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The Andy Griffith Show: The Big House (1963)
Wonderful Gomer Pyle Goofiness
This is an absolutely terrific episode filled with many funny moments as well as great performances from the regular cast and all the guest actors.
One of those great performances comes from actor Jim Nabors as acting-deputy, Gomer Pyle. Gomer's bumbling as a deputy manages to out-do Barney's bumbling. Well... almost out-does him anyway. When you take a moment to consider all the bumbling deputy goofiness, you start questioning Sheriff Taylor's patterns of decision making.
IMO, the Gomer Pyle character was so much better as well as so much more endearing, here on The Andy Griffith Show than how he was written (and performed, frankly) on Nabors' own spin-off series, Gomer Pyle U. S. M. C..
One of my favorite silly images of all TAGS episodes, is the sight Andy and Barney see when they are standing outside the Courthouse and look up to the building's roofline. There they see Gomer's legs jutting out from over the roof as Gomer (apparently) enjoys a nice lie down for an afternoon's nap. Then, after Barney yells up to the slumbering Gomer, rousing him awake, Gomer's deputy's rifle comes flying off the roof, falling to Andy and Barney's feet.
There is the glaring "goofy" moment when Barney, who one moment is standing up on the roof of the courthouse, suddenly shows up, impossibly, in the alley behind the two FBI agents he mistakes as being crooks. Perhaps he borrowed a transporter from Star Trek's USS Enterprise! Afterall, Captain Kirk and crew "borrowed" the town of Mayberry on several episodes of that series.
Another goofy moment comes toward the end of the episode when the four crooks are outside, escaping the jail. They come running out of the jail and Sheriff Taylor discovers them and yells for them to stop. Then Gomer's rifle falls from the roof (again!) followed by a bunch of big Christmas decoration lightbulbs that smash on the sidewalk, sounding like a machine gun rattling off a round of bullets. The goofy part is that as this incredible commotion is occuring, a citizen of Mayberry can be seen, reflected in the window behind Andy, casually taking a nice, pleasant stroll along the sidewalk across the street from the courthouse. He's not the least bit interested in or concerned by all the incredible action that's taking place right there and then!
This "citizen" might be an extra on the set. Or he might be a member of the show's film crew. Whoever he is, he's not paying attention to the filming on the set. Regardless, this man's reflection in the window is obvious and an instant distraction. There would have been no way at the time for anyone on the set to see that this refection had occured and that it was on film right over Andy Griffith's shoulder. So, just an interesting (again IMO) goofy moment.
Oh. Just one more thing. Another reviewer of this episode, vitoscotti, writes that they are curious regarding the episode title. They write that Barney mentions, "The Rock", which pertains to the infamous prison, Alcatraz. Then they wonder if "The Big House" is ever mentioned. Yes, Barney does indeed say it. He does so toward the end of the opening scene. So prior to Gomer's initial debut in his deputy uniform.
A very memorable and very excellent episode of The Andy Griffith Show. 10/10.
The Dick Van Dyke Show: Like a Sister (1962)
Good Episode, But Wives Beware!
Not the best episode, certainly. However, it's nothing terrible. It's good to see Sally getting a storyline that is upbeat. There are a couple Sally-centric episodes that really cast her as a bit of a sadsack. Here, she's having a great time.
Vic Damone is terrific as a highlighted guest character. There's nice singing to be heard alongside the office's magical piano. When Rob then Sally play it, it produces all sorts of different instrument sounds!
The writing is rather pedestrian for an episode of The Dick Van Dyke Show. When, as a viewer, you start questioning, "Why such an elaborate plan/scheme", that tells you the writing is lacking.
There is a stand-out moment in this episode, but it's not a good one. It's the final line which is spoken by Buddy to Rob, "I think we ought to go home and beat up our wives." (The laughtrack thinks this is hysterical.) I'm writing this in 2024, but even by 1961 standards, this was a terrible line to put into a TV script as a (excuse the irony) punchline. Especially for a family-friendly and sophisticated TV show like this. Besides that, the line doesn't even make sense in context of response to what Rob had just said.
In further regarding this line; surprisingly, this episode was written by the show's Creator and Producer, Carl Reiner. That explains why the shows Producer (Reiner) allowed the scriptwriter (also Reiner) to keep this misfire of a line in. I'm surprised that no other member of the production or even Dick Van Dyke himself didn't insist on a more appropriate closing line. Also a line that was funny as well.
To finish this review on a positive, guest star Vic Damone seemed to enjoy his character and looks as though he's having a blast when his character fakes being drunk. The regular cast is, of course, their usual fantastic selves.
Hogan's Heroes: The Witness (1969)
She's Not Annoying At All, Poopsie!
This is a fun episode featuring not only actress Nita Talbot in her recurring character role of Marya, but also actor Gavin Macleod as yet another teetering-on-insane enemy character.
When I was a child watching Hogan's Heroes, the female Russian agent was a downer for me. She always seemed to be working against Colonel Hogan while throwing herself at him at the same time. I didn't need all that kissy-kissy, smoochie-smoochie back then. I wanted my Hero and his crew to get the job done and have a fun time doing it.
Now, some 50 years later, I have much appreciation for the Marya character. She's highly intelligent, conniving and funny. Oh yes, and she's always throwing herself at Colonel Hogan! Who, unusually for him when it comes to beautiful women, wants as little as possible to do with her.
Another reviewer for this episode writes that they find the Russian woman annoying. They also can't understand why the HH producers kept bringing the character back. For the sake of those who may read these reviews and who may not be aware - actress Nita Talbot received an Emmy Award nomination for her portrayal of the Marya character. The nomination was for her performance in the previous year's episode, "The Hostage". If the Emmys gave her such recognition, then she must have been doing something right! That nomination would have solidified a return appearance on the show. "The Witness" was the 4th episode to feature the character. She would appear in another 3 episodes in the following years.
How could you not love Marya in this episode? She has Gavin Macleod's furious General wrapped around her smoking-stick. She annoys Hogan relentlessly, yet he can't resist some of that smoochie-smoochie time with her. She's hysterical as she sends Klink running in fear, declaring Hogan was "just about to break" during her interrogation of him. This due to the increasing pressure she was applying to him with her forceful lips!
I can't wait for the next episode in which she is featured. I'm sure it will be yet another blast, Poopsie!
M*A*S*H: Hanky Panky (1977)
Farrell, Swit and Burghoff... Acting!
A decent episode, though as the other reviews here say, both storylines are a bit contrived. BJ is simply to straight an arrow to stray from his vows to the love of his life back in California. Then too, he's also such a nice guy that he might just feel bad about rejecting Nurse Donavan's advances!
Margaret's terrorizing of Radar is a bit over the top. She does come across a bit out of character. However, the character's psychotic outbursts do give actress Loretta Swit some nice out-of-her-norm acting moments. Plus, actor Gary Burghoff gets to have some great reactionary fun showcasing Radar's horror in suffering the Major's wrath.
I want to take a moment to correct a "goof" for this episode that is not a goof. This involves a scene between BJ and Nurse Donavan in the Mess Tent. The "goof" says that when BJ gets up and exits the scene, he steps outside the tent and then just stands there a moment, not moving. (As if the actor believes himself to be out of camera shot.) What actually happens is this: As BJ exits, he is carrying his food tray. When he opens the tent door, a garbage can is visible just outside the tent. BJ stops at the garbage can and swipes his unwanted food off the tray into the can. Actor Mike Farrell is doing exactly as the script requires - he is continuing to act! So again, not a goof at all.
Not one of the best episodes of MASH, but certainly not a bad episode at all.
Hogan's Heroes: No Names Please (1968)
Of Shoes And Chutes (Parachutes)
A terrific episode of Hogan's Heroes. It's an interesting and alarming idea to have the Heroes efforts thwarted, as it were, by someone who thinks he's doing the Heroes a "favor". The Heroes have saved this journalist's life, and in attempting to thank them via a later published newspaper article, he instead threatens not only their top secret operation, but also their lives.
