Sunday, 26 September 2021

The Kid is Not My Son

Two people on the Jack Benny TV show appeared in Charley’s Aunt. One was Benny himself. Who was the other?

Well, we should qualify that it wasn’t the film version Benny was in. The answer is revealed in the May 2, 1952 edition of the Casper Star-Tribune.

Dale P. White of Casper, a veteran of the Brigham Young University stage, recently was seen in the lovable Thomas comedy, 'Charley's Aunt", which was produced April 23 through April 26 on the campus.
He is the son of Mr. and Mrs. W. F. White, 815 South Ash. He is registered in the college of Fine Arts majoring in speech, is a member of the regular staff of KBYU campus radio station, and has participated in several of the radio dramas. Dale is lighting technician for all major drama productions at BYU, and at present is vice-president of the Wyoming club. Before his graduation in 1950 from N.C.H.S , Dale was president of the Thespians, national drama society for high schools, student-body secretary, and a member of the wrestling team.


The paper anxiously followed White’s acting career. Every time he appeared on the Benny show, it published a little squib about it.

Dale White was a reluctant actor. He didn’t want to be one. But he ended up playing Don Wilson’s son Harlow on the Benny TV show.

Wilson’s middle name really was Harlow. But, no, he had no children in real life. He had none on radio. He had none on TV, too, until White appeared out of nowhere as his grown son.

The circumstances are explained in this publicity piece from 1960.

This TV Guest Forced To Watch His Figure
By CBS Press Department
The rotund young man hung his head shyly while his hands nervously clasped and unclasped over a well-fed stomach. He stood beside a slightly larger carbon copy of himself and in humble, nasal tones said. "Yes, Daddy." The audience watching howled.
In the past four years the young man, Dale White, has appeared on Benny's program several times, always as the son of announcer Don Wilson. He's due back for another appearance on "The Jack Benny Program" Sunday.
No Pro Actor
Despite the expert job of acting he turns in as Wilson's pride and joy, White isn't even a professional actor.
He's head of the television department at the Pasadena Playhouse, where he also instructs in television techniques. He also teaches a course in sound effects for the stage and is developing a stereophonic sound-effects system for the legitimate theater.
White was born in Otto, Wyo., and reared in Casper, Wyo. He studied engineering at Utah State University for a year and then spent two more years at Brigham Young University. During this time he was an expert wrestler and won several titles on the Intercollegiate mat.
Married when he was 18, White brought his bride, Marie, to California in 1954. He was determined to make the theater his life's work and enrolled at the Pasadena Playhouse, where two years later he was awarded a bachelor of theater arts degree.
White's entry into show business as an actor was, as White put it, "a peculiar and wonderful quirk of fate."
Dick Fischer, who was at that time an associate producer of Benny's television show, was at the Playhouse on other business when he saw White. His resemblance to Don Wilson was so striking that Fischer grabbed the youth as if he were a long-lost rich uncle.
For some time Benny had wanted to do a skit based on Don having a roly-poly son, but had been unable to find anyone who could properly portray the role.
"Son," Fischer" shouted, "how would you like to be on Jack Benny's television show?"
Stammers—Then Acts
White recalls he stammered a bit, not understanding completely, and almost before he knew it he was rehearsing for the show as an actor. That initial show was such a success that Dale has been called back repeatedly to portray Wilson's chubby and embarrassingly shy son.
White's ambition is to be a director. He says the life of an actor is too nerve-wracking.
"Every time I'm on the show I lose weight," he explains. "And like Mr. Wilson, if I lose too much, I’d be out of a job.
"I'm fully aware that I owe my job not to any great acting talent, but to my figure."


The Benny TV series ended in 1965. And that’s when Dale White ended his acting career. He wanted to direct—in the 1950s, he started a small film company—and that’s what he did.

White was a Mormon, and found a home in Utah. This feature story appeared in the local paper in Bountiful, April 30, 1996.

