Bonanza

"Bonanza" was the first hour-long TV show in any genre produced in full-color. The continuing cast for the first 6 years featured essentially five persons--Benjamin Cartwright, his three sons and their Chinese cook, along with the local sheriff. Cartwright had been a seaman, who went west and married three times; each time he produced a son and lost his wife. Reaching the ponderosa pine country near Virginia City, Nevada and Lake Tahoe, he built up a large landholding, with cattle, timber, and mines, becoming an important man in the territory. Ben Cartwright was played by Canadian announcer-actor Lorne Greene, who was much younger than the part he played but had Shakespearean training and a powerful speaking voice. Pernell Roberts played his eldest son, Adam, a thoughtful but restless man, 1959-65. Eric "Hoss" Cartwright was portrayed huge Dan Blocker as a man of gentle ways and grit but ordinary intelligence. Attractive Michael Landon played "Little Joe", fast with a gun and learning to be a man; he also write and directed episodes for the series. Victor Sen-Young was Hop Sing, and veteran Ray Teal played Sheriff Roy Coffee. Later, others were added to the series for various stretches, once Adam's part was written out; these included David Canaray as Candy, Bing Russell, Harry Holcombe, Guy Williams, Kathie Browne, and Remo Pisani. Each week guest stars were hired, and a few actors were used in dozens of shows. Among the most memorable guest stars were John Larkin, Ruta Lee, Joan Hackett, Frank Overton, Bruce Yarnall, Inga Swenson as Inger, Ben's second wife, Felicia Farr as his third wife, Grandon Rhodes, Patricia Donahue, Robert Lansing, Lisa Lu and Steve Forrest. Titles such as "The Honor of Cochise", "The Eden Train", "Inger, My Love I,II", "Right is the Fourth "R"", and "The Mountain Girl" among many others bring fond memories. Many directors toiled on "Bonanza", whose title referred to the rich ore found in the Virginia City area during the nineteenth century. The list included Lewis Allen, Leon Benson, William F. Claxton, Herschel Daugherty, Don McDougall, Christian Nyby, Leo Penn and William Witney. Principal writers for the series, with 5 or more credits, included Robert V. Barron, Frank Chase, Suzanne Clauser, Frank Cleaver, the producer David Dortort, Warren Douglas, John Hawkins, Ward Hawkins, Arther Heinemann, Michael Landon, Jo Pagano, Stanley Roberts, Robert Sabaroff, Jack B. Sowards, Thomas Thompson and Al C. Ward. It is difficult to characterize the show except that it was a consistently second-rank attempt to do stories about first-rate ethical people living in an interesting era in a frontier setting. It was the first of the family-oriented westerns, and at the same time a show capable of detaching its principals for dual or independent adventures. If few of its episodes risk to great dramatic heights, many are far-above-average film-making efforts, even by feature-film standards. The production featured clean, straightforward cinematography, Nellie Manley's hairstyles, Wally Westmore's makeup, enjoyable costumes and expert sets, art direction and action scenes. If the family spent too much time at home, seldom were shown with cattle and had virtually no employees, the writers made up for such derelictions by involving the sons and the father in the affairs of town and territory. Innovatve and perhaps inimitable, this was quality dramatic western making from start to finish.

This was probably one of the more influential western series of all time. Along with "Gunsmoke" this also was one of the longest running series in the history of television. The thing that made it great though was that it was able to get better over time. For example, in many of the early episodes, Ben and his sons had an almost antagonistic relationship with anyone who came on their property. In fact, the Cartwrights had an almost shoot first, ask questions later attitude to any stranger that might wander onto the Ponderosa. However, when Lorne Greene suggested that the Cartwrights become more hospitable, that's when the show began to take off. Also, the Adam, Hoss and Joe weren't on the best of terms with each other during the show's early days, but as time went on the three of them grew closer and showed their affection towards each other, especially Hoss and Little Joe. But the thing that really made it great was the fact that the cast and crew were able to go from serious drama to some very light hearted episodes and make it more than just a western but a family drama with stories that could easily fit into any era. This is really a show for the ages.

