Hawk

Hawk retains the grittiness of an earlier Screen Gems series, Naked City, but has a nice touch with it's use of color film in mostly night shots. One of the best aspects is the sound by Don Kirshner, and the very eerie nocturnal theme music by Kenyon Hopkins played while Hawk drives his 1966 Pontiac Bonneville up 7th Avenue at 11:52:59 pm (according to a digital clock).

It's not often that a television series attempts to push the envelope on a social issue, but this program was one that tried to do it, even as it presented itself as a standard cop show.

Lieutenant John Hawk, as played by Burt Reynolds, was an NYPD detective working with the DA's office on various cases. But Hawk wasn't just a detective, he was a full blooded Iroquois tribesman. Elements of the show had Hawk battling not just the "bad guys," but also fellow officers whose racism and prejudice had them challenging and attempting to diminish his accomplishments.

Notably Mr. Reynolds did have some Native American blood on his father's side of the family. He was part Cherokee and was playing an Indian on the CBS western, "Gunsmoke" before he got this role, his first lead in any TV or film production.

Hawk had a partner, Detective Dan Carter, played by Wayne Grice. Just in case the issues of racism weren't obvious enough for you, Hawk's partner was a Black American, which may have been an attempt to capitalize on another popular series of the day, "I Spy." Carter was what we would call today, a nerd: a by the book, stay out of trouble, high intelligence level cop just out to do the job. He was the opposite of Hawk, low-key, avoid the confrontation and keep the peace kind of fellow.

The way they handled the story of Hawk's history was an interesting choice. There were some episodes of the series where it didn't come into play at all, while others where it was a major part of the storyline. It's clear that they were really trying to have the issue of Hawk's heritage be a part of the plot in organic ways, rather than it being a requisite element of every week's episode.

Also important was that Burt Reynolds did just about all of his own stunts in the show. If a fight scene needed to be a part of that week's episode, it was Burt throwing the punches, which added a level of gritty realism to the process. And, of course, there were a lot of fight scenes to be done.

New York played a part in that Hawk was typically a "Second Shifter," so he was working nights and overnights. The bright lights of the Big City came into play, as Hawk drove around town in his blue 1966 Pontiac Bonneville with the siren light on the dashboard. So stylish!

Burt even got to direct an episode or two of the series as it ran, which gave him more opportunities to slug the bad guys and show off the sights and sounds of New York, as the series was filmed on location.

Thanks to Reynolds' eventual success in acting, this show has has managed to remain on the pop culture scene, though the elements of his ancestry might bring the question of cultural appropriation, nowadays. After all, his Native roots were barely acknowledged in any of his roles that followed.

The fatal problem for the program was the schedule. "Hawk" ran opposite the hugely popular "The Dean Martin Show" on NBC, and even a straight-shooting cop like Hawk couldn't outrun a Rat Packer.

Burt Reynolds was at his surliest and angriest in Screen Gems' production, Hawk, a series by Allen Sloane, writer of TV shows with a socially relevant point of view. Unfortunately, Hawk was cancelled with only 17 episodes broadcast, unable to compete with Dean Martin and a movie of the week.

Hawk was gritty and was filmed that way. It didn't have the overall natural feel of the groundbreaking Naked City but its night scenes of a shabby, grungy, sleazy 1966 Manhattan filmed in color have an eerie quality enhanced by the spooky music of the great Kenyon Hopkins. (Nelson Riddle's one episode has riffs too similar to the Batman series.) This is the dangerous Manhattan that was the backdrop for Death Wish in 1974. Hawk's New York is a city populated by psycho-killers, mobsters, maniacs, mental cases, punks, nightcrawlers and assorted career criminals.

Reynolds generally had two expressions in Hawk, angry and angrier, with a soft spot for some ladies but he was never given a steady girlfriend. His father was a high iron worker who fell to his death and this propels Hawk, especially in one episode when he goes after a corrupt contractor. Hawk was blunt and direct, not concerned about offending anyone including his superiors, suspects and potential sources of information. He had an African-American coworker and sidekick played well by Wayne Grice who saved him from death a few times, including getting crushed in an industrial size compactor.

When it came to the action scenes, common sense and proper procedure was usually neglected. Faced with gun-totting thugs, Hawk would fling himself bodily at them like a bull and get into wild, furniture smashing brawls. In most episodes he would take brutal beatings that would put anyone in the hospital, unlike most TV detectives who'd win every fight. Mannix was hit over the head once a week but Hawk took a far worse beating in almost every show. Reynolds did his own stunts and as he grew older the effects of these stunts took its toll. He could barely walk near the end of life.

Many guest stars went on to great fame or solid careers. Tony LoBianco is a thief who steals heroin, predating the French Connection. Frank Converse, fresh off Coronet Blue and a year from N.Y.P.D., is a crooked cop working for the mob. Gene Hackman is a frightening religious fanatic who murders strangers. Robert Duval is a killer after negotiable bonds. Many of the female guest stars went on to prolific New York soap opera careers.

The directors were an accomplished lot including Sam Wanamaker, Alexander Singer and Paul Henreid. Reynolds directed one episode, Blind Man's Bluff that starred his close friend James Best as a psychopathic killer targeting cabbies.

One of the best episodes was Wall of Silence featuring Emily Prager as a very pretty autistic teen who witnesses the shooting of a policeman by punk Scott Glenn but doesn't understand what she's seen, can't speak and is Hawk's only witness. It was one of the early shows (besides Breaking Point starring Paul Richards) that explored the relatively unknown condition of autism. Her character is something of a "baby doll," a behavioral trait that would probably not be permitted in a modern script.

After Reynolds passed away. Get TV programmed post-midnight episodes of Hawk for two weeks. The slicker California-based Dan August was shown during the day. Less angry than Hawk, August was not too far removed in temperament. Since Coronet Blue was released on DVD last year, there's still hope for Hawk getting a release one day.

Before playing a monotone detective in the 1969 series DAN AUGUST, young mustache-less/Marlon-Brando-looking Burt Reynolds played a monotone detective named HAWK... the difference being he's, like the initial breakthrough role on GUNSMOKE, part Indian... and instead of investigating old friends mostly during daylight, the twist here's a seedy gumshoe style world after midnight...

In this case, one of the few episodes available, THE HANDS OF CORBIN CLAYBROOKE, centering on an offbeat artist with gorgeous assistant Marianna Hill teamed with a handsome criminal that had murdered another artist, both involved in a scam a bit difficult to follow, for the audience more than Burt's titular detective, knowing the girl's involved as if he'd seen enough noir films...

Providing young Burt his first of two one-season-shows before the second of three catapults: first on the big screen for DELIVERANCE before riding high in SMOKEY AND THE BANDIT...

Meanwhile, it's already famously infamous that his comedic brand derailed an otherwise serious dramatic career... yet he could have used some of that likeable levity both in DAN AUGUST and HAWK since, liken to Jack Nicholson, when Burt discovered a more breezy style, even his dramatic performances improved.

Between this and Quinn Martin's Dan August, Burt's potential as a dramatic action star seemed sealed. He was good in this moody, jazzy and sometimes violent series. There was always that emphasis on his (American) Indian heritage and the wretchedness of his job (one episode dealt with the unrewarding job of a stool pigeon). Too bad Burt didn't seem to care much about his movie career considering the spate of bad films he made in the 70's (Deliverance notwithstanding).