Monday, July 20, 2015

"The Chapman Report," or I Kinsey What You Did There

A funny thing happened to movies in the early 1960s -- they got more "daring" in the sense that they included sexual language and dealt with adult themes. The weird thing is, they did this in an awkward, shame-based way -- so much so that they seem downright childish compared to the sense of frankness and real adult behavior in your average pre-code movie.

But don't take my highly authoritative word for it -- join me as Motion Pictures Told Through Still Pictures with Goofy Captions wanders into the 1962 film ...


Any resemblance between the characters in this movie
and actual women is purely coincidental.


Greetings, ladies and gentlemen of science! My name is Professor Doctor Mr.
Chapman, M.D., and I am a world-famous sexual researcher in the manner
of such luminaries as Alfred Kinsey, Masters and Johnson and Lindsay Lohan.


Heh heh, they said "probe."


"Dear Professor Doctor Mr. Chapman. My name is Jane, and I am a healthy,
perfectly normal young woman who is repelled by any physical contact
whatsoever, especially with men of the opposite sex, yuck."


"Some have called me frigid, and when I opened my mouth to
answer them a light came on. Can you help?"


Dear Jane: I have the perfect remedy. You need to indulge in some
promiscuous smoking with one of my researchers, stat!


"Dear Whatever Your Name Is: My name is Shelley and my husband
is more interested in watching TV than in watching me. I want to get racy, he
wants 'Ben Casey'! And the other night, when he was watching 'Leave It to Beaver' ..."


"... anyway, I am now having an affair. Any suggestions?"


"Dear Shelley: Perhaps a long trip might bring you and your husband
closer together. I suggest a cruise on the ocean liner Poseidon. Bon voyage!"



"Hello, handsome. You can call me Claire. Actually, you can call me anything --
just call me ;). I have no sexual hangups at all ..."


"... just ask any delivery guy who comes to my house."


"Or musician. Or anything with chest hair, for that matter."


"Never mind about her, dear sir! Pay attention to me! My name is
Glynis and I am terribly self-absorbed. My smarmy husband is just
as pretentious as I am, so we get along splendidly ..."


"... but the other day I met a younger man on the beach when I caught
his ball, and I'm, um ... curious."


"Dear Glynis: It sounds as if you might need to become involved in a
cause bigger than yourself. May I suggest women's suffrage?



"I'm afraid that's all the time we have today for oversimplifying
people's sexual behavior. Next week's topic will be 'The Future' -- a time of
widely available birth control, medication for erectile dysfunction and
widespread gay marriage. Ha ha! Just kidding! Drive safely!"





Thursday, May 28, 2015

Background: "The Vagabond Lover"

Click here to read my review of the 1929 film "The Vagabond Lover." What follows is some background on the movie:

Before Bieber, before Timberlake, before Elvis and Sinatra and even before Crosby, there was Vallee.

In the late 1920s, Rudy Vallee and his band, the Connecticut Yankees, were huge.  They were a top attraction at New York City nightspots and as part of the stage show at the Paramount Theatre, and their recording of “Honey” was the second-largest selling song of 1929. That same year, Vallee became the host of one of radio’s first variety shows, “The Fleischmann’s Yeast Hour,” which would run for 10 years and establish Vallee as a judge of new talent as well as a performer – he hosted the radio debuts of everyone from George Burns and Gracie Allen to Kate Smith to Milton Berle.

So 1929 was a very good year for Rudy Vallee, and the release of his first full-length film, “The Vagabond Lover,” was the icing on the cake. But as far as the movie reviewers of the time were concerned, Vallee was wise to keep his bandleader job.

“Little should be said for Rudy as an actor … he just isn’t,” sniffed Motion Picture News.

“When he is playing that old sax or crooning a love song he certainly is a little bit of all right, but when he’s acting, well, that’s another matter,” added Film Daily.

Vallee’s lack of expression – the fact that he reacts to every joy and crisis in the movie with the same wan smile – didn’t keep “The Vagabond Lover” from establishing a single-day box-office record at New York City’s Globe Theatre on Thanksgiving, 1929. It was one of RKO’s top-grossing films of the year, making a profit of $335,000 for the studio.

