The Mary Tyler Moore Show

"The Mary Tyler Moore Show" is absolutely my FAVORITE television show of all time, with "The Dick Van Dyke Show" falling a hair behind. I love all the characters of the MTM show...they all had great lines, and those actors knew how to deliver. Mary Tyler Moore exemplified true sportsmanship in making this whole show a wonderful example of COMPLETE ensemble acting. Every character had his/her shining moments, time and time again. I was about nine when this show debuted, and truly grew up with it. I used to hate Ted, because he was so unbelievably stupid. However, now that I've spent twenty or so years in the work world, I have had the complete displeasure of working with Ted Baxters everywhere....so many who rise to their level of complete incompetence. And over the years, in watching reruns, I have come to fully appreciate Ted Knight's genius in his portrayal of Ted Baxter. The episode in which Mary is simply feeling completely down in the dumps...her motivation is gone for no apparent reason, other than the fact that she has hit a slump (a "new apartment" episode). Ted Knight's portrayal of Ted Baxter imitating her in her slumpy condition, and repeating the whole scene with identical dialog but with a completely different attitude, basically showing Mary that she has to appreciate what she has in life, and look at it all with a different, positive perspective, was sheer comedic genius at its finest.

The final episode of this series portrayed my comment about Corporate America very realistically, and the episode itself is one for a time capsule....just bottle it up. Ditto for the "Chuckles the Clown" episode...and for the "Veal Prince Orloff" episode. Actually, I'd love to put all of MTM's episodes, along with those from the Dick Van Dyke Show, in a time capsule and send them into space. Nick at Nite should run episodes only from MTM, the Dick Van Dyke Show, Bob Newhart, and The Wonder Years. That is all that that station needs, and I'm sure that the ratings would go through the roof. But back to Mary....her show was a brilliant gem that graced the world of American television, and no other show will ever hold a candle to it....EVER. Yes, Seinfeld was funny, and "breakthrough", in being a show about nothing, and it even offered phrases that entered our vernacular. But it missed the one key element that MTM had in spades...heart. The Seinfeld show, as funny as it always was, really never made you cry or pulled at your heart strings...ever (other than maybe making you cry from laughter). The MTM Show, on the other hand, combined humor, drama, reality, the absurd, the sublime, and a lot of warmth all rolled into one magnificent, shining, seven-year love-fest for our pop culture, and I thank Mary for giving us this bright light. In a comic strip that was published I believe just the Sunday after the last episode aired, a man was depicted throwing his television set out his window, crying. The cartoonist captured the national sentiment quite beautifully. I miss Mary and her gang to this day. Thank goodness for the complete DVD set.

This truly was one of the first ensemble driven situation comedies in the history of television. Even though Mary Tyler Moore was the star of the show, the fact was that the series truly revolved around her relationships with not only her friends at home, but her friends on the job and when those two worlds collided, sparks usually flew. Also, this show was really funny when Valerie Harper was still on the show playing Rhoda. She and Mary were polar opposites (Mary the cheerful optimist and Rhoda the angry cynic). However, those differences was what made their relationship shine. Cloris Leachman was also perfect as the over bearing Phyllis Lindstrom. And lets not forget the other characters; cynical Lou, the optimistic Murray and, of course, dimwitted Ted Baxter. This show definitely one of the all time classics and made Saturday nights worth staying home.

Another interesting fact about this show is the fact that it debuted during the final season of the original series about a single woman trying to make it, "That Girl". However, while Ann pretty much was still an innocent little girl at heart that had a boyfriend and often still relied on him and her parents to get her out of jams, Mary Richards proved that she could be single and live her life on her own terms.

I always enjoyed The Mary Tyler Moore Show. The characters were all funny, especially the goofy fights between Ted Baxter and Murray Slaughter. Lou Grant ("I hate spunk!") was always good for a laugh, especially the episode where he ended up drunk on Mary's doorstep!

Of course, the real two stars of the series were Mary Tyler Moore (duh) as Mary Richards and Valerie Harper as her best friend, Rhoda Morgenstern. My all-time favorite episode is the second one, where the two host a small gathering at Mary's apartment for two potential suitors, and everything goes wrong!

A true classic, and it earned every Emmy it got.

As i am writing this review (February of 2011), i have been watching all the episodes of the MTM show nonstop actually for some time now although i m just midway through season 5. I live in Greece and although we do love our US TV shows here too, Mary Tyler Moore was not exactly our icon through the 70's especially if you consider all the problems my country was going through at least up to 1974. I m 31 now (born in 79), and i ve known of MTM for quite some time and was always aware of the show and had heard from a lot of American friends and the web of course that the specific show was somewhat of a TV legend or a "sacred cow" especially for the people who watched it while it was on the air, and you know what?? I couldn't agree with them more! I LOVE THIS SHOW! i cannot find one thing that i don't like no matter how hard i try. i ve been laughing or at least smiling nonstop for 5 seasons now something that has happened (to me at least) only with a couple of shows p.e. Friends, Will and Grace. The feel of it, the look, the theme song, the opening credits, the characters, the actors (OMG!), and of course the writing. Quick, sharp, very very funny and with some subtext in a lot of cases considering the era! One thought that has occurred to me is that Mary Tyler Moore is the least egocentric actress in her or any other lifetime. I ve never seen an actress as famous as her, with her own show by the way, that didn't at some point sooner or later become obnoxious or cocky or have the writing serve her look or status. (God bless her but Lucille Ball take a bow!) Concluding i would like to say that it is incredible for a show to stand the merciless test of time (40 years!), and in 2011 i m proud to say that i d watch reruns of the MTM show any day than spend time watching some trash reality show about putting your hand in a box of cockroaches with order to win money. and you know what? i might just make it after all !