Much fun is always had when Kommandant Klink goes up against Gestapo Agent Major Hochstetter. Hogan has a very funny line in which he laments breaking up their beautiful friendship.
An oddity in the script has Hogan hiding a radio meant for the Underground in the barracks. He's worried about the Heroes being caught with it. Why keep it in the barracks when there's an extensive secret tunnel system running underneath the barracks and in fact, the entire Stalag itself?
One of the "Goofs" for this episode mentions Hogan ordering one of the extras to bury a shoe. This concerns the opening scene in which the Heroes rescue the journalist who has suffered a sprained ankle after parachuting from a crashing plane. This goof is itself a goof. Hogan says nothing about a shoe. He orders the extra, who Hogan names as Olson, to bury "the chute". As in the journalist's parachute which is seen hanging from a tree. As the scene concludes and the regular Heroes and the journalist depart, Olson can be seen (though with some difficulty in the dark background) beginning to climb the tree so as to remove the "chute/parachute". Again, Hogan says nothing about any shoe. That would be silly.
Just one more thing. John Banner as Sergeant Shultz is his usual absolutely hysterical self!
Green Acres: A Girl for Drobny (1971)
A Grating Contempt For Drobny
Adding a review here as I found this episode a bit better than the other reviewers here. I'll readily say however, that I am not a fan of Drobny the Duck at all whatsoever. Arnold the Pig was a wonderful character in the Green Acres Universe. His lone presence as an animal of great intelligence in Hooterville was enough, (Ellenor the Cow not withstanding.) An additional "animal" being given full episode stories was definitely not needed, and Drobny proves more bland than entertaining.
There are a small number of humorous moments scattered through the episode. Arnold's realization of a language barrier between himself and Drobny revealed the Pig's wee (wee-wee) bit of familiarity with the Japanese language. The visual joke of the Japanese subtitles was a pleasant, funny little surprise. It always provides a smile when Oliver answers a "knock, knock, knock" at the door only to find a snorting pig waiting on the porch.
The best scene (imo) plays out between Oliver and addle-brained, Hank Kimball. Hank shows up with concern for Ellenor's health. When he attempts to get the cow to say, "Ahhh", she responds with a most unexpected (to Hank) and continuous, "Mr. Kimball!" Of course, it's Oliver who's saying that, but the County Agent is unaware of Oliver's presence in the barn, even though he had just walked right past him. A secondary concern by Kimball of Oliver's throat is also delightfully funny.
There was a moment of concern (by I, the viewer) for the sake of the actor duck portraying Drobny. In one quick moment shown of Drobny dancing to some Hungarian Gypsey music playing on a phonograph, it appears that the production crew had possibly attached wires to the little critter. This so as to present the duck to appear to be dancing to the music. It actually looks as if it's being tortured.
Eddie Albert gets in some usual terrific moments of angered exasperation as Oliver deals with the situations at hand and never-ending disruptions to his attempts at figuring his year's taxes. Eva Gabor looks absolutely ravishing throughout even as her Lisa Douglas character continues to become more incompetent and irritating.
Not anywhere near the best of what Green Acres could offer, but not as tedious as one of the show's "Good Old Days" reflections, either.
Green Acres: The Free Paint Job (1971)
Hooterville = The Twilight Zone
As a kid watching "Green Acres", I had a theory that the farming community of Hooterville (or 'Hootersville' as Hungarian Princess Lisa Douglas would say) was firmly located within a backwater corner of Rod Serling's "Twilight Zone". If there were one episode of GA which goes furthest in proving that theory, it's this, "The Free Paint Job".
In it's 6th season, Green Acres had perhaps lost a little of it's lustre. Every few episodes though, the writing and production could really hit the mark, and this episode proves that there was still a lot of originality to be presented. While it's certainly a shame that the show was denied a 7th season due to CBS's then new Top Man, Fred Silverman and his "Rural Purge" (every CBS series featuring a tree was canceled regardless of it's success and top ratings), maybe it was an ideal happenstance that Green Acres went out while still teetering atop of it's game. Like the way another CBS stalwart, "The Dick Van Dyke Show" had done, voluntarily, a few years prior.
"The Free Paint Job" though, is Green Acres at some of it's surrealist best. Straight from the top, we encounter cooking-challenged Lisa explaining to husband Oliver how to prepare the delicacy of Stuffed Kangeroo-Tail (how could Oliver have not guessed HOW one stuffs a Kangeroo tail?!) Then we share in Oliver's astonishment at the sight of Lisa's attempt at cooking up a massive wad of severely boiled spaghetti. Later in the episode, more spaghetti experimentation leads to a possible attack by a related kin of Steve McQueen's 1950's horror film co-star, The Blob.
It's always added fun when other members of "Real World Society" find themselves trapped alongside Oliver within the lunatic existence of the unidentified asylum that is Hootersville. Exactly that is what happens to three Real World employees of the Luster Paint Company. They want to use the Douglas farm house in a "Before and After" marketing campaign of their product. First though, the advertising man with the paint company is subjected to a pig that not only answers the door upon which he has knocked, but also "meows" at him. Later, a paint company employed photographer attempting to capture the farm house in all it's dilapidated glory, has to put up with addle-minded County Agent Hank Kimball wanting to get in on the view. Most perplexed by his encounter with the Douglas homestead, is the worker tasked with actually applying the paint to the structure's wooden boards. The house's reaction to the application of the paint, would be enough to send any normal-minded individual scurrying to the nearest "funny farm".
Down at the General Store, Sam Drucker gets in some great, though unintentional pot-shots at Oliver. Eventually, con-man extraordineer Mr. Haney (who performs an impression of the Douglas house!) gets to provide some previously unknown factoids regarding the makeup of the type of wood of which the Robert E. Lee birth-place replica hovel has been built.
There's some great stunt work action concerning Oliver, the result of a careless pig who has enjoyed a delicious banana. Then there's a moment of "How did they do that?!" when Oliver, inside the house, receives a face full of spray paint which seeps immediately 'through the wall' as the painter - outside - attempts to apply a fresh coating.
The level of surrealism "goes to eleven" when the paint company advertising man eventually is able to present Oliver with a painted sample of the house's wooden board pieces. Due to 'sealed pores' within it, the wooden board struggles mightily to breath, gasping in utter desperation for air. Fascinating and hysterical!
Truly one of the best and most bizarre episodes of Green Acres ever to grace the televisual Universe. A terrific example to show to a novice viewer and entrap them... in the Twilight Zone... of Hootersville.
Make Room for Daddy: Danny Meets Andy Griffith (1960)
Welcome To Mayberry... Now Pay Your Fine.
Just to clear up a couple of things mentioned in two other reviews here, one from 2008, the other from 2012. (I'm writing this in 2024.) Both actors Will Wright and Rance Howard (Ron's father) are credited for this episode and both do indeed appear.
As pointed out in the 2012 review (correcting the 2008 review) Will Wright plays the part of the misery renter of mens suits, Mr. Johnson. This is a lengthy segment. "Lengthy" in comparison to Rance Howard's appearance.
Rance has one of those, "Blink and You'll Miss Him" moments. That moment comes at the 23:41 mark. He plays a member of the TV crew. He even speaks two lines! "That's it. Okay, wrap it up, fellas." (Speaking those two lines would have made him some good money as opposed to the non-speaking crew member roles, like the camera operators.)
As for reviewing the episode itself? To be honest, this is the one and only episode of The Danny Thomas Show I've ever watched. Obviously, for the fact that it is the pilot for what will be The Andy Griffith Show.
I regard TAGS as one of the absolute best shows to have ever graced a television screen. Right up there with The Dick Van Dyke Show, Columbo and Doctor Who. All incredibly wonderful 10/10 shows, imo. As the pilot episode of TAGS, this is a "must-see", 10/10 episode in it's own.
By the way, there's another "Blink and You'll Miss It" moment. During Danny and Andy's conversation outside, you might spot that just like in the TAGS series itself, there is a Barbershop right next door to the Jail/Courthouse building. However, there's no Floyd present.