The film’s story is a rough parallel to Vallee’s career -- as a teenager, Hubert Prior Vallee started playing the saxophone and appropriated the first name of his idol, sax player Rudy Wiedoeft. In “The Vagabond Lover,” Rudy and his Connecticut Yankees are still small-timers; they have ventured to the Long Island estate of saxophone master Ted Grant, from whom they have been taking mail-order lessons, to get his blessing.

Alas, Grant is an egotistical jerk, and he rejects the band at the front door without even a tryout. Then Grant and his manager leave for the city, but Vallee and his Yankees don’t know that and they are determined to sneak into Grant’s mansion and play for him.

Enter Grant’s next-door neighbor, well-to-do culture vulture Mrs. Whitehall (Marie Dressler) and her niece Jean (Sally Blane, Loretta Young’s real-life sister). They have called the local constabulary to report the noise at Grant’s house, and Rudy is mistaken for Grant. Mrs. Whitehall then insists that the band play at a charitable event she’s hosting, and Rudy gives vague indications of being attracted to Jean. A happy ending looms, but not before Rudy and the Yankees (with comedy relief from Eddie Nugent) perform such numbers as “Nobody’s Sweetheart,” “A Little Kiss Each Morning” and, of course, the title song, which was co-written by Vallee.

And while the reviewers pooh-poohed Rudy’s acting ability, they had nothing but praise for his co-star, who was enjoying the beginning of a career revival.

After a long stage career and the occasional film, Marie Dressler was dipping her toe into the Hollywood waters again, gaining good notices for her role in the 1928 film “The Patsy” opposite Marion Davies. “The Vagabond Lover” was her first role in a full-length talking picture and triggered a career resurgence that included a role in Greta Garbo’s first talkie, 1930’s “Anna Christie,” and an Oscar for her work in “Min and Bill,” made the same year. Dressler then became one of Hollywood’s most bankable stars in the few years before her death in 1934.   

At the same time, however, the audiences of young women weren’t coming to see Dressler, but Vallee. As a reviewer for Photoplay put it: “The kid may be no Barrymore, but neither can John sing ‘A Little Kiss Each Morning’ and bowl over the girls the way Rudy does.”

Director: Marshall Neilan
Assistant Director: Wallace Fox
Original story and screenplay: James Ashmore Creelman, Jr.
Cinematography: Leo Tover
Art Director: Max Ree
Musical Director: Victor Baravalle
Cast: Rudy Vallee (Rudy Bronson), Sally Blane (Jean), Marie Dressler (Mrs. Whitehall), Charles Sellon (Officer Tuttle), Norman Peck (Swifty), Danny O’Shea (Sam), Eddie Nugent (Sport), Neila Walker (Mrs. Todhunter), Malcolm Waite (Ted Grant), Alan Roscoe (Manager), The Connecticut Yankees (Themselves)
BW – 70 min.

Sources:
Motion Picture News, November 16, 1929; p. 25
Film Daily, December 1, 1929, p. 2
Film Daily, November 27, 1929, p. 1
Photoplay, February 1930, p. 74



Thursday, May 14, 2015

Background: "The Squall"

The 1929 film "The Squall" is a notoriously bad early talkie with an over-the-top performance by Myrna Loy that I skewered in this post. If you're interested, here's a little background on the movie.

The arrival of "The Squall" in the nation’s theatres during the summer of 1929 provoked this response from moviegoers and critics alike:

You’re kidding, right?

“Two different audiences on viewing ‘The Squall’ laughed long and loud at its sexiest moments,” reported Motion Picture News. “This is one that you will want to keep away from your juvenile patronage. It is strong meat for most adults, who can take it either seriously or laughingly as they see fit.”

“The best that can be said for this production,” added Mordaunt Hall in The New York Times, “is that the atmospheric effects are sometimes very good. The dialogue and the acting, however, are so pathetic that they discount any minor virtues this offering may possess, for even the discussions concerning love and the hardy embracing are open to ridicule.”

