Hawaiian Eye

This was the debut of the brash confidence that made Robert Conrad such a great choice for the James West role in the "Wild Wild West" TV series. The first time you saw the "unique gadgets" and level of action fighting in a TV series that transferred back and forth between both rugged and refined western settings. Conrad's "James West" character bolstered by fellow agent "Artemus Gordon" displays that same type of confident attitude portrayal that made Clint Eastwood famous in his cult Westerns. The Hawaiian Eye cast was young & vibrant with Connie Stevens displaying her trademark girlish sexuality that became evident in her films and in real life. Conrad, handsome and muscular would probably have also been a good choice for the Eastwood type westerns.

Before Hawaii Five-0... before Magnum P.I., there was... Hawaiian Eye!

The stars really did surf during the forward credits (I think)! I thought that was so cool! I was only around 5 when this show appeared.

What I remember about the show is, Tracy Steele had a really cool name and a pencil thin mustache. I loved pencil-thin mustaches back then. Paladin (Richard Boone) in "Have Gun Will Travel" had one too. I always thought, "When I grow up, I'm going to grow a pencil-thin mustache like those guys. But, I never did.

Tom Lopaka. By his name, were we being asked to believe pretty boy, Robert Conrad, was Hawaiian? Puh-LEEZE! There's a link on a website called Whirlygig that offers a portion of the episode called "The Comics." It guest stars Mary Tyler Moore. In it, Tracy Steele has arranged for Lopaka to be asked to the stage in a nightclub they are enjoying for the evening, to sing a song. With a little coaxing, Lopaka goes to the stage and sings the cheesiest lounge lizard style song called, "I Want You, Pretty Baby." Holy cow, is it hokey! Was that really Robert Conrad's voice or was it a dub-in?

All that aside, this was a fun detective show. I remember thinking Cricket Blake was pretty cute! Connie Stevens became an early sixties blonde female icon in this series.

The series made us think of Hawaii and its tropical enticements. The theme song still haunts my memory.

We have the Decades over the air broadcast channel in our area. They do a marathon each weekend of some past TV show. Most I don't care that much about, but this weekend it was Hawaiian Eye, which I had never heard of or seen. Watched about a quarter of the entire 4 year series over the weekend. What a treat! Let me list the positives....

1. High quality B&W recording! That helps a lot for a TV show this old.

2. A-list actors or ones that would be A-list.

3. Connie Stevens singing a number in a club most episodes I watched. Never paid much attention to her before but she is actually very good and the song selection is not bad.

4. Even though its heavy on the closed studio production it has some real shots of Hawaii and that is always great in an old vid. Historical documents and all.

5. The show and writing aren't bad for the time period. Kinda of a precursor to other shows of this nature and Hawaii, (ie., Hawaii 5 O)

So unbelievably great treat and all for free over the air broadcast. Sorry if you don't have the Decades over the air broadcast in your area. You are really missing it for free!

I always enjoyed "Hawaiian Eye" as a kid--I think I wanted to be a white-suited private eye based in Honolulu. My favorite character was Anthony Eisely and I was always a little ticked off that he was replaced by girl throb Troy Donahue in the last year of the series. There seemed to be a good camaraderie between the "Eye" gang with Connie Stevens as the cutesy little nightclub singer/ gift shop operator and taxi cab driver Poncie Ponce and the private eyes. Also interesting were the "crossover" shows when "77 Sunset Strip" characters hooked up with the "Eye."

This was one of four detective shows from Warner Brothers, four of a couple dozen series they did for ABC, (that MADE that network), from the mid 50's to the early 60's under the stewardship of William Orr and with the creative genius of Roy Huggins, (who later came up with the best show of all time, "The Fugitive"). Huggins had fancied himself a detective writer in the 40's and came up with Stuart Bailey, an Ivy Leaguer with a background in World War II intelligence who set up his own detective agency in Los Angeles. When Huggins became a story editor for Warners, it was decided to create a show around the Bailey character, 77 Sunset Strip, which debut in 1958. They gave Bailey a partner, Jeff Spencer and created the character of Kookie, the parking lot attendant, for comic relief. It set the stage for the other three, similar shows, each with a pair, (or three) handsome detectives operating in glamorous or exotic locations. Warner's learned you needed a pretty girl involved and the comic relief. they also learned from "Peter Gunn" that a musical interlude would occasionally be welcome.

"Bourbon Street Beat", set in New Orleans, debuted in 1959. So did "Hawaiian Eye", from Honolulu and in 1960 came "Surfside Six" from Miami Beach. Each had a catchy theme tune from Mack David and Jerry Livingstone. The plots were not very inspired but serviceable, (they serviced many episodes, being frequently reused). Sometimes, Warner's would do versions of novels they owned the rights to or TV remakes of some of their classic movies of the past, such as "Strangers on a Train" or "Dial M for Murder", in the guise of episodes of these shows. Characters from one show would show up on another, either in crossover episodes or full scale transfers of characters to be new members of the casts. This was easy because the shows were not shot on location: it was all done in LA.

The real difference in the shows were the cast members themselves. "77 Sunset Strip" had the charming and talented Ephram Zimbalist Jr. and Roger Smith. It also had the "Fonzie" of the 50's, Edd Byrnes. But it lacked a significant female regular or the musical interludes. "Bourbon Street Beat" had the charming and talented Richard Long, who took his charm and talent to Sunset Strip after BSB folded in 1960. It also had craggy character actor Andrew Duggan, young pretty boy Van Williams and Arlene Howell, a slightly ditzy southern belle. No one here was musically inclined but a jazz combo did a turn from time to time. "Hawaiian Eye" had it all. Anthony Eisley was a competent but slightly boring lead. Young Robert Konrad had the most charisma of any of them. Connie Stevens was a cute songbird who belted out the classic tin pan alley and show tunes. Poncie Ponce was a ukulele strumming cab driver who knew every place and every one or had a cousin who did. "Surfside Six" was maybe the weakest entry. Lee Patterson had some presence and acting ability but Van Williams, (over from BSB) and Troy Donahue were attractive but talent challenged. Marguerite Sierra was a cliched Latin Spitfire songstress, (who unfortunately died young of a heart ailment). Diane McBain was attractive window dressing.

The other main difference was the setting. "77 Sunset Strip" was about glamorous people up to no good or international intrigue, (and Stu Bailey traveled a lot more than these other guys did). "Hawaiian Eye" was exotic- perhaps a little too much so with an occasional embarrassing story about witch doctors and voodoo type curses and such. Natives were played by guys from Jersey and Chicago in the grand tradition. Surfside Six had a beachboy look to it. Bourbon Street beat was darker and more mysterious. New Orleans at that time was not a tourist trap but a relic of the old south in which Miss Havisham's cake might have seemed at home.

But they were all pretty solid entertainment. If you liked one, I'm sure you'd like them all- if you could find them. They are all in black and white, so cable stations are loathe to show them It seems that the moment a younger audience sees those monotones, they turn the stations. It's too bad. They don't know what they're missing.