It's hard for people to remember what American TV was like at the time (even for people who were alive and conscious then) in the hugely formulaic post-PETTICOAT JUNCTION era.

And I've known a lot of people who today look at the first season of "MTM" where the jokes are broader and don't always quite work and the acting is a bit too "loud" and stagey, and they wonder why this show was so well-regarded, then and now --- often to the point that they can't make it thru to later seasons.

I guess that's understandable. It's hard to believe very-very early episodes of "MTM" about Mary and Rhoda joining a divorce club and its strained humor was actually looser and freer and more amusing than what other sitcoms of the day had to offer. But it's true.

Although the first year of the show may be only sporadically humorous, it makes up for it in that "MTM" did one of the best jobs of capturing that weird melancholy of the era --- that mood that kind of defined the '70s, and was even more intense at the very start of the decade: this sort of lost, disillusioned, bittersweet, post-60s flavor which made everybody immediately seem as if they had a "past" from the moment they appeared on screen...

For anybody looking to see what it actually felt like living in the world at that particular moment in time -- at the cusp of the '60s and '70s -- it's captured vividly by such period montage sequences as the urban street scenes in MIDNIGHT COWBOY (1969) or the snow angels/ice skating sequence in LOVE STORY (1970) or the "MTM" show opening theme design from Season 1, even Mary and little Bess going shopping in a Minneapolis mall, etc...

The world actually felt that way at the time. It's not just a Hollywood construct.

To me, Season 1 of "MTM" is kind of a portal to 1970. I regarded it as such even as early as the late-70s (when the show was first in syndication) and it still hits me the same way whenever I see very early installments--- the look of the show and the forlorn music score... No, the comedy isn't quite as hilarious by the slick standards of sitcoms from more recent decades (or even compared to later episodes of the same show) but I still find the mood almost heart-breakingly captivating. It is so evocative of the era.

As the seasons rolled on, the comedy got sharper (by the standards of the day) even though that '70s somberness was gradually mitigated as it lessened in real life.

So it's a time capsule of sorts... One would think every show and movie filmed in a particular era would be, but that just isn't true. Clothes and cars from a period don't sell or convey the past to the present --- something has to be good, or at least right-minded, in order for the zeitgeist of the era in question to stick to celluloid. And "MTM" was one of those shows that did so.

It was also one of the rare series then to proceed in "real time" which gave the show a life, an energy, that most didn't have, even though it didn't delve into the then-shocking, in-your-face politics that ALL IN THE FAMILY soon would.

Folks who weren't around then probably aren't able to grasp how fresh this "MTM" show seemed back in 1970, given where TV was at the time. Or understand why all the terribly broad (some might even say groan-inducing) comedy directed at, and derived from, Ted Baxter during Season 1 -- which predominantly focused on his dumbness and inability to pronounce basic words -- could possibly ever have been once seen as "funny".

In fact, it was, however briefly, fall-off-the-couch funny. TV in the 1960s had fervently ignored the social changes of that decade (including the questioning of establishment authority) so seeing a revered image like the silver-haired newsreader held up as a buffoon was actually considered edgy, even though that context doesn't really "read" today. (That's not revisionism, I swear. And at least the writers realized they would soon have to write to Ted's narcissism and density in a more layered, sophisticated fashion, and they quickly did so.)

That says more about where the media culture was circa 1969 or 1970 than it does THE MARY TYLER MOORE SHOW.

For all of the above reasons, Mary Richards became metaphorical for the early-to-mid 1970s, almost by accident: TV changed more between 1970 and 1975 than any other five year period in its history, in terms of content, and the television sitcom genre had literally become an agent for social change. And Mary Richards likewise grew during the seven years of the series from the quivery, vulnerable, lanky girl with the long, raven hair who let herself be gently bullied into giving up her family holiday visit at Christmas to cover for her co-workers in that 1970 episode (so wistfully forlorn for reasons hard to explain, except that it, too, captures the poignant atmosphere of the time precisely) into the almost cocky, seasoned professional who didn't pause to deliver a zinger to Ted or SueAnn when circumstances demanded it, and could grab and kiss her latest boyfriend in a public restaurant and then fluff her hair tauntingly at her voyeuristic co-workers as she sauntered out the front door.

Mary had grown up with us, or at least with the television medium, during it's most significant period of progression.

And then there's the actress herself, Mary Tyler Moore, whose own personal melancholia seemed to parallel that of the earlier part of that decade. Even with the same writers and co-stars, the show would never have felt the same without Moore and her intrinsic sense of haunted, detached nostalgia wrapped in winter's chill.