“You remember that this was a fairly good stage play. You’re sure that the film version is pretty bad,” added Photoplay. “Something happened between the story conference and the cutting room. Myrna Loy is the stereotyped Nubi, the gypsy girl and the hot baby who disrupts homes, while Alice Joyce is the Hungarian mother and Carroll Nye is the son. This film just doesn’t click, that’s all. And it’s unconsciously funny.”

Based on a 1926 play that ran a year on Broadway, "The Squall," viewed through contemporary eyes, is melodramatic high camp that brings to mind the “Bad Playhouse” sketches from the early days of “Saturday Night Live.” It’s full to bursting with awkward dialogue, obvious plotting and performances that range from immobile to oblivious.

To state the plot, we turn to an advertisement for the film that ran in Variety:

Nubi – gypsy gale of passion! An ill wind that blows no man good when, whirlwind-wild, she rages untamed through peaceful lives … Born of the storm, this half-clad human hurricane takes love where she will – from old, from young; from father, from son. Cyclonic in her caresses … Venomous, voluptuous, super-vampire … The fury of her passion lays waste the souls of men!

Any questions?

Myrna Loy is Nubi, a Hungarian hottie with blazing eyes and razor-sharp cheekbones. She is a gypsy who has been catapulted from the caravan for her wanton ways. She seeks refuge at the peaceful, prosperous farm of the Lajos family because she is on the run from the gypsy leader. “He keel me,” she purrs.

The Lajos family is compassionate, and they give Nubi food and a place to live even as a storm brews outside and they speak dialogue that foreshadows trouble like crazy. Take this exchange, between the young Irma (Loretta Young, also receiving the worst notices of her career) and Grandfather Lajos (Knute Erickson):

Irma: Oh, I just hate squalls. They only make everyone so unhappy. I'd like someone to tell me why we have them.

Grandfather: Perhaps there's a reason, Irma. God gives us shadows that we may know light. He gives us sorrow that we may know joy. And perhaps he sends the squall that we may learn the beauty of a limpid sky.

Before you can say “the Gabor sisters,” Nubi is trying to seduce every guy in the joint – son Paul (Carroll Nye), farm hand Peter (Henry Cording) and father Josef (Richard Tucker, at left). (“I am keesing your shadow,” Nubi tells Josef.)

Longtime wife Maria (Alice Joyce) is watching from the shadows. What's a wife to do? "My husband -- half of my life," she says. "My son -- the other half." It falls to Maria to get rid of Nubi, courtesy of a convenient return of the caravan. The Lajos family can return to a life of prosperous complacency, thanks to the family matriarch.

Nubi is one of Loy’s most notorious turns as an exotic temptress – similar, if less melodramatic, characterizations would follow in films such as “Thirteen Women” and “The Mask of Fu Manchu."

"They built me up as someone with a knife in her teeth," she recalled in a 1987 interview.

Although ad copy for “The Squall” billed her as a “sensational overnight star,” the reality was the Loy’s career dated to 1926, and she had appeared two years earlier in the first talkie, “The Jazz Singer.”

Fortunately, Loy’s career would survive her turn as the nubile Nubi – it would be another few years, and several more ethnic villainess roles, before Loy would be cast as Nora Charles in “The Thin Man” and begin a career as one of Hollywood’s most endearing leading ladies. And despite a review in Variety that characterized her voice as being “identical with commencement exercises in a grammar school,” Loretta Young also went on to have a long, successful career.

Others in the cast weren’t as fortunate.

After a twenty-year career in silent films, Alice Joyce’s speaking style was condemned by several critics and she only made a few more films. After playing the father, Richard Tucker, despite being a founding member of the Screen Actors Guild, went on to a sporadic career in B movies.

Loy’s spicy performance as Nubi ensured that “The Squall” would run into censor trouble – in Chicago, in particular, the movie was heavily edited. But shrewd theatre operators turned this to their advantage. Said one in Motion Picture News: “In prominent place in ad feature: ‘This picture is adult entertainment. Children will not enjoy or understand it,’ and you’ll have everyone coming from high school age and over.”

