Hawk l'indiano

"HAWK" was a crime drama/police series with a twist that made it difference from all other cop shows that were around during the 1960's. The series,starring Burt Reynolds came around after his stint as Quint Asper,the "half-breed" blacksmith/assistant deputy ended during his tenture on "Gunsmoke" from 1962-1965 whom he starred in 50 episodes.

His new status in this series would be totally different,and it would be known that "HAWK" was the first detective series to feature an Native-American in a positive role. And this short-lived series would be some four years before he would star in another detective series "Dan August". Of the 17 episodes that this series produced,it was filmed on location in New York City and in color and it ran on ABC-TV from September 8,1966 until December 29,1966. It was one of the shortest shows that premiered on the ABC fall line-up for the 1966-1967 season. "HAWK" lasted no more than four months on the air but it had a great premise. When it premiered it had some strong competition opposite on the network's Thursday night line-up where it went up against "The Dean Martin Show",the situation comedy series "My Three Sons",not to mention "The CBS Thursday Night Movie" which clobbered it in the ratings. Burt Reynolds character of Lt. John Hawk was a full-blooded Iroquois Indian assigned to the District Attorney's Office in New York City. He works the nightbeat(or graveyard shift)with his partner Detective Dan Carter(Wayne Grice)and is assigned cases under the Assistant District Attorney Murray Slaken(Bruce Glover)and the Assistant District Attorney Ed Gorton(Leon Janney). The cases where he was involved with sent him from the rich and the poor from the exclusive penthouses along Park Avenue,to the run down tenaments of the West Side. Some of the stories from this series were literate and intriguing not to mention brilliant(coming from the same producers who were behind "The Defenders","East Side/West Side",and "Naked City" with other dramatic shows that exploded during that era)writing from this series coming from the talents of Edward Adler,Donald Mankiewicz and Albert Ruben. Not to mention some excellent directing from Paul Henreid, Alexander Singer,Leonard Horn,Richard Benedict,Tom Donavan,and one episode that put Burt Reynolds behind the camera in a emotional episode titled "Blind Man's Buff".

Some of the episodes that this series produced were excellent in their own right which included not only "Blind Man's Buff",but also "Wall of Silence","The Hands of Corbin Claybrooke","Some Devil Whispered in his Ear",and "H Is A Dirty Letter". The guest stars that came onboard were some of the finest and it featured an array of talent that consisted of Gene Hackman, Robert Duvall,Martin Sheen, Frank Converse,Diana Muldaur, Diane Baker,Ossie Davis,Bradford Dillman,and Louise Sorel. However,the star of this series of Burt Reynolds himself who was half-Indian. Originally aired on ABC from 9/8/1966 thru 12/29/1966 and was cancelled after 17 episodes. However,ABC found a replacement for this series in January of 1967. However,ten years later after it was cancelled in 1966 and hoping to capitalize on Burt Reynolds' later development into a huge celebrity not to mention box office star,NBC-TV aired repeated episodes during April of 1976 thru August of 1976 in prime-time

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).

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.

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.

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).