Green Acres: You and Your Big Shrunken Head (1969)
Odd End To The 3-Part Millionaire Arnold (The Pig) Storyline
A surprisingly uneven episode of GA. Odd, being that it has the usual writers and Director. It seems that, perhaps by this, the last of a 3-episode story arc, the creators had grown weary of their commitment. Indeed, some of the jokes run so flat, that the Laugh Track doesn't even bother to respond.
It's certainly not all bad though. There is a terrific stunt when Oliver is sent tumbling out the back of the Cannonball Express passenger car. Another stunt later in the episode sees Oliver accidentilly traversing his hovel's living room via Arnold's abandoned skateboard.
The story features Arnold the Pig's little cousin, Jimmy. Jimmy's inclusion is entirely unnecessary. The Arnold character is hysterical all his own and needed no companion or competition. Especially as Jimmy merely copies Arnold's abilities.
Oliver comes across a bit more cross than usual. His anger is through the roof, even bellowing a hope that he never has to see Arnold ever again. Perhaps it's somewhat understandable seeing that Oliver has to put up with the unwanted recognition that he is the "famous pig lawyer".
The Hank Kimball character continues his downward spiral into completely hopeless incompetency. Here, he can't even remember Oliver or Lisa's last name even as it's spoken countless times in front of him. It's just not a funny topic for Kimball-inspired idiocy.
A very surprising moment occurs when Oliver takes a phone call atop the Douglas's telephone pole. Unlike any previous or future times atop the pole, this scene is actually filmed outdoors. An actual blue sky is above Oliver and the scene is lit by the sun. A different and very real shingled-roof is shown and the leaves of a tree in the background are seen fluttering in a breeze. It would be very interesting to learn the reason why it was decided to film this momentary scene in the actual outdoors. There are however, many scenes filmed in the real outdoors this 5th season of the show. (As opposed to the usual indoor filming on studio-bound sets made-up to look as if the action were taking place outdoors.) In the upcoming episode, "The Road", extensive outdoor filming was done featuring Hank Kimball driving his orange Ford Bronco throughout the town of Hooterville, causing quite a dust storm.
Strangest of all, the entire 3-episode storyline of Arnold the Pig possibly inheriting 20 Million Dollars, ends with no revelation as to whether Arnold gets the money. Of course, subsequent GA episodes see Arnold continuing on in his usual farmland life. There's no 20 Million Dollars being tossed around. The lacklustre "conclusion" may indeed be attributed to the writers and the Director tiring of the 3-episode long storyline.
Green Acres: The Agricultural Student (1968)
Love American (Pig) Style
All those loud "thuds" heard during the course of this episode are the jaws of the men of Hooterville hitting the floor the moment they meet County Agent hope-to-be, Miss Terry.
The Hooterville men all take a wide step out of character as their tongues begin fluttering in the breeze as the lovely Terry swoops in. Eb completely forgets about his new love in life, Lorelei. Sam Drucker hauls out his seldom seen hideous toupee in hopes of impressing Terry with his newly evident youth(lessness) of age. Mr. Haney arrives out of character in that he has no previous awareness of Terry's presence in town. (Surely there was money to be swindled one way or another upon Terry's arrival in town. Haney would usually have no trouble sniffing it out.)
Very out of character is Hank Kimble who has apparently agreed to accompany Ralph Monroe to the dance. Previously, Hank has wanted nothing whatsoever to do with Ralph. Here, he breaks an unusual previously arranged date with Ralph so as to drool over the very attractive Terry. Then there's Fred Ziffel who acknowledges that he is merely to be Terry's "escort" to the dance, as opposed to the other men who are there with obvious hopes of getting in some sweet smooches with Terry by the end of the night. Still, with so many men already contending for Terry's hand, Fred could easily have backed out of the escortship and tended to the woman to whom he's long been married.
Thankfully, Oliver's heart (and eyes) remain true to the Love of his life, the always delightfully delicious, Lisa.
The absolute joy of the episode - and outright "cuddly cuteness" - is provided by non other than Arnold "the pig" Ziffel. Upon being recognized as the apple of Miss Terry's eyes, adorable little Arnold turns a literal shade of lovingly embarrassed "red". Arnold's sheer delight in capturing Terry's heart is true little screen wonderfulness. Love always knows the way. Arnold's continuous uncontrolled blushing provides this episode with a couple extra notches upward in it's numerical IMDB rating. (For me, anyway.)
Green Acres: School Days (1967)
A Green Acres School Daze
Not one of Green Acres' best episodes, but at least it's not another flashback to "the good ol days". Those can be rather tedious.
Not much in the ways of surrealism here either. There are some funny moments though. Such as the Home Economic teacher's reactions to Lisa telling her fellow female classmates that there are other ways of making a man happy other than doing so via his stomach. Principal Russell's consistent disgust with Oliver at each conference regarding Lisa's behavior is also a highlite. The quick cut to the window of the chemistry lab blowing out is a humorous surprise.
There are a couple moments that don't jive with the more usual Green Acres means of story telling and character considerations. Oliver telling Lisa that he's ashamed of her is much too harsh. Then there's a very unnecessary and humorless joke concerning a somewhat "plump" female classmate of Lisa's retrieving her humungous papersack lunch bag from the back seat of the Douglas's Lincoln Continental.
Then there's a very odd moment which could be considered a "reverse goof". In the concluding moments of the episode when Oliver informs Lisa that she's been expelled from High School, Lisa speaks the word "hotcakes" and says it correctly. Elsewise, Lisa always mispronounces the word with an extra "s" as in "hotscakes". Surprising that this wasn't noticed by the show's Producers and overdubbed.
Now then... Let's get back to square eggs, expensive jewelry as prizes in cereal boxes and a pig who loves watching cowboy movies on TV. Oh, and yes - all the other show regulars too!
Green Acres: The Rains Came (1966)
There Did Come Soft Rains...
It's a fun episode, as usual, but there are some anomilies in the script that stand out.
At the start of the trial, Oliver announces to the court his intension to prove that it was his wife, Lisa who made it rain - and not Mr. Haney. There is then a flashback in which Oliver discovers Lisa watering the sunflower plant, Rudolph. Lisa says that by watering Rudolph, Rudolph will grant one wish. The viewer is then led to believe through Eb's testimony, that Oliver asked Rudolph to make it rain - via the one wish.
However, in the concluding moments of the trial, Oliver declares it rained because the Indian Chief began to wash Oliver's car. "Everyone knows it rains right after you wash the car." There is no mention of Lisa having been the one who made it rain.
Oliver could also have noted that Mr. Haney had fired the Indian Chief precisely because the Chief hadn't made it rain. It also would never have been Haney who made it rain if the Chief had in fact made it rain. Haney never had a worthy case against Oliver.
Also, the Chief testifies at the end of the trial that he made it rain when he began chanting while washing the car. Oliver knew that the Chief began chanting only after it had started raining.
In the episode's final wrap-up scene, Oliver, after he won the case, seems to have forgotten about Lisa having earlier told him about Rudolph the Sunflower's ability to grant wishes - again negating Oliver's declaration in court that it had been Lisa who made it rain.
Of course, all of this can be chalked up to the usual absurdities of an episode of Green Acres. However, acknowledging those absurdities, Lisa could have spoken of how the show's writers had forgotten their own plotline. With Oliver responding with a puzzled look, questioning, "Writers? What writers?"
The Andy Griffith Show: The Song Festers (1964)
Reta Shaw Steals The Show
As a child, I couldn't sit through the episodes of TAGS which featured the choir. Too much singing, not enough laughter. These days, I can tolerate these episodes. In the case of "The Song Festers", I can appreciate one particular performance for the quiet, perhaps hidden comedic undertones which the actor involved injected into the character they portrayed.
I'm referring to guest-star Reta Shaw's appearance as Barney's Voice Coach, Eleanora Poultice. Though her part in the story isn't large, it is highly entertaining. Shaw is wonderfully suttle with her touches of comedy. Eleanora is beautifully written and performed.
Reta Shaw appears in two episodes of TAGS, and unless you know to look for her, you may not recognize her when comparing the two characters she plays. Her two characters are astronomic opposites of each other.