Sources:

Motion Picture News, May 18, 1929, p. 1717
Motion Picture News, June 8, 1929, p. 1963
The New York Times, May 10, 1929
The New York Times, Myrna Loy Receives a Tribute, November 7, 1987
Photoplay, July 1929, p. 56
Variety, May 8, 1929, p. 12
Variety, May 15, 1929, p. 20
Variety, May 15, 1929, p. 30
Variety, June 26, 1929, p. 9


Friday, May 1, 2015

CMBA Fabulous Films of the '30s Blogathon: "G-Men," or Better Fed Than Dead

This is part of the CMBA Fabulous Films of the '30s Blogathon!

Hollywood's Most Famous Bad Man Joins the "G-Men" and Halts the March of Crime! -- ad for "G-Men" in Variety, April 1935

1934 was a bad year to be a gangster.

On May 23, Bonnie and Clyde were gunned down in Louisiana.

On July 22, John Dillinger bought it outside the Biograph Theatre in Chicago.

On October 18, Charles Arthur "Pretty Boy" Floyd -- who had become Public Enemy No. 1 after the death of Dillinger -- was killed in a cornfield near Clarkson, Ohio.

And on November 17, George "Baby Face" Nelson -- who had become Public Enemy No. 1 after the death of Floyd -- was wiped out in a showdown with FBI agents just outside of Chicago.

On the other hand, 1934 was a very good year indeed to be J. Edgar Hoover.

Hoover's genius for public relations -- and for self-promotion -- turned the tables on the "glamorous" gangsters who got all the headlines in the early 1930s. He created the idea of "Public Enemy No. 1" so that America could keep track of which gangsters were getting knocked off. He planted in the public imagination the idea that upright, incorruptible FBI agents were present at every shootout with every gangster, regardless of whether they were or not. And when George "Machine Gun" Kelly, surrounded in 1933 by FBI agents, said, "Don't shoot, G-Men!," Hoover eagerly promoted the nickname.

As a result of the headlines -- and also partly due to the desire of Hollywood studios to get on the right side of the Hays office in those days of more rigid enforcement of the Production Code -- by early 1935 gangsters were out and the Feds were in.

The first rush was to register the title "G-Men," and Warner Bros. beat Universal to the punch by just 24 hours.

Several studios had entries in the sweepstakes -- RKO's "The People's Enemy," United Artists' "Let 'Em Have It" and MGM's "Public Hero Number 1," among others.

But the winnah and champeen -- one of the highest-grossing movies of the year, in fact -- was "G-Men."

And the man playing the lead G-Man was the same guy who'd spent the last five years at Warner's shooting at cops, fighting at the drop of a fedora, doing a musical or two and pushing women around -- James Cagney.

As James "Brick" Davis, a lawyer who joins the FBI to avenge the death of a friend who was also an agent (Regis Toomey, gone in a flash), Cagney is as self-assured and as pugnacious as ever. Still, there's something muted about him -- he's tough, but he's missing that impudent edge that enlivened so many pre-code movies.

To its credit, the movie doesn't try to pass off Cagney's character as a straight arrow -- he's a street kid who got a college education courtesy of McKay, the local bootlegger (William Harrigan). But the guy expects no favors -- he wants Brick to follow his own moral compass.

So, following his friend's murder, Brick leaves his moribund law career -- and his entertainer girlfriend (Ann Dvorak as a dvancer) behind. He goes to Washington and starts his training. To give the movie some conflict, the writers give Brick a frenemy in McCord (Robert Armstrong, seen at left), an FBI trainer who thinks that law school graduates like Brick aren't tough enough to be feds. Is HE in for a surprise! Oh, and Brick falls for McCord's sister (Margaret Lindsay). Is HE in for a ... oh, I already said that.

It just so happens that Brick's buddy was killed by the same gang that's high on the FBI's most wanted list, a group led by Collins (Barton MacLane). But the real target is triggerman Leggett (Edward Pawley), the guy who killed Brick's pal. And nobody gets away with that, see?

