Das A-Team

This is one of those shows where I can truly say that I have seen every single episode. Thanks to the reruns, off course, which made me watch it over and over again when I was just a young, little boy. Not seeing (or perhaps not wanting to see) how bad the action, how boring and slow the story was. And how every episode was almost the same as the previous one. The fact that people only shot at other peoples legs (not in the head or chest) didn't bother me either in those days. Now it does bother me and I'm always wondering why I was such a fan in my youth. Luckily I found out after some thinking.

When I was a fan of Hannibal, Murdoch, Face and B.A. (and Amy) I saw a group of friends, very good friends helping out good people who were oppressed by the bad people. They always won, every episode ended as a feel-good-one, there were a lot of laughs, justice was served and my friends Hannibal, Murdoch, Face and B.A. (and Amy) took me home where I was waiting for them to pick me up for another adventure. And I thank them for that joy and adventure they gave me.

The A-Team was one of three shows - the others being The Cosby Show and Miami Vice - that rescued NBC in the 1980s, and this mixture of action and comedy still holds up as an entertaining concoction.

The show succeeds primarily on the personalities of the cast. George Peppard's career was drying up and looked half past dead when he was cast as flamboyant Colonel John H. "Hannibal" Smith; his performances gave his career the boost it otherwise would not have gotten as in the manner of Leslie Nielsen he found his niche in comedic flamboyance after nearly two decades as a straight lead or in a character role.

Dirk Benedict brings Starbuck to Earth (best shown in the show's most overt and best in-joke, the shot of a Cylon centurion guide at Universal Studios walking past Templeton Peck with the intimidating hum of its eye scanner added to the soundtrack) and scores again as the slightly decedent but ultimately sympathetic rogue who is the team's primary scam expert. Peck is something of the dry-witted observor of the crazy happenings to the team during its adventures.

Mr. T had become a household name in Rocky III but it was The A-Team that cemented his persona with his trademark "Shut up, fool!" and general attitude with a heart of gold. Bosco Arnold Baracus was always feuding with the team's pilot, Hector M. Murdoch, committed to a VA psycho ward due to insanity concocted in the Vietnam war - insanity that is just a ruse for Murdoch to better help the team.

It may seem odd to think of Dwight Schultz as a qualified Broadway performer, but his career has been in that vein, and his role of Murdoch made him a true TV star; Schultz gave Murdoch his personality but he also tempered him with believeable torment, best shown in the show's warmest episode "Bounty," co-starring Schultz' reallife wife Wendy Fulton. Murdoch can be funny, but as Wendy helps bring out in this episode, Schultz is also a qualified dramatic performer.

Ultimately fleshing out the show was the Gerard-esque pursuer of the team, Colonel Roderick Decker. Lance LeGault portrayed Decker and made one of TV's best recurring villians. Decker gained sympathy from his determination and it showed in one of the show's weaker episodes, "Incident At Crystal Lake" where he and his executive officer Captain Crane are attacked by four criminals and brutally beaten; no pleasure is derived from seeing Decker and Crane brutalized; if anything the viewer despises this scene precisely because the two Army officers are so humiliated. This sympathy angle is best shown in the show's flashback episode "Curtain Call" where Decker has the team cornered and they offer no resistance to arrest and also in a later episode where Hannibal needs to protect the family of his client from mobsters, and the only way he can is to draw Decker into the fray.

As Crane, future director Carl Franklin displays superb chemistry with LeGault throughout the run of the show, and it was a mystery when, after two episodes of the show's 1985-6 season, Crane was curiously dropped.

This is a show where everything revolves around personality. The plots and production values are deliberately on a budget; it is the personality of the characters that drives the show and makes it work. Hannibal always loves it when a plan comes together, B.A. is always cantankerous and terrified of flying (except, curiously, in one 1986 episode where Peck is rescued and they fly out in a helicopter), Templeton Peck always has a scam running, and Murdoch is always engagingly nuts.

And it all works, each episode, of a pivotal action comedy series of the 1980s.

Nothing defined the eighties so much as the television we watched. Dallas. The Young and the Restless. The Dukes of Hazzard. He-Man. The Greatest American Hero. Airwolf. Knight Rider.

In 1972, a crack commando unit was sent to prison by a military court for a crime they did not commit. They promptly escaped a maximum security stockade into the Los Angeles Underground. Today, still wanted by the government, they exist as soldiers of fortune. If you have a problem, if no one else can help, and if you can find them, maybe you can hire...

The A-Team.

With a script any eight year old would love, the four members of the A-Team went off every week to somewhere in America to help someone who couldn't find help anywhere else. They battled impossible odds (with impossible storylines) and managed to stay one step ahead of the law. They were always predictable, heroic, and fun. God bless the eighties, and long live TV Land.

Some '80s shows that were hits at the time really don't hold up well today, but some very definitely do. "Moonlighting" was one of them, and so was this creation of Frank Lupo and Stephen J. Cannell. (Lupo later came to a parting of the ways with Cannell and inflicted "Werewolf" and "Something Is Out There" on the world. Blub.)