In the season 3 episode, "Convicts at Large", Reta Shaw plays the part of the leader of an escaped trio of female prisoners. She portrays rough, tough and surly Big Maude Tyler (also known as her alias, Ralph Henderson!)
Big Maude and her cohorts, Naomi and Sally, hold Barney and Floyd the Barber hostage in a secluded cabin in the woods. Big Maude is one frightening, though thoroughly funny character. When Barney (not yet captured) calls from outside, asking if there is anyone in the cabin, Big Maude handles the situation with some quick thinking and answers, "There's nobody here!" Hysterical.
Reta Shaw appeared in countless television series' and movies through-out a long acting career. It's interesting that she had the chance to demonstrate her incredible acting range in two very different performances on "The Andy Griffith Show".
The Andy Griffith Show: Barney and the Cave Rescue (1964)
The Building Outside The Door
A truly wonderful episode highlighting the brotherly love (should that be "cousinly love"?!) which Andy and Barney have for one another.
What I really want to do here though is disspell the incorrect "trivia" mentioned in a few places on these pages pertaining to this episode.
In the final scene, where Andy and Barney discuss the newspaper headline, the Courthouse door does remain open. There is a painted backdrop seen out the door. The incorrect trivia says that the Courthouse itself can be seen on that backdrop. This is not the case!
The building seen on that backdrop is in fact the building that is opposite the Courthouse building on the 40 Acres Lot itself. That building also has pillars out front of it just like the Courthouse.
This building is seldom seen on the show but gets great use in the 1st season episode, "Ellie For Council". It appears toward the end of that episode where an "Ellie Walker for Council" ralley is being held. A short extended canopy over the two pillars has a sign on it reading "Hotel", under which is the ralley sign. Up above the second floor of the building, which features a balconey, are huge numbers, "1878". An address? Or the year the building was built?
This building and it's pillars can also be seen in "Aunt Bee's Medicine Man". It is in the background behind Colonel Harvey's Sales Pitch wagon. In the episode, "The Mayberry Band", Mayor Stoner parks his car in front of this building then sits on a bench out front of it. In the same episode, the building can be seen behind the Mayor as he waves to the departing bus upon which the band play their instruments terribly.
In the 7th season episode, "The Statue", Aunt Bee gives her speech right in front of this building. While the Seth Taylor statue is positioned in front of this building, supposedly permanently, the citizens of Mayberry apparently realized how awful it was because it is never seen there again in further TAGS or Mayberry RFD episodes.
A view of the actual building which matches the perspective of it seen on the backdrop, comes in the 2nd season episode, "The Manicurist". This occurs early in the story when actress Barbara Eden's manicurist character gets off the bus from Nashville. The building and it's pillars can be seen outside Floyd's Barbershop window to the extreme right of the shot. Again, this perspective of the building matches what is seen on the backdrop outside the Courthouse doors in "Barney and the Cave Rescue".
Regardless of all that, "Barney and the Cave Rescue" is one of the absolute finest of all TAGS episodes!
Adam-12: Log 91: You're Not the First Guy's Had the Problem (1968)
Terrific Acting From Kent McCord
Actor Kent McCord gets a chance to prove his acting abilities in this episode. Those abilities are excellent. It can't be very easy to play a character who is obviously greatly emotionally affected by the tragic event of the story. Yet have to play that role as a "hardened Officer of the Law". Reed has to keep his reactions in check, as well as those emotions. Therefore, McCord has to play the character "tough" yet still reveal to the viewing audience that the character is still racked with anguish underneath.
On the other hand, actor Martin Milner has to play his character in a sort of "seen it before and I'll see it again" manner. Milner's Officer Malloy has learned in his seven years on the force to not let tragedies of the job tear him apart. Yet Milner still has to demonstrate to the viewer that Malloy isn't heartless nor soulless. Atop that, he has to continue to portray his character in mentor-ship mode to probationary Officer Reed.
An unfortunate missed opportunity by the production is neglecting Malloy's very recent loss of his previous partner. That unnamed Officer was, like Bill Stenzler in this episode, killed in the line of duty. Only a few weeks into the series, Malloy's previous partner would have died a mere six or seven weeks prior. In this episode, neither Malloy nor Reed make any mention of the previous partner's death. Under the circumstances of this episode, bringing up that Officer's death would have seemed most likely.
An excellent episode, it highlites the thought processes by which a Police Officer who is also a married/family man, agonizes in a tragic event as presented here. Though the title of this episode derives from a quote by Malloy, it still is a bit odd. All Officers of the Law, sooner or later, go through what Reed experiences here. Is the job worth the possible some-day agony for family and friends? Every Officer has to make that decision.
Adam-12: Log 11: It's Just a Little Dent, Isn't It? (1968)
I See a Dented B & W Squad Car And I Want To Paint It Red
Actor Martin Milner gets a great scene where his Officer Pete Malloy character has to figure out a way of saving a baby from a suicidal lunatic. Writer/Director/Producer and here, Actor Zalman King puts in a perfectly creepy performance of the would-be baby killer. Milner begins, playing the scene all sweet and tender - to the crazed young man. Ever so slowly and carefully, Malloy changes tactics to a successful attack of words. The baby saved, Milner then has Malloy practically collapse onto a sofa in exasperated relief. Both actors are exceptional in the scene.
One observation though: From the outside, the home in which the lunatic is threatening the baby and it's Mother, looks very nice. A nice house in a nice neighborhood. On the inside, the house is horribly drab and dreary. The interior is gloomy and downright depressing. I just wonder as to why such an awful set design was used for this scene. The Mother is dressed very nicely. Her surroundings look like a drug-den.
The majority of the episode has Malloy and Reed dealing with a nasty, hulking brute who has been unsuccessfully trying to terrorize a woman in an otherwise nice suburban neighborhood. She witnessed the brute's son commit a crime and is to testify in court against the kid. It was sort of surprising to hear that a dead cat was thrown through a window of the woman's house. Gross, but of course, the cat certainly wasn't seen. Gruesome, when you remember that the incidents seen in Adam-12 are true. So says the end credits of every episode.
There's an interesting scene in a bar where Malloy lies to a bartender. This concerns a possible police-prevented break-in via the bar's back door the night prior. Malloy really just wanted to get the bartender out of view of customers so he could pump the guy for some information. (Regarding the dead-cat tossing brute.) Besides the bartender, and perhaps Reed, Malloy had me fooled.
The highlight of the episode though comes from actor Kent McCord as probationary Officer Jim Reed. At the top of the episode, Malloy gives Reed one job to do. Gas up the squad car. Reed does, but he also cracks up the squad car. He puts a dent in the passenger-side front panel. (Reed has already forgotten Malloy's advice pertaining to the squad, from the first episode. You take care of it, it will take care of you. Oh well.) Reed tries to convince himself that it's hardly noticable, but pretty much every person who sees the squad that day immediately comments on the dent. Even a group of kids who come running up to the squad, possibly mistaking it for an Ice Cream truck. (Because they're all incredibly thrilled to see a squad car.) I thought the eldest of the kids, a boy named Harold, was being played by Barry Williams. Williams was later oldest son Greg, on "The Brady Bunch". It's not him, but it sure looks like him. Barry Williams will show up on Adam-12 in time.
Officer Reed spends pretty much the entire episode more focused on the dent than on his work. He frets about it constantly to the point of irritation for Malloy. Reed worries about this dent and accident remaining forever a "dent" on his official record with the department. Upset that seemingly every citizen in Los Angeles notices the dent, points at it and laughs, Reed says he might as well paint it red and hang a sign on it. Malloy assures him that everybody so far has spotted the dent, no problem.
Malloy eventually speaks to the Lieutenant Officer in charge regarding the dent and basically gets Reed off the proverbial hook. Unfortunately, that's where the ordeal of the dent concludes. We don't get to see Reed collapse in a pool filled with tears of relief (Ah... so soothing!) that he won't be fired or held for the cost of the repair.
Another very good episode of Adam-12.
Adam-12: Log 131: Reed, the Dicks Have Their Jobs, and We Have Ours (1968)
Reed, You're Not A Detective. You Have To Wait Seven Years.
