Last year, I made the decision that as soon as I finished
with the blogging project of examining every episode of Mayberry R.F.D. (a.k.a.
Mayberry Mondays) in a no-holds-barred snarky manner, I would move on and
examine the 1968-73 sitcom The Doris Day Show—in a feature to
be called Doris Day(s). There has
been a tiny bit of concern from Mayberry Mondays fans, however, as to whether
they’ll want to stick around for these shenanigans…and I promised to have
something up on the blog this week to plead my case.
The history of The Doris Day Show has been told as
follows: Martin Melcher, Doris ’ husband and business
manager, allegedly committed her to do a sitcom with the CBS Television Network…and
from numerous accounts, neglected to pass this information along to Dodo. Melcher drew his rations on April 20, 1968,
not only leaving his better half holding the bag as far as the boob tube went
(Doris wasn’t wild about doing weekly TV, but figured that since she had a
contract to do so there would be no more argument about it) but also a
penniless widow in that he and his business partner—attorney Jerome B.
Rosenthal, who had represented her when she divorced her second husband in 1949—ran
through Doris’ money like a box of Kleenex.
(Doris later took Rosenthal to court and won a
judgment of $20 million from a civil suit in the state of California .)
There are elements of this official account that have never
seemed kosher to me. Actor James
Hampton, who played handyman Leroy B. Semple Simpson on the show in the
first two seasons, relates that Martin Melcher was still alive and kicking during
the early groundwork for the show (when Hampton was hired) and then passed away—which would sort of
cast a little doubt on the official story that Doris found out about her
five-year sitcom sentence as a surprise.
Then, too—it’s possible Hampton ’s
memory might be failing him or is a little cloudy on the finer details. But in many of the first season episodes of
the show, Martin Melcher gets a credit as executive producer (eventually
replaced by Doris ’ son Terry)—I’m not sure I follow why
a dead guy is entitled to recognition of that sort.
Another thing that has always puzzled me is that if Day wasn’t
wild about doing a TV show why didn’t she pursue legal action in the same
manner as she did against that crook Rosenthal?
It’s been explained that she did the sitcom to pay her debts (of which
there were many) but it seems to me she could have made a pretty strong case
that her commitment to any TV show was predicated upon an agreement with her
now-departed husband…and if CBS wanted a sitcom so bad, they could dig up that
sonofabitch and let people watch him for a half-hour weekly. It’s possible the advice Day got was just not
to fight City Hall (CBS certainly had more money than she did at the time and
might have crushed her, legalwise), but I don’t know for sure.
Truth be told, The Doris Day Show was the best
thing to happen to the star’s career at that point in time. Day’s stock in the motion picture industry
had taken a bit of a hit—the type of frothy, fun “sex comedies” that had made
her the #1 box office attraction from 1962-64 were starting to go out of
fashion as the movies began pursuing more mature themes (Day started appearing
in some real duds like Do Not Disturb,
Caprice and Where Were You When the Lights Went Out?). Day herself had been approached to play the
role ultimately essayed by Anne Bancroft in 1967’s The Graduate, but she took a pass, citing moral objections. Day’s cinematic swan song, With Six You Get Eggroll, did do very
well at the time of its release…but since it was released about a month before
the sitcom got underway it’s difficult to tell whether the star was just in a
temporary slump. (I’ve seen Eggroll, however…and I think Dodo made
the right choice.)
The format of The Doris Day Show was that Doris ’
character of Doris Martin was a widow who had decided to take her two kids,
Billy (Philip Brown) and Toby (Tod Starke), out of the city and back to the
ranch of her father Buckley “Buck” Webb (Denver Pyle) just outside of San
Francisco in a fictional town called Cotina. (Since Doris gets a
job in Frisco in the second season and must commute, I’m assuming Cotina isn’t
too far away.) Buck’s ranch employs a
handyman named Leroy (Hampton ) and
a housekeeper named Aggie Thompson (Fran Ryan)…who disappears after ten
episodes and is never heard from again, replaced by another hausfrau named Juanita (Naomi
Stevens). (The Wikipedia entry for The
Doris Day Show says Ryan left the series to replace Barbara Pepper as
Doris Ziffel on Green Acres—and while Ryan did eventually play Mrs. Z that didn’t
happen until Acres’ final season, which was about two years down the road
from her Day Show departure. So
Wikipedia is dead wrong on that score, and the reason for Ryan’s vanishing act
remains unknown (maybe she was stealing from her employer)—though it will not
be the last time it happens, he said in a bit of foreshadowing.)
It has been speculated that the show’s first season was
designed as such to fit Doris’ squeaky-clean, down-home persona; the series was
created by Jim Fritzell, who with partner Everett Greenbaum wrote several episodes
of The
Real McCoys and The Andy Griffith Show, two popular
rural comedies of their day. One could
speculate Fritzell borrowed the rural setting for Day’s sitcom—but seeing as
how the show was also sponsored by Ralston-Purina in its first season that might
also lend a little credence to the network’s enthusiasm for a show set on a
ranch/farm. And yet—by the end of Season
1, Doris thought the farm setting a bit too limiting (this might be because,
unlike R.F.D., the characters on The Doris Day Show actually appear
to be running a farm) and decided to revamp the show in its sophomore year with
Doris getting a job in San Francisco (something that is hinted at in a first season
outing entitled (what else) “The Job”).