In the best Warner tradition, "G-Men" rips plot elements straight from the headlines. A train station ambush that sets Leggett free is based on the Kansas City Massacre, a 1933 bloodbath that involved the efforts of Pretty Boy Floyd to free prisoner Frank Nash. And Collins and his gang end up hiding out at a Wisconsin hunting lodge -- the same kind of place as Little Bohemia, where the feds tried and failed to catch the Dillinger gang in early 1934.

Brick's old bootlegger pal McKay owns the place, but he's a victim and is being held hostage by the gang. Also there is Brick's old flame, the dvancer. Since Brick has brushed her off, she's taken up with Collins -- with deadly consequences.

You can pretty much predict how "G-Men" ends, and when Brick ends up saving McCord's life in a shootout that captures, McCord endlessly talks about what a great guy Brick is to anyone who'll listen. The movie is a kind of canonization of Cagney the hero and kicks off the second half of his busiest and most iconic decade. If his work doesn't have quite the same spice as his earlier performances, well, let's just chalk that up to being better fed than dead.

Here's a trailer from a re-release of "G-Men" from 1949, celebrating the 25th anniversary of the FBI:

Wednesday, April 1, 2015

Pre-Code Blogathon: "Love Me Tonight," or Some People Call Me Maurice

This is part of the Pre-Code Blogathon sponsored by Danny at Pre-Code.com and Karen at Shadows and Satin. Please visit either and/or both of them for more offerings. 


The 1932 film "Love Me Tonight" lets you know you are in for something special from the very beginning:


You haven't heard a word of dialogue, but the first few moments of the film set the stage perfectly -- Paris, morning, people waking up, a friendly man jauntily walking to his tailor shop and greeting his neighbors ("Hello Mrs. Bendix! How's your appendix?").

When it comes to modern life, I'm a firm believer in what Lily Tomlin once said: "No matter how cynical you get, it's never enough to keep up." And I love the cynicism of so many pre-code movies -- I think it's a period of filmmaking that mirrors the tenor of the times like no other.

But when I watch a movie like "Love Me Tonight," I happily park my cynicism at the door. It doesn't come easily to me, but the movie deserves sincere adjectives that I usually use sarcastically -- "delightful," "thrilling," "enchanting." It's a witty, lovely fairy tale with a prince named Maurice and a princess named Jeanette. It's not just one of my favorite pre-code movies -- it's one of my favorite movie musicals, period.

The pairing of Maurice Chevalier and Jeanette MacDonald brings to mind what Katharine Hepburn is alleged to have said about Fred Astaire and Ginger Rogers -- "he gives her class and she gives him sex" -- but in reverse. MacDonald's regal bearing (even when she wasn't playing a princess) and cultured soprano is perfectly counterbalanced by Chevalier's good humor and growly, untrained voice.

Their paths cross when Maurice pursues Charlie Ruggles as a deadbeat vicomte (French for "viscount," if you care) to his family castle, where the women -- Princess Jeanette and Countess Valentine (Myrna Loy, sexy as hell) -- are literally wasting away from lack of love. See for yourself:



Aunts in your plans of 1932.
The lord of the castle, the stern Duke (C. Aubrey Smith), keeps everyone in line, or so he thinks, and three maiden aunts (Elizabeth Patterson, Blanche Frederici and Ethel Griffies) are a Greek chorus commenting on the action. Princess Jeanette's only suitor is a hapless count played by the Hapsburg of the hapless, Charles Butterworth.

We are introduced to Princess Jeanette in one of my very favorite film moments -- the Rodgers and Hart song "Isn't It Romantic" travels from one singer to another, beginning on the lips of the hero and ending on the lips of the heroine:



This, to me, is exhilarating filmmaking -- storytelling in a style that still seems contemporary and clever. Taking a score by Rodgers and Hart consisting of songs that are spoken as well as sung, director Rouben Mamoulian worked with screenwriters Samuel Hoffenstein, Waldemar Young and George Marion, Jr. to shape the story around the music.

