Playhouse 90

This was the jewel in the crown of the golden age of television, the fifties and early sixties. This show had the best actors, the best directors, and the best writers. Many of these were on kinescope and are available somewhere, in a vault somewhere, or happily for the rest of us, at the Museum of television and radio. Some of the shows I have seen are The Comedian, with Mickey Rooney as a beloved comedian, who is a vulture in real life (kind of a similar story to A Face in the Crowd). It is one of Rooney's best performances. There is also the beautiful Requiem for a Heavyweight, with wonderful performances by Jack Palance, Ed and Keenan Wynn, and Kim Hunter. It is probably the best known of these shows. Also there is Days of Wine and Roses, with shattering, brilliant work by Piper Laurie, Cliff Robertson, and especially Charles Bickford. It equally comparable to the film. And recently I have been able to see A Sound of Different Drummers with Diana Lynn and Sterling Hayden. It is a story about a future society where books are banned; book owners are killed. It is sort of similar to Farenheit 451; it is very good, with touching performances by both stars. The best one of all that I have seen is The Miracle Worker. I was so excited that a copy exists. It is equally comparable to the film and features an outstanding, Emmy nominated performance by Teresa Wright as Annie Sullavan. She should have gotten the Emmy, and been able to continue her role in the stage and film versions, all respects to the wonderful Anne Bancroft though! It is the best of her many fine fifties televsion performances and right up there with A Shadow of a Doubt and The Little Foxes in terms of her best performances of all time. Several of these shows are available on VHS, too bad they all aren't!

The exception to Playhouse 90's being exclusively a Hollywood production was "The TIME Of YOUR LIFE", which came out of CBS TV's New York Studio. It starred JACKIE GLEASON in his finest, dramatic TV performance. The production's "humble" Casting Director/Assoc.Producer is proud to point out that it introduced, revealingly that the Eastern seaboard's socialite DINA MERRILL was and is a remarkably talented Actress.

'Playhouse 90' was an exceptionally good anthology series, which consistently offered the most prestigious actors, directors and scriptwriters available in America at the time, combining their talents to create 90-minute dramas. (Hence the title of the series.) This posting is specifically about 'A Town Has Turned to Dust', an original drama by Rod Serling which aired as the 'Playhouse 90' episode for 19 June 1958.

In August 1955, a 14-year-old boy named Emmett Till, from a black working-class neighbourhood in Chicago, went to visit relatives in a deeply segregated small town in Mississippi. He made the mistake of speaking disrespectfully to a white townswoman. Two days later, Till was abducted by white men. His mutilated corpse was later found in the Tallahatchie River. This lynching attracted national attention. Two men were arrested and charged with Till's murder, but were acquitted at trial after the defence attorney explicitly urged the all-white jury to be faithful to their Anglo-Saxon heritage.

'A Town Has Turned to Dust', written by Rod Serling, was intended to be an indictment of the entire Emmett Till affair. Serling's original script followed the facts closely, only changing the name of the town in the Deep South, and the names of key individuals. A few fictional details were added. In the real-life case, Emmett Till's abductors made no attempt to conceal their identities; in Serling's script, the men are described as wearing hoods over their heads. Unfortunately, the TV network's censors had conniption fits when they read this script. The network became afraid of 'offending' their sponsors or viewers. One after another, all the most salient details of Serling's script were changed in order to make the material 'safe' and inoffensive.

To avoid offending Southerners, the town in Serling's script was relocated to New England. (So it's all right to offend New Englanders, then.) The reference to 'hooded' abductors was taken out of the script, for fear of offending the Ku Klux Klan. (Heaven forbid we should offend the Klan.) Serling was required to alter the dialogue so that references to 'hoods' became 'homemade masks'. (How many grown men wear homemade masks?) Worst of all, the victim of the abduction -- originally a black teenage boy -- was changed to a white boy with a speech impediment. The script that had been an indictment of racism and lynch law was now a character study about bigots who killed a boy merely because he stammered! These changes sound laughable, but Serling was (understandably) outraged. At very nearly the last minute, the script was altered even more ... relocating the action to a southwestern border town, and changing the victim and a few other characters to stereotypical Mexicans.

'A Town Has Turned to Dust' does feature an excellent cast, including Rod Steiger in the lead role, and a supporting performance by William Shatner: this at a time when Shatner was still considered a respected actor rather than an outrageous ham. Shatner gives a reasonably restrained performance here, although he does seem to spend rather much time flexing his immense biceps in a short-sleeved shirt. Less impressive is the shrill Fay Spain as the wife of the lynch mob's leader.

In later years, Rod Serling gave many interviews in which he spoke bitterly about network censorship of his scripts. Although he never (to my knowledge) specifically cited 'A Town Has Turned to Dust', nevertheless this script received more corporate interference than any of Serling's other projects. Serling's ordeal on this project was directly responsible for his decision to create a TV series devoted to science fiction and fantasy: Serling believed that teleplays which took place in the far future, on distant planets, would be less likely to incur interference than scripts which took place in the here and now. Although we might resent the decisions of the censors who bowdlerised Serling's script about the Emmett Till incident, the fact remains that -- were it not for the interference of those censors -- Serling might never have been provoked into creating his wonderful series 'The Twilight Zone'.

Playhouse 90 featured some of the best that Television has ever presented. The dialogue, the acting, and of-course the writing are unparalleled.

Rod Sterling being one of the most accomplished and notable writers who worked on the series, won an Emmy for Requiem for a Heavyweight in the series first season in 1956. This episode was a testament to the quality and creativity that Playhouse 90 was committed to.

Unfortunately, we can only hope with extreme futility, for quality on par with Playhouse 90 from todays Hollywood. However, there is reminisce of this type of excellent writing from Independent filmmakers. Unfortunately, the independent filmmakers receive little fanfare and far less hype compared to their Hollywood counterparts.

I have gotten to see a few more of these shows and they are very versatile. I have seen some less known ones than Requiem for a Heavyweight, Days of Wine and Roses, and Miracle Worker. One of these is the very first in this series, Forbidden Area, a cold war drama starring Charlton Heston, in a tv role when he was a huge movie star. It also features Tab Hunter, Vincent Price, Victor Jory, and acting wonderfully as always, CHarles Bickford and Diana Lynn. It is an interesting look at the Joint Chiefs of staff in the government, while also being an interesting cold war spy story. Highly recommended!! Also there is the tv version, 20 years before the movie, of F. Scott Fitzgerald's The Last Tycoon, with Jack Palance in another great Playhouse 90 role. Also in small roles, Peter Lorre at the end of his career and the beautiful Lee Remick at the beginning of hers. Also I got to see (at the Museum of tv and radio in NY)a live video tape version of The Great Gatsby, with Robert Ryan, a little old for the role but very good,also Rod Taylor in a good performance, and Jeanne Crain cast completely against type as Daisy, an interesting performance of hers. To top it off, there is the delightful Claudette Colbert and Paul Henreid comedy, One Coat of White, which is a spoof of aging in America, in laws, America in the 1950's, and modern art. Colbert is sooo good, it makes one regret that, then as always, films cut actresses careers too short as they get over 50. Fortunately, Colbert was in a lot of great tv productions in the 1950's (The Guardian, The Royal Family, Blithe Spirit, and Bells of St. Marys) and several of these still exist. It is really amazing how many of the great stars continued their work in great tv roles, which are less known today, but if you get to see them are highly impressive.