Longtime actor, director makes his home in Bountiful
Quig Nielsen
Contributing Writer
Not often do you find someone who is a superlative actor, talented director, master behind the camera, organizational genius, and has quiet, charismatic energy! Would you believe it? I found one who has all these skilled attributes and he is right here in Bountiful. He is Dale White, who lives with his lovely wife, Marie, in a gorgeous new home near the majestic Bountiful Temple.
This congenial couple, parents of three married children, joined the Bountiful residents in 1991 and, making friends quickly, has concluded this city of beautiful homes is the place to live. Further, one of their sons, Frank, and his family live only a few blocks down the street from them.
Of the many highlights in Dale’s fabulous career, and perhaps the best known, is that for ten and a half years he acted in the highly popular and top rated Jack Benny comedy television show. His first performance on the show, which emanated from the CBS studies in Hollywood, was as Don Wilson’s son. Wilson was the rotund and well-liked television announcer for the Benny show. Following his inaugural performance with Benny, Dale performed in a variety of roles in the show over the years.
As a young college student Dale White had difficulty choosing a career. He attended Utah State, briefly studying mechanical engineering but, after a year, decided that wasn’t the field for him. He gave law school at BYU a try and said no way. Then he met the eminent T. Earl Pardoe, BYUs widely-recognized and acclaimed teacher of the dramatic arts. After a long period of serious thought and discussion with the professor, Dale concluded he’d take a shot at theater arts. He became Pardoe’s stage manager for BYU productions.
When young White wanted to pursue more education in the drama and movie-making field, Professor Pardoe recommended that he attend the Pasadena Playhouse, College of Theater Arts, in Pasadena, California. “It was called the Cal Tech of the theater world,” Dale remembered. “Enrolled in the school were students who wanted to become actors and some who wanted to acquire a degree. I was one who wanted a degree. Because of my experience in theater work I was called the ‘Orson Welles’ of the Pasadena school.”
It was at Pasadena when he was chosen from a large group of applicants for his first role on the Benny show. Dale continued with his education, acquiring his degree, and then, to his surprise, was invited to teach, a work he thoroughly enjoyed.
While teaching Dale took a shot at directing. He quickly learned “that to be a good director you had to be a good actor. I was fortunate,” Dale continued, “to get a job as the cameraman at one of Hollywood's big TV stations, KCOP.” So now he excelled as an actor, a director, and as a photographer.
He organized White Productions and began producing portrait, industrial, and training videos for commercial companies and was extolled for the high quality work he did. General Dynamics who had a big plant in Rhode Island, another in Connecticut in addition to divisions in California and other states was one of the many companies to profit from the White Productions videos.
Dale said he would have liked to have done shows for the motion picture market but "there is so much intrigue in the financing of the productions that I felt it was better to leave that aspect of the business alone.” Numerous made-for-TV movies are listed in Dale's creative accomplishments.
A national film trade magazine, considered the most prestigious in the industry, wrote an article about White Productions in which it said "White Productions has the most difficult qualities to find in film production today, integrity, intelligence, and imagination." Quite a compliment. Dale’s company also was lauded in a Wall Street Journal article.
As a member of the LDS Branch Presidency of the Rocky Mountain and South Davis Community Care Centers here in Bountiful, Dale has produced a video teaching the young people how to assist in caring for those confined residents. It's a film everyone should see.
Currently Dale’s working on an hour-long film of the love story of Joseph and Emma Smith. Now that’s something to anticipate.
Dale White’s ancestors who came from England on the Mayflower and landed at Plymouth Rock in America in 1620 have got to be proud of their descendant. But that's another story.


White died in his new-found home in February, 2006, age 74. Read a tribute in the Salt Lake City newspaper.

20 years ago, a posting by Gerry Orlando on the International Jack Benny Fan Club web forum wondered about White. The answer, Gerry, took a little while in coming, but it’s been answered today.

Saturday, 25 September 2021

Lantz, Columbia Studios, 1940

A while ago, we posted a list from 1940 of many of the male employees of Leon Schlesinger Productions based on U.S. military draft cards, most of them filled out in October 1940. Because of misspellings of poor Leon’s name, not all of them came up in a search.

We’re going to do the same thing for the Lantz, Screen Gems and Cartoon Films studios. The staffs there were much smaller.

Many of the Lantz names you’ll recognise from the cartoons. Some you won’t; maybe they were cameramen or other non-animation personel.

A few notes about people whose names were on cartoons the previous year:

● Burt Gillett was employed in a restaurant.
● James Miele was a “freelance cartoonist.”
● George Grandpre was unemployed.
● Victor McLeod went to work for J. Walter Thompson.
● Kin Platt went back to New York to work on comics.
● Frank Marsales card is from 1942. He left Lantz in 1940 to conduct a municipal band.
● Hicks Lokey has no card that I can find.
● Willie Pogany was self-employed.