Officer Jim Reed gets his badge all twisted in a fit when he and Malloy discover a dead body in a room at the dive Hotel Dorado. All they get to do is make certain the guy is definitely dead from the three stab wounds he's suffered and then turn the investigation over to Detectives. Reed wants to stick around for the fun and excitement of investigating the dead body and whodunnit. Malloy informs him that sticking around would mean two less cops out on the mean, ruthless streets of the big city. Reed proceeds to pout about it; the Detectives get to have all the fun.
There's a good scene setting up a camraderie of pokes and jabs (kidding around) between the Detectives and Officer Malloy. Detective Sergeant Jerry Miller makes his first appearance. He'll return in a few more episodes, but it's a shame this joking professional didn't carry on through the full seven years of the series. Miller is quickly established as a terrific, very likeable character
M & R do get to have some of their own fun though. They handle a missing child case, seeing it through to the recovery of the child. This investigation takes all of about 30 seconds. Then they deal with a serial complainant who can't be bothered to listen to the lawful information the Officers politely attempt to provide him with. The viewer gets just as exasperated with this food joint parking lot avenger as Malloy and Reed do. Oddly, a few seasons later in the series, Malloy and Reed will again encounter this same complainant and pretty much play out the exact same scene. However, that second encounter will have a much better, thorough conclusion.
Then the partners are off to keep separated a feuding wife and husband. They seem to solve the problem here, but will visit this couple again to help them celebrate the upcoming Christmas. Oddly, the Officers and the couple will completely forget that they've encountered one another previously as the four pretty much play out this exact same scenario once again. It will be the same couple at the same address, but they will have remodeled their house's interior.
So both the parking lot avenger and the bickering couple will return in later, though separate episodes of Adam-12. They will all play out pretty much the same scenarios a second time. Very strange.
It makes for a happy ending and a delighted Officer Reed when he and Malloy learn that the Detectives investigation of the dead body at the Dorado Hotel, was basically solved for them via an unexpected confession. Meanwhile, Reed had experienced some heavy action on those mean, ruthless streets of L. A. when he and Malloy had gotten into a car chase. The chase leads to them ending up nabbing a couple of armed and dangerous parole violators. Reed is positively giddy with excitement with the arrests he's helped make as well as with the disappointment experienced by the Detectives in their suddenly solved case.
This episode features the first appearance of former drug user and current snitch, Teejay (Theodore Joseph Sims). Actor Richard Donner is very good in the role. He'll return in several episodes through-out the series' run. The episode also features numerous appearances of the White Over Gold Ford Mustang. You would think the two Policemen would notice that this same Mustang is very often present where ever they go. Is it possible that Malloy and Reed have a stalker with a terrific taste in automobiles? This w/g Mustang appears in many, many episodes of the show.
Adam-12: Log 141: The Color TV Bandit (1968)
Second Terrific Episode In A Row
A strange yet interesting overhead shot begins the episode. The shot is of Malloy and Reed entering the Police Station break room. Other than a shot from inside a couple Station House gun safety-lockers, the rest of the episode has the usual, certainly acceptable camera work. In the short first scene, we learn that Malloy's latest, unnamed girlfriend has been talking marriage. "NEXT!" is quite probably how confirmed bachelor Malloy responded to that conversation. M & R place a $15 dollar bet on the sex of Reed's unborn child. (Back then in 1968, you didn't know til the kid popped out.) Reed goes with "boy" since they run in the Reed family. (This bet doesn't get a mention in the episode in which Mrs. Reed gives birth. A boy, Jim Jr.)
The main topic of police pursuit for the partners is a burglar targeting their patrol area, stealing color television sets. First though, it's off to bust guest star Cloris Leachman for keeping her stash of illegal narcotics within the reach of her two kids. While Malloy has seen this sort of thing before, it's a first for probationary, new-on-the-job Reed. It's a heartbreaking segment as two little boys left home alone have obviously mistaken all the fun-looking, colorful pills and capsules as being candy. They're unconscious and when Mom shows up, she has no conscience. Leachman, (who looks incredible!) is terrific as the heartless and tears-less young Mother.
The next segment has actor Martin Milner keeping a delighted-looking smile on Malloy's face while preventing highly heated steam from escaping his ears. Police Officers must just love it when obviously-guilty reckless drivers insist upon their innocense while shouting "stormtroopers!" in their face. A Nice Volkswagen Beetle driven by a pretty, young venom-filled woman, cuts off a cool Gold Mustang with a White roof. Wish we could have gotten a better look at that Mustang. Maybe it will show up again in another episode. And then another episode. And then another one. And another one. And another. And another. And another infinity... At least "infinity" meaning practically every episode of Adam-12 through-out it's entire seven season run. This White over Gold Mustang is pretty much a co-star in the series. None of the vehicles used as the Adam-12 squad car itself appear as many times as this Mustang does.
Later, after Reed goes for a nice refreshing swim in a pool (Ah... so soothing!), we get to see Malloy working some magic with three snot-nosed kids who run up to see the possible TV-burglar suspect M & R have busted. First Malloy snarls at them, then invites them to a slammer social. Malloy is just great with kids. Actually and eventually, sometimes he is and sometimes he isn't.
The episode features some finger-printing and a lesson for Reed, taught by a thief of non-TV items, in how a Police Photofax machine works. We then learn that like Reed, Malloy has also, in the past, enjoyed a nice refreshing dip in a pool. Actually, the same pool only three years earlier. When responding to a call regarding loud music at the location where the pool was located, Malloy was pushed into that pool by one of the prettiest little gals he'd ever seen. As we eventually get to know Peter J. Malloy, we'll realize... he probably ended up dating that pretty little gal. Until she brought up the subject of marriage. Oh, and Malloy smokes cigarettes.
Whoa. Wait. What?? Cigarettes?? Malloy, don't you know that the Surgeon General has warned that... Oh, that's right. This was 1968. No, Malloy didn't know.
This second episode of the series was the second episode in a row of outstanding televisual entertainment. Great script, great direction, great production and great acting for the regulars and the guest cast. Even those three snot-nosed kids were good.
Adam-12: Log 1: The Impossible Mission (1968)
Officer Pete Malloy, Meet Probationary Officer Jim Reed
(Since this is the first episode of Adam-12, my review is somewhat indepth.)
The opening credits/theme features Dispatch calling on Adam-12 regarding a 415, fight - possible 459 suspects - and Ambulance, sick child. These actually relate to the three calls Adam-12 receives during the episode. This is the only episode in which this occurs.
During the opening theme, when Kent McCord's screen credit comes up, a view through the back window of the squad shows a car parked along the side of the street with it's hazard lights flashing. As the credits go to a two-shot of Reed and Malloy, that car can be seen pulling away from the curb and then following the squad, it's hazard lights still flashing. This was a crew vehicle, used to prevent any other cars from getting into the shot. This car can be seen in the opening credits of every episode of the first two seasons of the show.
We learn straight at the top of the episode that Officer Peter J. Malloy has had seven years on the job and is senior man on the watch. Malloy has been assigned a new partner, James A. Reed, 23 years old, a probationer. Reed finished in the Top 10 in his class. We see from Malloy's behavior that something is troubling him. It seems to involve something to do with a previous probationary Officer who Malloy had trained.
Next is a segment which combines outdoor location filming with indoor studio filming. Here, this clashing technique isn't so bad. It gets much more noticable in the segment that follows. What is actually more jarring in this scene is Malloy's treatment of Reed. All Reed has done so far is look enthusiastic to be there. Malloy seems to think the newbie won't even be able to follow him to the squad car. What follows next is the seeming possession of Officer Malloy by the ghost of "Dragnet" character, Sergeant Joe Friday. Malloy, speaking at a high-rate of speed through practically gritted teeth, gets all nasty and condescending in his demeanor while explaining to Reed that the Adam-12 squad is much more than just "a police car". Malloy tells Reed that if "you take care of it (the squad car), it will take care of you." Malloy will forget all about this in the fourth season episode, "The Search". In that one, Malloy, alone in the squad at night, drives the squad wildly on a dark, seriously twisting, forested road. In fact, he drives so wildly that he loses control and soars off the road, smashing and destroying the squad. Since Malloy certainly wasn't taking care of the squad, it didn't take care of him. Malloy gets seriously injured and the squad and it's 2-way radio is of no help whatsoever. ("The Search" is actually an absolutely outstanding, 10/10 episode of the series.)
