustaining on WABD, New York.
If you like soap opera—and many listeners do—The Commander and the Lady, Ruthrauff & Ryan's latest offering for Lever Bros., is right up your alley. Aside from a miscarriage and miscasting in the male lead and some of the worst lighting we've seen since British film stopped shooting in the London fog, it was tear-jerking of the worst—or best—sort, depending upon your standards of appreciation.
Technically speaking, The Commander and the Lady was about the best job we've seen Producer Lee Cooley do in a long time. The sets were fine, the special effects excellent, the direction as good as humanly possible in DuMont's show box, and films were nicely integrated into the script. Only two adverse criticisms can be made, aside from the low-power lighting and the casting. Studio noise Wednesday night rose to a point where it was conceivable that the engineers were holding a strike meeting with management right behind the cameras. And some of the shots, unfortunately were way out of focus. Perhaps the intent was to give the heroine an etheral look, but it is doubted.
The book, written by John Haggard, was worthy of any daytime serial, which is condemnation enough. A film and Macy's Teleshopping filled out the rest of the evening. Marty Schrader. (Variety, Feb.10)
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