Dr. Cook's Garden

One of the amazing films of the ABC Tuesday Night at the Movies, Bing Crosby starts out as a Kervorkian style doctor but crosses the line as he begins to make judgments on who in his small town must live or die based on their conduct. Chilling and foretelling.

A very popular series of the time was 'Marcus Welby' where the all wise, all knowing doctor educated his patients out of their pride, prejudice, and folly in resisting his counsel. The doctor is wise. The doctor is all knowing. The doctor is only here to help.

1971, and indeed, the era of the Warren Court represented a high water mark of the notion that we can have a perfect society if we just turn loose experts and therapists guided by the social sciences on our problems. The intelligentsia then were absolutely certain of the ability of the social sciences to rehabilitate all criminals, to end poverty, to end racial inequality, to make a perfect land. All we had to do was use the tools of the social sciences to fix the 'root causes'.

This film was a marvelous criticism of that zeitgeist. Dr Cook is the ultimate therapist. He is only there to help.

1970's "Dr. Cook's Garden" was an ABC-TV Movie of the Week (broadcast Jan. 19, 1971), boasting the unexpected casting of Hollywood icon Bing Crosby in the challenging title role of Dr. Leonard Cook, who takes the same kind of pride in his country town as in his personal garden. As the only physician in the Vermont community of Greenfield, the nearest hospital 30 miles away, he has no qualms about making house calls even in the middle of the night, welcoming home one of his former patients, Jimmy Tennyson (Frank Converse), who once idolized him as a child, now a capable, full fledged doctor in his own right. What Tennyson isn't expecting is Cook's rejection of him as a replacement, tensions rising over the huge amount of poison in his locked cabinet, and the curious terminology between his flowers and his patients (the letter 'R' stands for 'Removal'). The philosophical question of how to save lives by taking them is the centerpiece of this Ira Levin story, first produced as a flop Broadway play in 1967 (closing after only 8 performances), with Burl Ives as the old doctor, Keir Dullea his younger counterpart, James Stewart up for the Ives role in a proposed feature film. What makes it work is the offbeat presence of Crosby, as an actor best remembered as the benevolent priest Father O'Malley in "Going My Way" and "The Bells of St. Mary's," whose facade of compassion comes off as believably genuine, until the threat of exposure brings out his more dangerous, self centered side. By contrast, Frank Converse's one note performance fails to truly resonate as a figure for audience identification, inevitably the loser in his confrontations opposite the redoubtable Bing (the lovely Blythe Danner comes off better in a subordinate role as Cook's dedicated nurse).

Even though we learn the obvious relatively early on, there is still some decent suspense watching it all play out. Crosby is excellent in this dramatic role, and some of the dialogue between he and Converse is thoughtfully written. Much of the finale is haphazard, but the irony wraps it all up neatly.

This is one of many first-rate movies that were made for TV on ABC at the time.

Dark king Crosby, in a role maybe not so far from what he was in real life; try to read his son's book, where the young man describes his home daily hell, xanks to his father, the great American Icon. So, back to this pretty good TV stuff, the main interest, besides Crosby unusual character, is the way how the young idealistic doctor discovers slowly but surely that his model doctor - Crosby - may be not as sweet and kind as he supposes to be.