RUSSELL BALDWIN, born 19 Sept. 1907, Freeley, Colo.
5740 Franklin Ave., Los Angeles. Hempstead 2074.
FRED WILLIAM BRUNISH, born 18 Dec. 1902, NYC.
727 N. Vista, Los Angeles. Whitney 5771.
DARRELL WALLACE CALKER, born 18 Feb. 1905, Washington, D.C.
7257 Willoughby Ave., Los Angeles. Gladstone 0156. Self employed.
ROBERT FLETCHER CORTEEN, born 16 Oct 1940, Burbank.
4647 Tujunga Ave N., Hollywood.
GEORGE DANE, born 2 Feb. 1913, Chicago.
5607 La Mirada, Los Angeles.
LOWELL EVERETT ELLIOTT, born 20 Dec. 1901, Independence, Kansas.
4817 Cleon Ave., North Hollywood. Sunset 2-7692.
OSMOND BILLINGE EVANS, born 18 Sept. 1910, Muskoka, Ont.
1839 N. Fairview, Burbank. Charleston 6-8663

RAYMOND MARK FAHRINGER, born 30 Nov. 1910, Omaha.
4270 Riverton Ave., North Hollywood. Sunset 2-6490.
EMMET VINCENT HALLORAN, born 24 April 1920, Syracuse, N.Y.
1815 ½ N. Wilcox Ave.., Hollywood. GL 5660.
JOSEPH BENSON HARDAWAY, born 21 May 1895, Belton, Mo.
11211 Kling St., N. Hollywood. Sunset 2-1522.
WALLACE FRANKLIN HAYNES, born 13 Feb. 1906, Ceres, Calif.
631 Caleb St., Glendale. Citrus 1-1576.
ANGEL GANDARA JIMENEZ, born 3 Oct. 1919, Denver.
450 15th St., Santa Monica.
EDGAR OTTO KIECHLE, born 24. Jan 1911, St. Louis.
4209 Bellingham Ave., N. Hollywood. Sunset 2-5731.
LESTER ROBERT KLINE, born 3 April 1906, Santa Monica, Calif.
6249 Ben Ave., North Hollywood. Hempstead 3131.
WALTER LANTZ, born 27 April 1899, New Rochelle, N.Y.
4607 Van Alden, Tarzana. ST7-1211

ALEXANDER LOVY, born 2 Sept. 1913, Passaic, N.J.
5607 La Mirada, Hollywood. HO 9551.
RICHARD WAGNER MARION, born 27 June 1910, Cincinnati.
14652 Burbank Blvd., Van Nuys.
HAROLD MASON, born 6 Sept. 1917, Manchester, England.
1313 ½ N. Mariposa Ave., Los Angeles. NO1-9067.
ROBERT LEE MILLER, born 23 Oct. 1910, New Hampton, Iowa.
4165 Tujunga Ave., Los Angeles. SU2-0269.
ROBERT LEWIS MOORE, born 20 June 1908, Los Angeles.
1447 N. Orange Grove Ave., Los Angeles. HE 6944.
LANSING BALLARD NOLLEY, born 30 March 1902, Dallas.
2115 Griffith Park Blvd., Los Angeles. OL 4119.
RICHARD JAMES NELSON, born 26 April1917, Philadelphia.
929 South Lake St., Los Angeles. FI 6797 (actor).

JACK RABIN, born 18 March 1914, Edmonton.
438 ½ N. Curson St., Los Angeles. Walnut 3537.
RALPH JAY SOMERVILLE, born 6 Dec 1905, Oskaloosa, Iowa.
4104 Kraft Ave., N. Hollywood. Sunset 12806 (wife is Xenia Somerville).
FRANK GEORGE TIPPER, born 19 Aug. 1909, England.
4543 Longridge, Van Nuys.
JOHN LAW WALKER, born 19 Sept. 1899, Glasgow, Scotland.
616E Providencia, Burbank. CH6-8494.
CHARLES EDWARD WHITTON, born 27 June 1906, NYC.
1410 Golden Gate Ave., Los Angeles. OL 3958.
SEYMOUR ZWEIBEL, born 20 April 1915, Newark, N.J.
871 South 11th Street, Newark. Essex 3-3131.


The list for Columbia/Screen Gems is incomplete. Some employees in 1940 don’t have draft cards until 1942 when they were no longer employees. There was a purge with 30 people let go in 1941. Ben Harrison is listed as a “self-employed cartoonist,” and Art Davis’ older brother Phil opened a liquor store. Animators Manny Gould and Allen Rose, musician Joe De Nat and managers George Winkler and Jimmy Bronis are all unemployed. The database has mistranscribed “Screen Gems” so names were missed.

Sid Marcus took some doing to track down. There is conflicting information about him on-line and, naturally, more than one Sid Marcus in Los Angeles. But having checked his marriage license, a census report and a voters list for dates and occupations, enough information matches to say that Marcus was born in New York on July 13, 1904. His draft card reads “own studio 1560 Vine St Hollywood.” Sid died September 9, 1985 in Santa Monica.

I cannot find composer Paul Worth simply because that was not his legal name and I can’t remember what it was.