Truthfully, the story is the weakest part of "Love Me Tonight," but it's more than enough to carry the score and the performances. Maurice is a tailor. The viscount owes him money. He goes to the castle to get paid. Princess Jeanette is nearby, riding in a carriage and combining the lyrics of "Lover" with commands to her horse (I wish I had a clip to share with you) Maurice meets Princess Jeanette and falls in love.

She resists his advances and runs away. They meet again at the castle, where the viscount passes off Maurice as a baron. Everyone else in the castle loves Maurice as much as the princess dislikes him. How do we know? After he arrives, they all wake up the next morning singing "Mimi" -- even C. Aubrey Smith in what is undoubtedly his most joyous moment on film.

"Trust me. I'm a professional."
The princess finally comes around, falling in love with Maurice and then realizing, as he's fitting her for an impeccably-made riding habit, that he's a tailor. "Love Me Tonight" seems a little anticlimactic after that, though the plot turn does cause one character to say/sing, "I'd rather throw a bomb at her than have her wed a commoner."

Despite its atmosphere of sweet romance, "Love Me Tonight" does have its share of pre-code spice, including scenes of Loy and MacDonald in lingerie and other revealing outfits, some of which were trimmed during the movie's original release. And one raised eyebrow from Maurice Chevalier is worth a million double-entendres.

Here is the film itself (with commercials; sorry):




Friday, March 27, 2015

Favorite TV Show Episode Blogathon -- "The Dick Van Dyke Show: Scratch My Car and Die"

This is part of the Favorite TV Show Episode Blogathon sponsored by Terence at A Shroud of Thoughts.

"Scratch My Car and Die" aired on March 25, 1964, approximately midway through the five-year run of "The Dick Van Dyke Show," and by no means is it the best episode of the series.

And that, ladies and gentlemen of the jury, is EXACTLY my point!

Because even though it might not be the best, it's still pretty great. It's a perfect example of the kind of supreme sitcom splendor that "The Dick Van Dyke Show" pulled off on practically a weekly basis -- the kind of polished, well-written, perfectly performed, quietly revolutionary stuff that we can still watch and admire 50 (50!) years later.

In the event that you just emerged from a Maori encampment, here's the show's basic setup -- Rob Petrie (Dick Van Dyke) is head writer for "The Alan Brady Show," a New York-based TV variety series. He lives on Bonnie Meadow Road in New Rochelle, NY with wife Laura (Mary Tyler Moore) and son Ritchie (Larry Mathews) and he works with professional wisenheimers Sally Rogers (Rose Marie) and Buddy Sorrell (Morey Amsterdam) and priggish producer Mel Cooley (Richard Deacon).

"The Dick Van Dyke Show" was created and largely written by Carl Reiner, a longtime writer and performer with Sid Caesar on "Your Show of Shows" and "Caesar's Hour."  Reiner took elements of the show from his own personal and
professional life -- he named Rob Petrie after his son Rob, and Laura Petrie was based on his wife, Estelle. He even included the street where he lived -- except in Reiner's case, it was Bonnie Meadow Road in Scarsdale, not New Rochelle.

Despite critical acclaim, "The Dick Van Dyke Show" wasn't an immediate hit; in fact, due to low ratings it was almost cancelled after one season. But executive producer Sheldon Leonard wangled new sponsor support and the show was moved from Tuesdays to a Wednesday night time slot immediately following TV's new number one show, "The Beverly Hillbillies," thus inheriting a massive audience. So the survival of the Petrie family was due largely to the ratings success of the Clampett family.

But "The Dick Van Dyke Show" had little in common with "The Beverly Hillbillies," or, for that matter, almost any other sitcom on TV in the early 1960s.

For one thing, it combined slapstick humor and witty dialogue with a skill that would be unequaled until "Frasier" came along in the mid-1990s. For another, the show was grounded in reality. Reiner's philosophy, and the advice he would give to other writers on the show, was simple: "Tell the truth." "The Dick Van Dyke Show" was life according to life, not life according to other sitcoms.  