Like most of the people commenting on "The A-Team," I used to watch it as a kid (well, a teenager really). It had likeable heroes, comedy, action, top music (unlike most TV producers, Cannell billed Mike Post and Pete Carpenter in the main titles with the stars) ... the lot. The plots weren't exactly loaded with endless twists, but that was part of the fun - who else looked forward to the week's DIY montage where the quartet built that week's weapons? (As Hannibal pointed out in one of the novelisations, it's amazing how the bad guys always locked them up with precisely what they needed to escape.)

And contrary to popular belief, our heroes did get hurt from time to time (the clip show episode "Curtain Call" used Murdock being shot as an excuse for his comrades to hold a remembrance of episodes past; in "The Battle Of Bel Air" the helicopter containing the A-Team crashed at the end of the climax, injuring everyone EXCEPT B.A. Baracus); occasionally episodes started with someone actually getting murdered (the man in the exploding car in "Skins," one of the battling convicts in "Pros & Cons"). The show didn't dwell on it, true, but it was there.

This remains Cannell's most successful show as an independent producer, and demonstrates how he's more adaptable than the more critically acceptable Steven Bochco (this is not to put down Bochco, but can you imagine the man with the would-be violinist for a dad coming up with shows as wildly different as "The Greatest American Hero," "Top of the Hill" and "Wiseguy"?). It was fun in the 1980s, and it's fun now. Which is a lot more than can be said for "The Professionals."

"The A-Team" is a guilty pleasure for the two generations of viewers who have embraced the series. It never attempted to be "Masterpiece Theater", but 'cotton candy for the brain', with the best episodes replaying the same scenario over and over (Underdog gets mauled by Big Bad Villain and his Baddies...calls in Our Heroes, who end up defending the Underdog on a 'deferred payment' plan...Our Heroes Stomp the Baddies, then get themselves captured...in true "MacGiver"-like fashion, they use the materials at hand, creating homemade lethal, yet non-fatal weapons in insanely short order...the Baddies are Crushed, and Our Heroes split, seconds before the Authorities arrive to arrest them). What made the series so popular was never the 'ritual' of the plots, however; if you loved the show, it was because of the chemistry of the stars. Hannibal, B.A., Face, and Murdock were all likable guys, and seemed to enjoy every moment together...and fans of the series have always 'picked up' on that camaraderie.

The brainchild of Stephen Cannell and Frank Lupo, NBC loved the concept of the show, and gave the series a prime 'starting' point, airing the pilot episode after a Super Bowl, guaranteeing great initial ratings. Featuring Tim Dunigan as 'Face' (Dirk Benedict was unavailable for the pilot), the show benefited enormously from Mr. T's presence, as ROCKY 3 had made him an overnight star. Another 'plus' was George Peppard's return to weekly television; his "Banecek" had been a much loved NBC series, until he walked off the show (Cannell, one of the writers of the earlier series, understood the ex-alcoholic Peppard's occasional mood swings, and offered him a large salary and a lot of creative control in the new series, resulting in one of the happier periods in the actor's tragic life).

A major discovery for "The A-Team" was Dwight Schultz, as 'Howling Mad Murdock'. A remarkably versatile actor, Schultz was adept at accents, physical humor, and rapid-fire one-liners, and his exchanges with Mr. T were funny without ever being demeaning. Peppard took a liking to the young actor, as well, and the warmth between the pair could be seen in nearly every episode. With Benedict's arrival (he had been the break-out star of "Battlestar Galactica", and had a large female following), Peppard had all the elements he felt were needed to make "The A-Team" work...which didn't bode well for the one female regular, Melinda Culea, as reporter Amy Allen. Although she gave the show a more balanced slant, and was excellent in her role, Peppard always considered her a 'fifth wheel'...and when Cannell did not renew her contract for the third season, it was generally assumed that George Peppard used his leverage to oust her. A new female character was introduced, played by Marla Heasley, but her character would remain less active, and would have a story 'arc' that would have her leave the series in 1985.

A television show with a single concept, no matter how enjoyable the cast, can't run indefinitely, and by the end of the fourth season, "The A-Team" had pretty well exhausted all the variations the writers could imagine. Entertainment figures (Hulk Hogan, Boy George and the Culture Club, Rick James, Isaac Hayes) appeared in weak efforts to bolster ratings, and NBC pressured Cannell to make major changes to the series.

Bowing to network pressure, the fifth season began by having the A-Team finally captured and court-martialed. Escaping with the aid of new regular Frankie Santana (Eddie Velez), the team soon found themselves 'prisoners' of a secret government agency run by Gen. Hunt Stockwell (Robert Vaughn), who offered them full pardons if they would take on a number of assignments "too risky" for the U.S. intelligence community to handle. The episodes sank to formulaic "Mission Impossible" clones, with George Peppard's authority lost to new boss Vaughn, and the 'blue-collar' charm of the earlier seasons sadly absent. When the series was canceled, while fans mourned, few were surprised.

What has been a surprise is the 'cult' status the series has achieved in the years since it left the air. While George Peppard never lived long enough to see it happen (he died in 1994, from pneumonia), the still-growing popularity of the show has been a source of pride and amazement for Benedict, Schultz, and Mr. T (who nearly died of cancer, but has made a complete recovery), and the show is about to re-emerge as a feature film, with Stephen Cannell producing.

Not bad for a 'single concept' series!