CARL RICHARD ANDERSON, born 9 Sept. 1910, Auburn, Wash.
4348 Longwood Ave., Los Angeles. NO 9138.
CHESTER CALLAHAN, born 2 Feb. 1904, Lockhart, Texas.
804 East 43rd Place, Los Angeles. Adams 8035.
ARTHUR JOHN CHADWICK, born 3 Feb. 1922, Handley, Texas
5 - 1401 N. Ridgewood, Hollywood (1942).
JACK VIRGIL COSGRIFF, born 23 July 1903, Baker, Ore.
6515 Franklin Ave., Hollywood. HO 6381 (1942)
ARTHUR DAVIS, 14 June 1905, Yonkers, N.Y.
12322 Viewcrest Rd., North Hollywood. SU2-2219.
SIDNEY DAVIS, born 5 June 1900, Yonkers, New York.
6427 Radford Ave., No. Hollywood. SUnset1-3556.
REAH WENDELL EHRET, born 8 July 1907, Brea, West Virginia.
945 West 85th St., Los Angeles. TW-0705.
FRANK JEROME FISHER, born 7 Mar 1907, Oregon Ogle, Ill.
914 N. Reece Place, Burbank. Charleston 6-0473.
EDGAR FRIEDMAN, born 23 Oct. 1912, Galveston, Texas.
111 S. Mariposa Ave., Los Angeles. FEderal 1556.
BERNARD GARBUTT, born 25 Aug. 1900, Ontario, Calif.
1308 Cedaredge Ave., Eagle Rock. Albany 8919.
SIDNEY JEROME GLENAR, born 13 Sep. 1903, Amsterdam, N.Y.
2338 ½ Bev. Glen Blvd., Los Angeles. CR1-8275. (1942)
EDWARD VINCENT KILFEATHER, born 5 April 1900, Portland, Ore.
412 Spaulding Drive, Beverly Hills. CR1-3963. (1942)
HAROLD LIEBLICH (Love), born 1 April 1911 in New York City.
1525 N. Van Ness, Los Angeles. HI 5111.
LOUIE HASKALL LILLY, born 26 Feb. 1909, Henderson, Kentucky.
10501 Bradbury Rd., Los Angeles. Ardmore 8-4690.
BENJAMIN FARLEY LLOYD, born 5 Dec 1916, York, Nebraska
10615 Inglewood Ave., Inglewood. OR7-4994.
JOHN RICHARD (Pat) MATTHEWS, born 17 May 1916, Chicago.
1144 South LaPeer Drive, Los Angeles.
WILLARD HOWARD MATTHEWS, born 4 Nov. 1922, Los Angeles.
2707½ West 8th Ave., Los Angeles (1942).
EDWARD RAYMOND MOORE, born 28 Aug. 1905, Chicago.
914 Orchard Dr., Burbank. CH6-4211.
THOMAS ANTHONY PELUSO, born 19 July 1899, NYC.
6546 Olympic Blvd., Los Angeles. WH 3087 (also with Hal Roach) (1942).
ROBERT RAE PETKERE, born 20 Jan. 1910, Battle Creek, Mich.
1030 Kenwood, Burbank. GH6-8597.
MILES EDWARD PIKE, born 20 May 1902, NYC.
4291 Klump St., North Hollywood. (1942)
HERBERT RICHARD ROTHWILL, born 24 Nov. 1912, Highland, Wisc.
932 S. Irolo St., Los Angeles. FEderal 8392.
BEN SCHWALB, born 15 June 1901, Riga, Latvia.
1814 N. Berendo St., Los Angeles. NO 19020.
WILLIAM SPRAGUE TILTON, born 22 Sep. 1920, Rawlins, Wyoming
800 N. Las Palmas Ave., Los Angeles. HO 9705 (1942).
EDGAR CLARK WATSON, born 5 May 1908, Montreal.
617 N. Orange Drive, Los Angeles. YO 2797.
ELMO JAMES WHITE, born 28 Aug. 1911, St Augustine, Florida.
606 N. Sycamore Ave., Los Angeles. HO-2904.
ROBERT EARL WOLFER, born 15 Nov. 1907, Cincinnati.
5734 ½ Carlton Way, Los Angeles. Gladstone 2460.


Cartoon Films, Ltd. started out as the Iwerks studio in 1930 and changed its name when Ub worked out a deal with Lawson Haris to make Gran’ Pop Monkey cartoons to be screened in England. Former Harman-Ising animator Paul Fennell took over when Iwerks returned to Disney. It made commercial films with a small staff.

