Bonanza

"Bonanza" aired on NBC in September of 1959. Filmed in color, it was put in the 7:30 PM slot on Saturday nights so that people in the appliance stores could see it on the television sets and be convinced to buy an RCA color television. The ploy worked.

In 1961 it was moved to Sunday nights after NBC realized they had a hit on their hands. It lasted another 13 or so years before being canceled. But it is a landmark in television history.

One suggestion - if you ever find a DVD of "Bonanza" and an episode titled "To Die in Darkness" is listed, don't hesitate to buy the DVD. The episode guest-starred James Whitmore and was filmed in about the mid-1960s. All I will say is that the episode was probably the best of the series.

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.

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.

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.

Forty-four years later, I still recall the first line of the first episode of Bonanza. The 14-season debut opened with Ben Cartwright and Adam--just the two of them--riding up to a ridge overlooking the vast expansive glory of the Ponderosa. Horses stopped, Ben turns to his eldest son, stretches forth his hand, and issues "Pa's" first command ... "Look at it, Adam!"

Adam looked. For about 14 seconds.

And so did this young viewer.

It would require, however, another 14 years of "looking" before a 14-year-old boy would come to fully comprehend the treasure Adam beheld in the single moment he, and we, first laid eyes on that majestic, resplendent land of the Cartwright Bonanza.