Bonanza explores the adventures of the Cartwright family consisting of three-time widower Ben Cartwright and his three sons Adam, Hoss, and Little Joe. Ben is a self-made man who has carved out a piece of Nevada - a large piece - as a prosperous ranch. Each of Ben's sons has a different mother and a very different background. Adam's mother is from New England, Hoss' mother had Scandinavian roots and met Ben out on the Great plains when Ben and Adam were on the way west after Ben's first wife died. Little Joe's mother was a southerner from New Orleans. This difference in roots is explored even in the first season when Little Joe almost joins the Confederate army after having someone come into town and stir up his feelings for his southern roots. However, the full story doesn't come out until later. There is one episode each in seasons two, three, and four that are dedicated to telling the story of each of Ben's wives.

This first season follows the successful road map that all of the seasons did. Many have a guest star that is recognized even today. For example, Yvonne De Carlo is the guest star in the very first episode. Alan Hale Jr. (The Skipper of Gilligan's Island) also makes the first of several guest appearances he will make over the years during the first season.

Most episodes involve heavy-hitting drama often involving some injustice which the Cartwrights, with their prominent place in the community, are in a place to right. The show often used the fact that it was set in the old west to explore some of the social issues of the 1960's without stirring present-day controversy. However, there are a few almost completely comedic episodes here and there. The odd thing is, nobody did comedy as well as Bonanza did when Bonanza decided to do comedy, and usually Hoss is at the center of it all.

The show never really produces a long story arc. Each episode pretty much stands alone. The show really had only two disruptions. The first, which didn't prove fatal to the show, was when Pernell Roberts left in the late 1960's. His "place" was taken by Candy. Candy was not another son - he was a hired hand, but he was also a trusted friend of the Cartwrights.

The second disruption probably was fatal by most accounts. Dan Blocker, who played Hoss, died suddenly of a heart attack in 1972. The show only lasted one more season before it was canceled. Blocker's character of Hoss wasn't the most handsome of the Cartwrights in the conventional sense, but he was the heart and very much the sense of humor of the show. His loss was irreplaceable.

Feature film makers have many lessons to learn from this classic western serial. Although each episode was made on a small budget when compared to the Hollywood "A" features of today, all of the production values of great classic movies of the golden age -- painterly composition and design, emotionally effective acting, lyrical music, suspenseful storytelling, beautiful timing, strong dramatic dialogue, elegantly choreographed action, powerful themes, colorful period costumes, folksy comic relief -- all of these values were at a consistently high level from show to show, with never an awkward effect or a misfit scene. Each of the featured characters was drawn in a unique and stylish way, suggesting the storybook characterization that distinguishes the best of the Hollywood golden age. Every one of the episodes stands well as a feature length movie in its own right and would look as good on the big screen as on TV. There's plenty of feeling, no padding or softness, and no mindless experimentation with technique or vulgarity such as has ruined so many westerns made since 1970.

It's difficult to understand why an approach which succeeded for so long was abandoned in the 1970's by both television and feature film makers. Many producers turned instead in the direction indicated by spaghetti westerns. Compared to classic westerns like "Bonanza," spaghetti westerns were much less lyrical and took more of a gutter eye view of the old west, stripping it of its romantic appeal and substituting what to a misguided new generation seemed a dirtier and therefore more authentic realism. In retrospect, Hollywood gave up way too much for the little that it got in return. The success of a vast body of works similar in appeal to "Bonanza" (including many of the other action adventure TV serials made from the '40s to the '60s) is proof that there is a widespread taste that is radically different from the one which has predominated in Hollywood since the '70s. Let's hope that one day we'll see the return of Bonanza's classic values to the screen.

This series is great for many things. The Cartwrights are righteous, hard working and well respected. They work from early in the morning until they sit down for dinner, eating meat and potatoes. Dan Blocker was Texas heaviest baby when he was born, and Little Joe (Michael Landon) always comments on how much he eats for dinner. Pernell Roberts is very cool as Adam, and Lorne Greene, playing Ben Cartwright depicts a very noble and respectable man. Under the scorching sun they meet problems like racism, indians and every other problem you could expect those days. Great entertainment. A TV-series like this will never be made again.