EDWARD ALLAN BENEDICT, born 23 Aug. 1912, Cleveland.
107 ½ S. Flores St., Los Angeles. Webster 9615.
CARL FERDINAND BUETTNER, born 26 May 1903, Minneapolis.
912 Shenandoah Street, Los Angeles. CR1-0696.
CHARLES BYRNE, born 24 Dec 1909, New York City.
826 S. Hibart Blvd., Los Angeles. DR 4576.
JOHN WILLIAM CANNON, born 17 Mar 1907, Terre Haute, Ind.
4875 Hartwick Street, Los Angeles. CI6-5698.
GEORGE JOSEPH DARNEILLE, born 29 May 1916, Needles, Calif.
159 Corlies Ave., Pelham West, N.Y. Pelham 2729.
EDWARD CLARK DAVIS, born 10 Sept. 1902, Paris, Miss.
444 N. Norton St., Los Angeles. Gladstone 9507 (1942).
JOSEPH PATRICK FENNELL, born 20 Mar. 1914, Grafton, Neb.
1341 Seward St., Los Angeles. HI-2741.
PAUL JOHN FENNELL, born 9 Nov. 1909, Grafton, Neb.
13910 Davana Terrace, Van Nuys. ST4-0205.
WILLIAM LAWSON HARRIS, born 30 Jun 1897 in Evansville, Ind.
14501 Sunset Blvd., Pacific Palisades. SM5-3015.
ANDREW SLOANE LITTLEJOHN, born 8 Feb. 1916, Newark, N.J.
2523 Kenilworth Ave., Los Angeles. MO1-6935 (brother is Bill Littlejohn).
THOMAS JACOB MCKIMSON, born 5 March 1907, Denver.
108 S. Harper Dr., Los Angeles. WH 8971.
NICHOLS MILBANK, born 23 Mar 1903, Montclair, N.J.
10637 Ashton Ave., Los Angeles. AR3-4675 (1942).
GORDON MAXWELL NUNES, born 1 Aug. 1914, Porterville, Cal.
3513 Clarington, Los Angeles.
GILBERT PARMELEE RUGG III, born 9 Nov. 1910, Minneapolis.
729½ N. Formosa St., Los Angeles.
EDWARD R. SMITH, born 22 Aug. 1908, West Lafayette, Ind.
401 Seaside Terrace Hotel, Santa Monica. Santa Monica 5-7209.
ALMON RICHARD TEETER, born 26 May 1913, Jasper, Miss.
141 S. Swall Dr., Los Angeles. CR1-4216.
DONALD HAROLD WILLIAMS, born 21 April 1906, Rochester, Minn.
2666 Carleton Ave., Los Angeles. Capitol 8461.
BONG JIN WONG, born 26 Nov. 1908, Hoy Sun, Canton, China.
846 Lookout Drive, Los Angeles.
JOAQUIN RUDOLPH ZAMORA, born 26 Mar 1910, Mexico City.
6720 Franklin Place, Los Angeles.


My thanks to Devon Baxter who marched forward past mis-transcriptions and found several more names.

Friday, 24 September 2021

Punching Out a Train

The train’s coming and Popeye doesn’t have time to rescue Olive Oyl tied to the tracks. Well, he’s got only one choice.



My favourite scene is still the train whistling its warning. I must have first seen it 60 years ago.

Charlie Judkins reminds me the name of the background song in this sequence is “Beyond the Blue Horizon.” It’s in other Fleischer cartoons with trains but this is the one I remember hearing it the most. It’s from the 1930 Paramount feature Monte Carlo.

Seymour Kneitel and Doc Crandall get animation credits on Popeye’s 1933 debut though, technically, Popeye the Sailor was part of the Betty Boop series.

Thursday, 23 September 2021

Detouring America Backgrounds

Johnny Johnsen brings us cityscapes and nature-scapes (is that a word?) in Detouring America, a 1939 Tex Avery travelogue. Avery was more cinematic at Warners than at MGM. I don’t recall getting this many angles in his Metro cartoons.

There are overlays galore in this short. The buildings in the immediate foreground are examples in the first two frames. There’s a great pan going up the Empire State building that, unfortunately, can not be edited together included here.



There are tree overlays and a cactus overlay. I wanted to clip together the Arctic pan but couldn’t get the colours to match, so you only get a portion of it.



Johnny Johnsen was an artist for a number of newspapers in various states. He was born in Colorado on July 23, 1885 and died Feb 7, 1974 in Los Angeles. He left Warners soon after Avery did and joined him at MGM.

Wednesday, 22 September 2021

He Didn't Want to be a Yokel

Buddy Ebsen really didn’t want the role that brought him everlasting fame.

He’d played enough rural types over the years, he felt, and wanted something different. But then Paul Henning came up with The Beverly Hillbillies, and felt Ebsen would be right for Jed Clampett. He read the pilot script to Ebsen and the man who had worn buckskin as Davey Crockett’s sidekick agreed to do the series.