At the end of this segment, we learn that whatever it is that's troubling Malloy, it happened two weeks earlier at a warehouse. Malloy plans to speak with the Captain regarding a decision Malloy has made, later in the day. Then, oddly, although just out of the Police Academy, Reed has no idea how to "Clear" the Adam-12 squad for duty. He nervously takes the microphone and reads from a scrap of paper, "This is Unit 1-A-12, we are clear." Malloy grabs the microphone in disgust and gives a correct clearance. This Malloy guy sure seems like a bit of a jerk so far. The scene ends with a very funny, if unintentional mimicing of Malloy, by Reed.
It's then off to that 415, fight. Two guys are fighting while a woman dances in the street. Millie Helper (the nutty neighbor on "The Dick Van Dyke Show") has picked the wrong time to take a trip to Los Angeles, California. Some weird guy has been sticking his fingers in her mouth. In the end it's all innocent and fine. What isn't fine is that same jarring filming technique of switching from a location-shoot to a studio-shoot. The lighting between location and studio is very off-putting. Also, the backgrounds differ very noticably. In studio, Reed and the two men who had been fighting are filmed with a large photograph of a Dump Truck behind them. But the location-shoot shows Reed no where near the truck and the two men are standing with the squad car right behind them and the truck beyond the squad car. Happily, this combining of location and studio filming is put to a stop right away. It pops up again about 18 episodes later, but that's because segments of that episode had actually been filmed to appear in this episode. Very strange!
Next, the new partners are off to deal with those 459 suspects. The owner of a liquor store had spotted a couple of guys sitting in a green 1959 Buick sedan who were "up to something." The store's had three recent robberies and the store owner could feel it in his bones that the guys in the Buick were up to no good. What follows is an absolutely awesome car chase. The guys in the Buick decide to "rabbit" (take off speeding) when Adam-12 pulls up behind them. Turns out, via a license plate check, the occupants of the Buick are considered armed and dangerous. They're to be apprehended and held for burglary, Auto-Division. This is a great chase scene, very creatively filmed and directed. A fantastic area is used in which to crash the bad guys' car. Oddly, as the car crashes, it has no windshield. Then, as the camera angle changes and the car's engine catches fire, large broken pieces of the windshield are back in place. The two bad guys as well as Malloy and Reed get to go for a nice walk in ankle deep water. Reed should remember this watery location for a future episode when his feet get terribly sunburned. Ah... so soothing!
Stopping for "7" (time to eat), Reed tells Malloy that he's been married for three years and that his wife is pregnant. Malloy tells Reed that he's never found anybody who could put up with him. Reed struggles, but is able to get Malloy to tell him what it is that's troubling Malloy. Malloy tells Reed that Reed won't see him again after this first night. Malloy is leaving the job. Here, Malloy says that about three weeks earlier, a nice young kid about Reed's age got blown-up. He'd been married and had a six-month old baby. It tore Malloy up pretty bad. That "kid" had been Malloy's previous partner. It does seem rather odd that although Malloy has been incredibly affected by his former young partner's death, he never speaks that Officer's name.
Next, it's off to that Ambulance, sick child call. M & R get to the home with the sick child before the ambulance. Here we get to see that Malloy, who again hasn't been the nicest guy interacting with his new partner, can in fact be very caring and indeed, quite heroic. This is a very much needed scene. Without it, the Malloy character really wouldn't have been shown to have any redeeming characteristics in this first episode. (Could this scene have been brought forward from a later episode? This would explain why another scene containing pertinent information for this pilot episode was cut and moved to a much later episode, "A Jumper, Code 2". That scene also features the jarring combination of location/studio filming. Just a theory of a possibility.) It is interesting to think that as I write this, again in 2023, the little baby Malloy saves, named Gladys, would now be 55 years old.
Malloy and Reed are then sent out from the Station House to a major 415 at a park. Shots have been fired. Late at night, 30 kids are holed up in a Barbecue Hut in the darkness of a large park. Three have guns. They'd been terrorizing the surrounding neighborhood, shooting off their guns, destroying property. They've even slugged and robbed a woman, Thelma Martin. One of the kids is said to be wearing a nazi uniform. (Thelma Martin and the "kid" in the nazi uniform will both be seen in that later episode mentioned above.)
The Officer in charge at the scene, Sergeant MacDonald, sends the partners into the pitch black to block off any means of escape for the bad bunch of hippie rowdies. All that can be seen of the group are the flashes from their guns as they shoot in the direction of the police. Malloy gives Reed one thing, and one thing only to do. He tells "Junior" to run to a nearby tree and stay there. He even has Reed repeat back to him the order. Reed repeats the order back to Malloy and then proceeds to ignore the order. Reed ends up single-handedly capturing the shooters. The three gun shooters stopped, other Police move in and subdue all of the "kid" hippie rowdies.
After a humorous moment in which Reed rather nervously "marries" a tree (at Malloy's insistance) Malloy has a conversation with his Lieutenant. Malloy describes Reed to the Lieutenant as "too head strong, too eager, too young, not loose enough." Malloy continues, "Reed listens good when he wants to, but all the time you can hear those wheels spinning, figuring a better way than he's been told, he talks too much when he shouldn't, not enough when he should, his radio procedure is rough as a cob, but he wears the uniform right." The Lieutenant responds, saying that he himself once told his Watch Commander the same things about a youngster that he rode with when he first came on the job. That youngster's name was Malloy.
As the episode raps up, Malloy tells Reed he couldn't let Reed loose on the citizens of Los Angeles. Malloy has very obviously changed his mind about quitting. A relieved and super-enthused Reed is so happy to know that Malloy is going to be sticking around to guide and mentor him on the job, that he begins to cheerfully walk back to the Adam-12 squad car, but in the very obvious wrong direction. Yes, Reed is going to need a whole lot of that guidance and mentoring!
Regardless of the "jarring/clashing" filming techniques used in some segments, this pilot episode of "Adam-12" is truly excellent. Writing, Production, Direction and Acting are stand-out terrific. This will ultimately prove to be one of the finest Police drama series' ever created for television. 10/10.
Adam-12: Log 51: A Jumper, Code 2 (1969)
Suicide And Crisis Lifeline - Call Or Text 988
Mayberry town drunk Otis Campbell ("The Andy Griffith Show") picks a lousy time to take a drive out to Los Angeles, California. He had told Mayberry Sheriff Andy and Deputy Barney a few years earlier that he was never going to drive another car (after purchasing an old Hot Rod and then selling it almost immediately.) This was because he loved drinking alcohol so much and the two - driving and alcohol - just don't mix. But now, here he is, drunk and driving. Oh, Otis... There shall be one vacant chair. Officers Malloy and Reed follow in the footsteps of Officers Taylor and Fife. They haul 'ol Otis off to the slammer. (Though there probably weren't going to be any dynamite-loaded goats trying to share his cell in the L. A. lock-up!)
Detective Bill Gannon ("Dragnet") aka, Colonel Sherman Potter ("M*A*S*H") aka, Actor Harry Morgan, has chosen a terrific time to take a stab at directing a television half hour police drama. He handles the action, the as-written boredom (Malloy and Reed spend a good portion of the episode complaining to each other that "business" hasn't been all that thrilling lately,) the production and actors quite well. That is, once you realize that this episode, shown late in the first season, was quite possibly the second or so episode of the series to be filmed.
As it is, there are a few stand-out moments which give clear indication that this was filmed very early in season. For some unknown reason it was held back for broadcast. The most notable in-story indication of this is when Sergeant MacDonald informs Reed - to put Reed in his place after he offers his unwanted two-cents worth - that he's only been on the job for three weeks. That three weeks statement is very much at odds with a whole lot of events which have transpired over the past 18 episodes or so.
