I Spy

Robert Culp didn't "phone in" his performances. One throw-away shot had him discover a dead body just before a commercial break, and the expression on his face was genuinely intense.

The show was ground-breaking for showcasing black talent. Yes. And huzzah for that! But it was a cracking good show regardless of racial issues. Among the many reasons already mentioned, the heroes were vulnerable. They were not stronger, better-armed or backed up by SWAT teams ready to rappel from helicopters. They often got into situations where they elected to run ... yes, RUN! Like intelligent, realistic men when facing superior odds. They were beaten (temporarily) more than a few times, and sometimes were close to death. And they weren't the only heroes in the program, as secondary characters appearing only in that episode would step in and prove useful.

"I, Spy" turns out to be superior Cold War fodder in that it showed perhaps the most realistic (although certainly still unreal, being it was early television) depiction of the stalwart American intelligence operatives trying to keep a lid on a shifting world of mayhem, out on the edge, largely alone.

And the friends, with humor and intelligence, leveraged each other into a team more formidable than three independent agents could ever muster.

These fellows showed a healthy appreciation for good things and fine women, but when the chips were down they were quick to be Boy Scouts ... and made it look convincing and even "cool." It is childishly acceptable and common to make fun of the mores of those days, but having grown up on Norman Rockwell I can tell you that the concept of being a "good guy" was serious in those days, and many men behaved with a genuine courtesy and courage that seems unrealistic today.

Cosby deserved his Emmies ... but Culp really supplied better performance than almost anyone else in those years.

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Not only was this show groundbreaking, but it had such quality to it that it really should be as well-known as another series that aired on the same network in those years called "Star Trek." I became such a huge Robert Culp and Bill Cosby fan after this series originally aired, and wish it would be released on DVD or VHS complete. Now that I have them in BOTH forms, I can die happy now. And I SHOULD mention here that I am the same John Peel who worked on the TV site with the late Donna Lemaster, and my e-mail has now been for some time jwpeel@tiac.net rather than the longer jwpeel@imw/tiac.net that still appears at that site, in case anyone would like me to give them any info on the show. This fabulous show inspired me to become a writer as well as feed my love for acting, but unlike other series of its type like Mission Impossible, it did not merely copy familiar ground in the spy genre like so many James Bond-type clones, but reinvented the form with great straight drama laced with comic highlights. It is just a shame that we don't see more of the dramatic side of Cosby. He was quite good in those shows, and won three Grammys to prove it, and he owed it all (and said so in his acceptance speeches) to his buddy and costar Robert Culp. Just the locations alone make it a memorable show, but the quality of writing makes it all the more memorable. If you have never experienced this show before, you must.

"I Spy" cannot be denied its contributions to history, both in television production and the Civil Rights movement. As documented in the book, "I Spy: A History of the Groundbreaking Television Series," this was the first series to cast a black actor opposite a White, with equal status and billing. And, by doing so, Bill Cosby become the first Black to win an Emmy - and he would win three in a row, as Best Lead Actor in a Drama for his work here. During that first year, show business trade magazine Variety wrote that "I Spy" was a "test show," putting NBC southern affiliates "on the spot," and that the series would show "which way the winds were blowing in Dixie." The door swung open in September 1965, and, within one year, black performers were finding regular work with non-stereotypical roles on "Mission: Impossible" and "Star Trek," and, just a couple years after that, being cast as series leads, with equal or greater status than Whites, in shows such as "N.Y.P.D.," "Room 222," and "Julia." TV, and the world, changed that quickly.

"I Spy" was also the first series to shoot around the world, introducing the technology needed to achieve this. And many believe that this is where the "buddy picture" began. Series such as "Starsky & Hutch" and "Miami Vice," and even movies like "Butch Cassidy & the Sundance Kid," certainly took their lead from "I Spy."

This historic series proved that sometimes television can do more than just entertain.

It so common that we like things because they help us to escape. We like things because we know they're not good for us. We like things because nobody else like them. And sometimes, we don't know why we like things, we just do.

Those of us who love and adore the 1965-1968 television series I-Spy have many reasons to like it. We can like it because it was the first, and up to this point the best, of the buddy pairings that have become so commonplace in TV and movies. Think about it. As far as drama/comedies go, who were the first evenly matched hero team? Crockett and Tubbs weren't, and don't compare. And there isn't anybody else worth mentioning. The rapport between Kelly and Scotty has never been equaled. Spenser and Hawk come the closest.

Then there's the presence of Bill Cosby, who wasn't handed charity. He was given an opportunity and made the most of it. The three Emmys on his mantel attest to his skill and his popularity.

Then there's the location filming. And the fun. And the charm. and some great guest performances along the way. This was and is a great show. Terrific and timeless.

Apparently only one comment a year is allowed for this show, so here's 2002's.

The misgivings that I've got about the Eddie Murphy/Owen Wilson take on "I Spy" would seem to be justified by most accounts (even allowing for the presence of the scrumptious Famke Janssen), and now that Carlton Direct has closed down it's unlikely repeats of this fine spy show will be back on British television in the near future. Too bad.

Unlike most other series, the adventures of Kelly Robinson and Alexander Scott (spies under the guise of a tennis player and his coach, played by Robert Culp and Bill Cosby respectively - the latter won three Emmys in succession for his performances, which are indeed easier to take than his subsequent incarnation as the endlessly self-adoring Dr. Cliff Huxtable) benefitted from actual location shooting around the world and from intelligent scripts, some by Culp himself - though not "To Florence With Love," a two-part story which had a most unusual ending in part one; our heroes are trying to get information from someone by threatening to cover him completely in plaster of Paris, and it ends with the would-be stooge about to be totally closed up. (He cracks at the start of part 2, obviously, but there's no doubt that they really would let him suffocate if he hadn't.)

The chemistry between Culp and Cosby and the great theme music by Earle Hagen (plus scores from him and Hugo Friedhofer - bless Film Score Monthly for issuing a CD of music from the series) are two more reasons this plays well on TV today. If you take care with a product, it'll be good forever; which is why "The Cosby Mysteries" won't be fondly remembered 30 years from now. If ever.