Here’s Ebsen in a syndicated newspaper story that appeared around April 14, 1962, a good five months ahead of his debut as head of the Clampett clan. He talks about some of the roles he liked.

Buddy Ebsen Sheds Bumpkin Roles
By ALAN GILL

NEW YORK—The big mop of farm boy hair is mostly gray, with patches of white now, and the sideburns are more Hollywood than Belleville, Ill. The suit is dark and richly tailored. The tie is white. And the outlook from those light blue eyes is sophisticated. But you'd recognize Buddy Ebsen anywhere.
He's still the boy friend of Judy Canova, the sidekick of Davey Crockett, and the long-boned drink of water who danced with Shirley Temple in "Cap'n January" so many years ago. He still gives that slow, stiff stretch of the shoulders before he speaks.
Just under his left eye, there's a piece of tape. "I had a little thing there I had taken off," he said. "Do you tend to be a warty fellow?" he was asked, somewhat crassly. "Oh, yeah, I used to get dozens of warts on my hands when I was a kid back in Belleville."
So there you've got him, warts and all Buddy Ebsen.
Ebsen is in New York at the moment rehearsing for a Westinghouse Presents drama by Tad Mosel, in the illustrious company of Jason Robards Jr., Kim Stanley and Patricia Neal. You'll get a chance to see "That's Where the Town's Going!" Tuesday, 10 p.m.
"I play a kind of alley cat in a small Midwestern town, who's hovering over these two spinsters. Jason Robards breezes in, stirs things up, and then leaves again. At the end, I'm still hovering. "And the thing is, what the girls really need is me."
WILL STAR IN NEW FALL SERIES
He smiled a sweet, bumpkin grin, with a glint of evil in it "See?" Is that the way the part was written? a visitor asked. "Well," Ebsen said, with a stretch of the shoulders, "that may not be what Mosel had in mind, but it's what I have in mind."
Later, Ebsen will go back to Hollywood to film a few episodes for a series he'll star in for CBS next fall. Beverly Hillbillies, it's called, and it concerns an Ozark clan that strikes it rich in oil and moves in on an upper crust community near Hollywood.
"Y'see, I'm a hayseed again," he said, with a note of regret in his voice.
Ebsen didn't exactly start that way. He came to New York in 1926, with only a few coins in his pockets and the notion of being a doctor in his mind. He soda-jerked for a while and then, suddenly, he had a spot with his sister Vilma in the Ziegfeld show, "Whoopee."
The dance team of Vilma and Buddy Ebsen was a headliner for years on the vaudeville circuit—part of a troupe called Benny Davis and His Future Stars. Then came "Flying Colors," the Follies and Hollywood. "Broadway Melody of 1936" was the first one, then Broadway stardom in "Yokel Boy," then back to the movies for a string of hayseed parts.
PART IMPORTANT THING NOW
Not long ago, Ebsen and his business manager came to a conclusion.
"We decided that we'd make the part the thing and not the money. We'd talk about the money later. So, along came 'Breakfast at Tiffany's and we grabbed it. In ‘The Interns’ I play the head of a hospital. There's no smell of the barn in that one.
“I like to get out of the overalls whenever I can. And no more buckskins, for me, no, sir! In hot weather, you melt in 'em, and in winter, they hang on you like a wet fish. I don't know how the pioneers could stand 'em.
"Now a part I’d like is 'Dodsworth.' My wife is an actress and one day she and I might just do it together. I’m in a playwriting group at UCLA and I have a play written—pretty good, too—and a musical book I have some hopes about."
Did he ever play a villain?
"Well, there are dirty dog villains and gray villains. I can do a gray one okay. My favorite part was in a cowboy movie where I was a coldblooded murderer but so charmin’, a real likable feller when I wasn't bumpin’ somebody off."
To look at him, there's nothing gray or dirty dog about Buddy Ebsen, no, sir.


Critics hated the Hillbillies. They wanted sophisticated, erudite television, and they saw the show as a continued dumbing down of American culture—improbable situations played out in front of a laugh track heard everywhere else. They couldn’t understand why the show quickly became a smash hit. That was addressed by the Los Angeles Times service’s TV columnist. The story originally ran on November 12, 1962.