Sadly, the program doesn’t quite mimic its R.F.D. counterpart in providing us with a Howard Sprague copy—though Woodrow Parfrey (“Braden Pyle”) comes close as a teacher in a couple of episodes. Hal Smith, who memorably played Otis the drunk on
12 comments:
Ive's,
I'm thrilled with this news!
I did watch Doris Day in re-runs as a kid so I'm really looking forward to you revisiting the episodes for us with your clever take on the fun.
I hope all is well your way and with the family.
See ya soon!
Page
I watched every episode of this show during its original run. I don't know why -- I think the family Sylvania was automatically programmed to CBS on Monday nights until I moved out. So I look forward to this with muted anticipation. (Cup mute, not straight mute, for all you musicians out there.)
I'll take all the Woodrow Parfrey I can get.
Seeing as how I never saw the show to begin with, I will be reading with interest.
Around my house, Denver Pyle is known for three characters: Briscoe Darling, Jesse Duke, and Mad Jack, from The Life & Times of Grizzly Adams, which falls in between Doris Day & Dukes of Hazzard rather snugly.
Oh, and one other thing. A picture of Fred Allen where yours should be? Methinks that's a plan for the witness protection program down the road.......
Page wrote:
I did watch Doris Day in re-runs as a kid so I'm really looking forward to you revisiting the episodes for us with your clever take on the fun.
I'm actually old enough (stop snickering out there) to remember the last two seasons of The Doris Day Show in primetime (the John Dehner years) and I didn't remember it ever being syndicated (plus a book I used to own said it wasn't). But my friend Martin Grams, Jr. says it was, and I know not to argue with him.
David confessed:
I think the family Sylvania was automatically programmed to CBS on Monday nights until I moved out.
So you're responsible. Oh, wait -- that's the Nielsens. Never mind.
So I look forward to this with muted anticipation.
There really isn't any other kind. Glad to have you aboard!
Stacia asserted:
I'll take all the Woodrow Parfrey I can get.
He's the closest I've come to a Howard clone so far. But I've just started on the second season -- there's still hope.
hobbyfan reminded me:
Around my house, Denver Pyle is known for three characters: Briscoe Darling, Jesse Duke, and Mad Jack, from The Life & Times of Grizzly Adams, which falls in between Doris Day & Dukes of Hazzard rather snugly.
I know Pyle was on Grizzly Adams but I don't remember watching it -- it's possible it was on (it had animals and was set in BFE - surely my sister Kat would have enjoyed it) but I might have wandered out of the room at that time.
A picture of Fred Allen where yours should be? Methinks that's a plan for the witness protection program down the road.......
Fred's birthday was May 31 and I put some pictures up on Facebook in celebration...and adopted one as a profile picture while I was at it. Haven't had a chance to change it yet and upon reflection, don't feel the need to.
I honestly don't know how television syndication works -- is the only way to put a show into reruns via syndication? I'm asking because I always had the impression local TV stations when I was a kid in the 70s and early 80s used reruns of shows they ran during prime time. So could some CBS affiliates have run reruns of Doris Day by just re-using the tapes?
I admit, I've always wanted to know this and this thread has just brought the question up again.
Stacia asked:
I honestly don't know how television syndication works -- is the only way to put a show into reruns via syndication? I'm asking because I always had the impression local TV stations when I was a kid in the 70s and early 80s used reruns of shows they ran during prime time. So could some CBS affiliates have run reruns of Doris Day by just re-using the tapes?
This was a common practice at one time: the network would feature programs that originally were seen in prime time on their daytime schedules and I believe this was predicated on a prior agreement between the network and the production company who owned the rights to the show. (In some instances, the network owned a pretty hefty chunk of the program already.) For example, while The Andy Griffith Show was still a prime time hit on CBS the network showed reruns in the mornings (renamed Andy of Mayberry). I Love Lucy was also a daytime fixture from 1959 to 1967. Shows like All in the Family, Sanford and Son, etc. were also rerun during daytime hours.
But those days have come and gone -- the competition is pretty fierce to get TV's big hits that are in syndication but may also still be first-run. (You know a few of them: The Big Bang Theory, The Office, How I Met Your Mother, etc.) Either the networks are ceding the daylight time more and more to affiliates or they stick crap on like The View, etc.
I've always liked Doris, but she appeared in some flat films. In addition to the ones you mentioned, I've never been wild about THE BALLAD OF JOSIE. I remember sampling THE DORIS DAY SHOW a few times, but couldn't get into it. Sitcom quality correlates more closely to good writing than to big stars. Lucy terrific in I LOVE LUCY, but THE LUCY SHOW...yeech!
I remember sampling THE DORIS DAY SHOW a few times, but couldn't get into it.
The first season is just...painful. It improves somewhat by Year 2, but that should not be mistaken as a ringing endorsement.
Lucy terrific in I LOVE LUCY, but THE LUCY SHOW...yeech!
The problem with The Lucy Show is that its initial premise of two single moms raising kids gradually gave to a kind of stunt "Guest Star of the Week" program. Oddly enough, The Doris Day Show eventually falls into the same trap, with Dodo even engaging in Lucy-like slapstick.
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