A production-wise indication of this episode having been one of the very first filmed, is the use of "clashing" moments within the same segment. By this I mean switching from outdoor location shots to obvious indoor studio shots within the same conversation. This can be seen in the segment featuring the man and woman who are complaining about the evil, glue-sniffing hippies who are standing on the otherside of the street over by the park. This switching back and forth from location to studio to location to studio is quite jarring. The studio lighting comes no where near to matching the location lighting.
This segment was actually filmed for the very first, pilot episode of the series. It actually sets up what is in fact the final segment of that episode. Here, the woman with the complaint is Thelma Martin. Back in the pilot episode, the final segment finds Malloy and Reed sent to a park late at night where 30 hippies are gathered. Three of them have guns and a shotgun. They are shooting wildly from a barbecuing hut. Another Officer remarks that a woman, Thelma Martin, has been injured. Malloy and Reed look to one another, obviously recognizing the name. Then too, when Reed captures the hippies, they are the same hippies that are seen in this episode.
Besides all that, there's the entire scene in which M & R work to save a suicidal man from jumping off the outside ledge of a multi-story apartment building. Malloy's behavior is very much at odds with how the character has developed within the 18 or so episodes since the show's premiere. Joining the man out on the ledge is simply too "Super-Cop". Like something that a Cop in a 1950's police drama might do so the show could demonstrate to viewers how incredibly heroic their character is. At this point in time for "Adam-12", neither Malloy nor Reed have to prove themselves like that. Besides all that, risking one's life by climbing out onto a building ledge as Malloy did, just simply isn't intelligent nor proper police procedure. Also, the outside action on the ledge isn't filmed very well. When the suicidal man and Malloy tussle on the ledge, Malloy swinging the man past himself and back through the window, it looks as if there's actually enough room on the ledge for the two men to have a nice dance.
Setting aside all that "filmed early in the season" stuff, this is still a darn good episode of Adam-12. Though Malloy and Reed may be bored with the little bits of inactive Police work they're dealing with, the episode is not at all boring for the viewer.
Adam-12: Log 92: Tell Him He Pushed Back a Little Too Hard (1969)
A Boat Full Of Trouble For Malloy And Reed
Malloy and Reed have to work with two neighboring couples throughout this episode. Call after call have the partners returning to the same address due to another "partnership" which has devolved into outright hatred. The husbands of these two couples have bought a boat together and a former friendship has turned to dire ugliness.
This episode reminds me of another episode of another Classic TV show in which two best pal neighbors buy a boat together. There also, the partnership went keel up. This was the sit-com, "The Dick Van Dyke Show" and the 3rd season episode, "Ballad of the Betty Lou". Main character Rob Petrie and his neighbor, Jerry Halper, have been friends for years. That friendship was long developed. The episode, which aired some five and a half years prior to this Adam-12 episode, shows the quick decline in that friendship once the boat comes into their lives. Both Rob and Jerry even sport the same Boat Captain's Cap that the Miles character in this Adam-12 episode wears. The Miles character reminds me of Jerry, and the neighbor Sidney character reminds me of Rob Petrie. There's a little extra coincidence ("non" really) that the Sidney character is portrayed by future sit-com "Bewitched" star, Dick Sargent. Sargent played the part of Darrin Mk II in that series. He's terrific here as the mousey Sidney who is sick of being pushed around by his ex-friend, and it would seem, the world.
Thankfully, and obviously understandably, the relationship between Rob Petrie and Jerry Halper does not descend into the utter catastrophic horror that befalls the two Adam-12 guest characters. It is a bit beyond the expected as to how the writer concludes this episode-long story. It all starts out seeming rather humorous. The Miles character seems simply a bit "over the top" in his initial reactions to the deeds done by his neighbor regarding the boat. Plus, the character's wife, Agnes, comes across as just a bit befuddled at her husband's behavior. Later there's a "funny" revelation when the bad-sighted Sidney smashes the back window of his neighbor's Station Wagon automobile, but it turns out that he actually smashed the window of his own nearly-identical car. You can almost hear the "silly sit-com musical beat" when Sidney's wife admonishes his idiocy and he squints his eyes in puzzled reaction.
Then too, there's Malloy's humorous exasperated reactions throughout the first two-thirds of the episode. A funny moment has Malloy standing at the entrance of Sidney's garage (where the boat is being stored) rolling his eyes in humorous disgust. Then he motions each man to "come closer" for a nice heart-to-heart-to-heart conversation. Reed, meanwhile, stands around watching, along with the two wives. All grinning with hearty disdain at the nutty behavior of the two silly nitwits. Later, there's another, very unnecessary scene back at the Station House, involving Detective Jerry Miller. Malloy has to stand waiting while the Detective has a frustrating conversation via telephone with his three-year old daughter. So another "light-hearted moment" following those other light-hearted moments. Although, yes, there was a bit of violence thrown in when Miles and Sidney have a bit of a scuffle on the floor of Sidney's garage.
And then the boom-mast falls. Big time. Major time. Complete astonishing "What the- ?" time. One last police call to Sidney's garage has Malloy yelling full-force at Miles' way-past-befuddled, now completely horrified wife. The destroyed friendship has now led to four utterly destroyed lives. A very shocking final outcome to what had seemed, at it's basic root, to be a story about a couple of silly acting neighbors. Perhaps this was the point of the script and of the production. Adam-12 creator, Jack Webb, always wanted his shows, including "Dragnet", "Adam-12" and "Emergency!", to have true impact - reactionary impact - on the viewing audience. Here, that audience has been entertained by seeming goofy behavior for some 20 minutes. Then BAM! Look at how goofy behavior can sometimes ultimately end up! A lesson taught to the audience and a lesson learned? Maybe. Maybe that sudden horrific turn of events did lodge into the minds of viewers back in 1969. Maybe it still does with every viewing ever since. Don't let those molehills and fishing-boats become mountains and Titanics.
Oh, there's just one more thing. (And no, it's not in regards to learning to distinguish the difference between a boat and a ship while sailing upon Troubled Waters. Honestly, it Tisn't.) In a late-in-the-series episode of Adam-12, Officer Jim Reed wants partner Pete Malloy to go into a partnership together. Reed wants the two to purchase a boat together! They even take a look at a nice boat that has a lower cabin and everything. Very nice. This one has a good outcome though. The boat is sold before they can put a down-payment on it. You have to wonder though. Would Reed have ended up killing Malloy because of something gone wrong with the boat? Or would Malloy have killed Reed? Maybe Michael Caine would have shown up one day and ended it all with a real Shock To The System. Sorry about that.
Adam-12: Log 22:...So This Little Guy Goes Into a Bar, and... (1969)
...So This Probationary Police Officer Experiences Reality, and...
A decent enough episode, just a bit "run of the mill". That's too bad, being that this is the season one finale. One thing we learn is that Officer Jim Reed is apparently very easily amused. Other Officer Ed "Snarky" Wells tells Reed a joke. Then, once out on the road on patrol, Reed attempts to repeat the joke for Malloy's amusement. It takes quite a while to get the joke out in full, and when Reed finally does... Malloy is not amused.
Reed however, absolutely loves the joke. After a moment of silence, reflecting upon the joke, Reed bursts out in genuine gaffaws. Malloy meanwhile, is completely unsuccessful at controlling his eyes from rolling. This really is the fun of this episode. The camraderie which has developed between these two characters over the course of the 26 episodes total of this first season, is excellently portrayed by the two stars of the show, Martin Milner and Kent McCord.
Milner gets to have some fun though, beyond his character comicly threatening to apply a coat of paint to his rookie partner. Milner as Officer Malloy, gets to sit at a little card table and destroy pertinent evidence. He also gets to search a refrigerator and hold a frozen long-dead (for decades) animal. Milner looks to be having a lot of fun in this silly - but true! - segment.
Future Hollywood Star Power shows up in the guise of actor Harry Dean Stanton. The character he plays here is just his style. Laid back, criminally inclined and a good sort of creepy. You really believe his character when he regrets he's not going to jail.