Hillbillies Corn? Nation’s All Ears
BY CECIL SMITH

"Everybody keeps asking why," said Buddy Ebsen. "Why, why, why?
"I don't know why. If I knew why people watch one show instead of another, I wouldn't be working here—I'd be a millionaire."
Buddy grinned his slow, easy, grin, scratched his stubbly chin. The whys being tossed at him concern why the Beverly Hillbillies, an innocuous comedy, waist-deep in corn, is the phenomena of this TV season.
I was on the set the other day just after Mr. Nielsen's busy figures had determined that the Hillbillies had nudged Lucille Ball out of the top spot on the rating polls and in five short weeks had become the most popular show on television, watched each Wednesday night by some 35 million people.
Even writer-creator Paul Henning is astonished at this smashing success because it seems to cross all levels of life, delighting sophisticates and rustics alike, as popular in New York as it is in Nashville. Perhaps the best answer to why comes from Ebsen, the Grandpa Clampett of the series, who says: "We were born into such a plethora of agony shows that people grabbed something that took 'em away."
It was a happy set, spreading across a vast sound-stage, duplicating the formal elegance of the Beverly Hills mansion the hillbillies bought with their oil millions. They were shooting a swimming pool scene with Donna Douglas and Max Baer Jr.
It has been said of blond Donna that she may do for bluejeans what Lana Turner did for the sweater. As effective as the beautiful Donna is in bluejeans, you should check her in a skin-tight bathing suit. She's one of the seven wonders of the world. Maybe all seven.
The incredibly talented Dick Wharf, who directs the show, shrugged, and said: "It's a comic strip. It means nothing, preaches nothing, says nothing—it's just for fun. And with this great cast—with Ebsen and Irene Ryan and Bea Benadaret and the others—it's a ball to do."
I'm always amazed at Wharf. A splendid actor, a fine director, an excellent painter, a noted sculptor he's a Renaissance man. Donna, who studies metaphysics, says: "It's just that he's a Gemini. Geminis are directed by the brain and they can do many things."
Donna wrinkled her pretty forehead and added: "I went home last week to Baton Rouge and to a football game and people kept surrounding me and yelling, 'Hi, Elly Mae.' I don't know about this. It's scary."
Irene Ryan, grandma of the show, wriggled her toes in the old Army brogans she wears. "They wanted to get some different shoes, but I went back to these. They're my funny shoes. I feel funny everytime I put 'em on."
Buddy Ebsen shook his head. "Hillbillies," he said. "When Paul Henning mentioned hillbillies to me, I started to run for the hills. I'd played too many hillbillies. But then he told me about 'em and he got me to laughing and here I am."
Maybe that's the real answer to why the Beverly Hillbillies are the country's TV delight. When they mentioned hillbillies, everybody headed for the hills. But then they got to laughing and . . .


Ebsen played Clampett for nine years before taking a breather and moving on to a non-hayseed TV role that lasted eight years—detective Barnaby Jones. Both were good parts, but I imagine fans of ordinary folk getting the best of city slickers every week enjoyed Ebsen as Clampett more than a jug of white lightning after a weekend hayride.

Tuesday, 21 September 2021

The Soundtrack Laughs But We Don't

UPA’s The Emperor’s New Clothes (1953) is smothered in overly busy settings, repetitious dialogue, at times non-existent animation and a non-melodic score that’s in some non-major key (before it lapses into a march cadence heard over and over).

Not only are there times when mouths don’t move during dialogue, but after the climax when the monotone whiny boy reveals the emperor has no clothes, there’s laughter, but the camera cuts to static drawings. There’s even a part where windows go from open to closed with no in-betweens, but the sound of them shutting and the laughter stopping is about a second late on the soundtrack. Here are the drawings.



There may be laughter on the screen but I doubt there was any in the theatre audience.

Paul Julian designed this cartoon, with music by Benjamin Lees. Hans Conried gets a voice credit; the women don’t. This was the first theatrical directed by Ted Parmelee.

Monday, 20 September 2021

Challenging Sam to a Duel

Look at Bugs Bunny’s fingers in these scenes from Hare Trimmed (1953) and the little moustache twirl for added personality.



If I had to guess, I’d say Virgil Ross and his assistant Warren Batchelder were at work here.

Art Davis, Ken Champin and Manny Perez also animate on this short from the Friz Freleng unit at Warners, with a tidy story from Warren Foster.

Sunday, 19 September 2021

Jack Benny Fans Unite

The internet has improved things so much for people who like to share common interests. Just log on and read or chat. En masse.

Kids today don’t know what it was like before everyone had access to the world in the palm of a hand (Old man shakes fist). You maybe got a newsletter or magazine in your mailbox (the kind where you pull out something that has a postage stamp on it). Maybe someone organised an annual convention if the group was interested enough.

An example is the International Jack Benny Fan Club. It still issues an old-fashioned newsletter. It has a web site where members and others can access a forum and leave posts. The forum is still there, but everyone seems to prefer communicating on Facebook, posting pictures, links to videos, asking questions and even hooking up with those connected to the show (Eddie Anderson’s daughter drops by. So does Sammy the Drummer’s daughter).

The Benny Club Facebook group has 5,500 plus members. Compare that to the story below. Laura Lee (under a different surname) still loves Jack and still runs the club after all this time. This story is 30 years old, appearing in newspapers on December 29, 1991.

Laura Lee is 22 and crazy about Benny
By Murry Frymer

Knight-Ridder Tribune News Writer
PALO ALTO, Calif.—There is one fascinating facet of show business that, to me, has always been a curiosity. It's the fan club, the collection of fanatics who make the avid absorption of a show-biz star a major factor in their lives.
Is it a chance to shine through reflected glory? Is it an addiction?
Laura Lee was 5 years old when comedian Jack Benny died. She doesn't remember it as a cataclysmic event.
But then, just five years later, she formed the Jack Benny Fan Club, and now, at 22. Laura Lee heads an organization that spans nine countries, from Egypt to Scotland, from Israel to Germany.
There are 300 card-carrying members, the youngest age 2 and the oldest 95. (The 2-year-old was coerced into joining by her parents, both members.) The oldest is George Burns, one of the first members, who joined because Jack Benny was his best friend.
What is more difficult to ascertain is why Laura Lee formed the Jack Benny Fan Club in the first place and why she devotes so much time to informing herself about the comedian.
Her answers to the question seem rather cryptic to anyone not so possessed.
"WELL, I just enjoyed his style of humor. I didn't like slapstick comics, because I was always afraid they would hurt themselves. Jack Benny was not like that. Many of my friends liked Jack, too, and one of them encouraged me to start the club," Lee says in her office at Quintiles Pacific, a pharmaceutical company in Palo Alto, where she supervises shipping and receiving.
The friend "said it was better to light one candle than to sit around and curse the darkness."
Instead of cursing the darkness, Lee has sought out anyone and everyone connected with Benny—his one-time writers, co-stars, adopted daughter, friends. She knows enough about the man to fill a book. And she has done just that, a compilation on Benny's career that is now in the library at the Smithsonian Institution. It's called "39 Forever" and sells for a thrifty $15.
New information about the comedian shows up in the bimonthly Jack Benny Times, a Xeroxed newsletter Lee writes and produces herself. Members reveal bits of trivia and ask for background.
The newsletter's Jack Benny Classified includes such items as: "Paul Pinch has Xeroxes of London Palladium programmes from three of Jack's appearances, which are available for trade." The address is in London.
PETER TATCHELL, meanwhile, is trying to get dates of three ancient Benny TV shows, which he describes in detail.
And Phil Evans wants to know the name of the theater where Jack Benny performed on Oct. 15 and 27, 1927. Evans already knows that the Frankie Trumbauer band was in the pit. Apparently, a new comic routine involving the band originated that night, and Evans, in his painstaking research, has found that it was repeated on the Lawrence Welk TV show of Oct. 23, 1962.
On such minutiae do fan clubs thrive.
Lee ran her club from her home in Ft. Wayne, Ind.. until moving to Castro Valley, Calif., this year. Much of her Benny memorabilia is still back home in Indiana.
But the knowledge Lee carries around in her head is amazing. In fact, an actor named Eddie Carroll, who is planning a one-man stage show on Benny, recently met with Lee to learn more about the comic.
Lee knows innumerable facts and dates. For example, Benny's home address in Beverly Hills was 10231 Charing Cross, but the house was torn down by a buyer who built what Lee calls a mausoleum.
Lee claims to know intimate details but says, "In most cases I was sworn to secrecy. His friends made me promise never to tell, but still they wanted me to know."
How did the long-running age-39 joke begin? "On one show," Lee says, "Jack said he was 37, and when he had his next birthday on the show he said he was 38. The following year he turned 39. "They were going to have a big blowout the next year when he was going to turn 40, but Jack said no 39 was a funny number, and 40 wasn't. And anyway, it was funny to stay 39, because people made a big deal out of turning 40."
"Benny claimed Waukegan as his home town on the show, and he did grow up there," Lee says. "But Benny was actually born in Chicago.
"Actually" is a word you hear a lot when talking to Lee. She seems to actually know everything about Benny.
As, I suppose, do all the members. If you hurry, you can be a member before the annual memorial of Benny's death. Jack Benny died Dec. 26. 1974. He was born Feb. 14, 1894.
At his death, he was 39.
The bimonthly Jack Benny Times is available for a penurious $6.39 a year from the Jack Benny Fan Club, 3561 Somerset Ave., Castro Valley, Calif. 94546.


I imagine the address is outdated. You can read the club on-line at this address or check out the Facebook group. There are nice people there. I’ll bet you all know of them know who Dreer Pooson is.