It was nice to see Officers Walters and Brinkman making an appearance in this last episode of the season. Brinkman hears Reed's joke and thinks it's hysterical. Walters sides with Malloy. Until, that is, Walters hears the joke again, this time from the Commanding Lieutenant at the Station. Now Walters thinks the jokes terrific! Nice jab there at how the real world works, from the show's writers. Surprisingly, actor William Boyett's Sargeant MacDonald character is abscent. That's a shame.
Reed does get another look at how the real world works when he runs into an old friend from High School. This guy is throwing a party for a bunch of much older people from his place of business. Yet he's entertaining them by blasting awful "hippie-style" so-called rock music. These people look like they'd be more inline with ancient tunes from Lawrence Welk. This batch of actor "extras" clashes a bit too much with the gist of the scene, rendering it all a bit weak. Reed's old friend's sudden turn to the dark side comes off as honest though. Darn those fuzz!
Adam-12: Log 172: The Things You Do for the Job (1969)
Take This Job And LOVE IT!
What you have to remember when viewing this episode of Adam-12, is that you're looking at the year 1969. Were "stalkers" a thing back then? Of course. However, would "stalking" have been a widely known occurence? Men stalking women, probably. But women stalking men? And the man in question is a Police Officer? In this context, it might be easier to accept the lightheartedness with which this episode is delivered.
Another thought to consider looking at this episode from a perpective some 55 years later - a scenario like this playing out in a modern day script would most very likely make reference to the male involved "possibly" being gay. "That guy isn't attracted to that beautiful woman who keeps making advances? Well then, obviously he must be gay!" This sort of reaction was never going to come up in a family-orientated Police Drama series in 1969.
After the previous episode which was incredibly powerful and sad in it's extreme dramatic sense, this episode is a terrific breath of taking things easy. That last episode was top of the line in it's way and this episode is top of the line in it's own, very different way.
Martin Milner is once again, absolutely fantastic as Officer Pete Malloy. The script gives him plenty to do as it does the guest actress, Ahna Capri. Her character, Penny Lang - daughter of a wealthy Daddy - is obviously extremely attracted to that which she cannot have. In this instance, that would be one Officer Peter J. Malloy.
Kent McCord, William Boyett and Gary Crosby as the three main fellow Policemen whom Malloy must put up with - when not putting up with Miss Hubba-Hubba - are all spot on. McCord's Officer Reed is giddy as a schoolboy, smiling sheepishly as the gorgeous Penny tickles at Malloy's avoiding chin. Boyett's Sergeant MacDonald is like a concerned father, not sure if he can believe what son Malloy is telling him. Crosby's Officer Ed "Snarky" Wells is ticked off beyond contempt, doing what he considers to be Malloy's job but without the fringe benefits.
Then, beyond all this, we're treated to the sight of two amazingly incredible works of artistic machinary. A classic Jaguar Convertible in Dark Red and a smart little Porsche - in Orange! Super Cool!
The biggest upset of the episode is also it's most brilliant moment. Baby-Blue-eyed Pete takes the Total-Babesical Penny Lang out on that date she's been craving. Dinner, a show, dancing and... And... AND???
...And Penny Lang won't be a problem anymore. It's possibly the most frustrating moment in Adam-12's entire seven year run. But, it's perfect. It's all up to the viewer's imagination. (Va-Va-Va-Voom!)
This episode, along with Reed's "Puppies" episode, and then Reed's shooting and killing of a 16 year old boy/sniper and the previous episode regarding Child Neglect - all demonstrate quite clearly the incredible range Adam-12 was capable of. Two lighthearted episodes with actual laugh out loud moments, and two heavily dramatic, gut-wrenching tear-jerkers. These are merely four examples as to why Adam-12 is one of the very best television series' to have ever graced the airwaves.
Adam-12: Log 12: He Was Trying to Kill Me (1969)
Child Neglect As Well As Emmy Award Neglect
Probationary rookie Officer James A. Reed continues to learn not just the ways of the job, but also the ways and truths of the world. Viewers of Adam-12 go along for the ride. This is quite a powerful episode as well a very sad one at that.
Malloy & Reed are called to an apartment building where they discover a six year old child home alone, fending not only for herself, but for a younger sibling. The Officers nearly miss the younger sibling as it's resting on blankets in the apartment's bathtub.
Set Direction does a terrific job at creating a neglected apartment, home to neglected children. The furnishings are sparse and broken. The babysitter - a portable TV - doesn't provide a picture. Most disgusting, the tiled wall of the bathtub where the baby sleeps, is swathed in disgusting filth.
The acting is above and beyond from everyone. Milner and McCord, of course, are terrific. That's the usual. The guest cast is superb. The Mother is lost in self-absorbed insanity. The Father is a mass of fist, obviously always aimed at the Mother. The Boyfriend is slimey yet seemingly possibly actually concerned. The Neighbor is perfectly nosey yet worried. Truly wonderful is little actress, Dawn Lyn as six year old Charlie. Child actors are usually a 70/20/10 variant. 70% can't act whatsoever. 20% are passable. 10% completely knock it out of the park. In this case, Dawn Lyn is just wonderful. She also brings out great tenderness in both Martin Milner and Kent McCord's performances.
Very well written and directed. An excellent production of Adam-12. Another episode which not only should have been nominated for an Emmy Award, but that should have easily won that Emmy Award.
Adam-12: Log 152: A Dead Cop Can't Help Anyone (1969)
Officer Snarky Arrives
To recognize the "real" Officer Ed Wells, one just needs to see the look of utter pain on his face when Malloy drags Wells' limp, injured body up into the back seat of the Adam-12 squad car. That right there is the look of an absolute idiot who has gotten what he has been deserving of. A whole load of buckshot to the shoulder. Ed Wells is a Hot Dog with no regard for his own safety. Certainly, he has no regard for the safety of others.
It's surprising to see that probationary rookie Officer Reed has been taken in by Wells' stories of his own heroics. Reed, being still quite fresh from his days at the Academy, should be aware of correct Police procedures. Him having just had those correct procedures so recently drilled into his head. Yet Wells, who is seemingly in his fourth year as a cop (per information provided by his wife, Betty) demonstrates a clear neglect of those proper procedures. Malloy is almost as upset with Reed's glorifying of Wells' wild tactics as he is upset with Ed Wells for practicing those wild tactics. It's quite disheartening to see Reed obviously siding with Wells over Malloy. Then too, it's all the more disheartening and indeed upsetting, to hear Sergeant MacDonald tearing into Malloy for "letting" Wells handle a call (drunk with a gun) instead of Malloy doing the job that was assigned to him.
The Wells character is written to be a jerk and actor Gary Crosby most definitely rises to the task. Even in the concluding moments of the episode, when one might expect the character to acknowledge his mistake and awful behavior, nothing of the sort occurs. Officer Ed Wells remains a jerk to the bone. He's perhaps not as "snarky" here as he will be in his future appearances on the show. In this episode, he seemingly outwardly lies regarding his accomplishments. In later episodes, he won't so much as lie as moreso "enhance" his heroics. However, those enhancements will be spoken of, lathered with a helping handful of blatant snarkiness.
It's also interesting knowing that in future Ed Wells episodes, it will be Officer Jim Reed who will find his coworker so vile as to be not worthy of approach. Malloy's own repulsion of Wells demonstrated in this episode will be quelled, replaced with more of an, "Ed Wells - Can't live with him / Can't live with him" forgiving attitude.
At the very least, it's nice to see that in the conclusion of this episode, Reed has definitely seen the light. Reed ends up realizing that Malloy is the one with not just the brains, but also with the true commitment to the job as well as to the commitment to the respect and safety of others.
Oh, and young actor Barry Williams, later eldest son Greg Brady on "The Brady Bunch", appears. Good to see him not kidnapping any rival school mascots here. Or threatening a younger brother for changing the color of his hair to orange. Or frightening propective house-buyers by turning his own home into a haunted asylum. All terrible behavior. Here, he shows only great concern for his Mother. He doesn't even try to ask her out on a date. It's got to be that terrific "Adam-12" influence!