All those people! No wonder Rob and Laura slept in separate beds.
As a result, partly by happenstance and partly through intention, "The Dick Van Dyke Show" was as revolutionary as a sitcom could be for the time. Rob and Laura Petrie were a realistic married couple who were clearly attracted to each other even as they had the occasional argument -- and even though they slept in censor-mandated twin beds.

Laura dressed more like a realistic housewife than, say, June Cleaver -- Mary Tyler Moore's wardrobe choice of capri pants rather than a dress caused a mini-fashion stir at the time.

Also, the show's structure utilized dreams -- Rob's nightmare about aliens in "It May Look Like a Walnut," for example -- and flashbacks to Rob's Army days and his courtship and marriage to Laura.

Finally, by using African-Americans in "normal" roles as equals -- Godfrey Cambridge as a government agent, Greg Morris as Rob's Army buddy -- the show made subtle statements about racial equality in the midst of the civil rights era. (There's also, of course, the memorable flashback episode in which Rob was sure that the newborn Richie actually belonged to another couple, who turned out to be black (Morris again, as the husband).) And finally, Buddy Sorrell -- a central figure in the series -- was unmistakably Jewish. (There was even an episode about his belated bar mitzvah.)

On the set, 1963. Director Jerry Paris, who also played next-door
neighbor Jerry Helper, is wearing the cardigan sweater and tie.
(Photos are from Look magazine and posted on one of my favorite
sites, www.shorpy.com.)
Still, this was a situation comedy and not a documentary. So there were instances when Rob and Laura acted scatterbrained. But the behavior was always rooted in real reactive behavior -- they were never silly just for silliness' sake. And despite Laura's catchphrase of "Oh, Roooobb!," endlessly cited by people who don't know much about the show, the goofiness was distributed evenly between Rob and Laura, and "Scratch My Car and Die" offers a great example.

The episode was written by John Whedon, the grandfather of Joss Whedon, he of "Buffy the Vampire Slayer" and "The Avengers." John Whedon's writing career dated to the 1940s radio series "The Great Gildersleeve," and he wrote quite a few episodes of "The Donna Reed Show." But "Scratch My Car and Die" gave him the chance to include more satire -- and more examples of honest behavior -- than an average Donna Reed script. The episode's director, Howard Morris, was also a performer with Reiner on "Your Show of Shows" and "Caesar's Hour" and also played Ernest T. Bass on "The Andy Griffith Show."

We open at the Petrie home, where Rob can't quit looking out the front door at his new car in the driveway. "Laura," he says, "will you look at that shaft of moonlight shining on our Tarantula?"

Rob: Do you know what the great thing about this car is?

Laura: That you can't bring it into the house.

Rob loves the styling -- even the ashtrays are teardrop-shaped -- the power and, most of all, the STATUS. He immediately calls next-door neighbor Jerry to brag about it, but Jerry can't come over. Rob is disappointed. "What's the sense of having a new car if you can't have your best friends envious of you?"

Then he gets even worse news from Laura -- she has to do carpool in the morning, and her car is in the shop, so she has to borrow the Tarantula. Rob is disconsolate -- he's bought a driving hat and everything:

Rob: [The kids will] ruin the new car smell with their peanut butter sandwich smell!

Laura: I'll put the sandwiches in the trunk.

Rob: There is no trunk -- that's the auxiliary motor!

Rob (to Ritchie): "This car is not the old station wagon. I don't want any candy wrappers or gum or lollipops on the seats
and I don't want any taffy or gunky stuff in the ashtrays. Rich, are you listening to me?"
Laura: "Darling, if you want him to listen to you, you're going to have to take off the hat."
The next day, Laura drives the kids to school and stops at the market. She comes home and confides to her best friend Millie (Ann Morgan Guilbert) that while the car was parked, someone scratched it:

Millie: Front or back?

Laura: Yes!

Classic sitcom conflict, right? Yes, but the way it's handled demonstrates the genius of "The Dick Van Dyke Show."

Unlike many a sitcom wife, Laura doesn't tell Rob about the scratch -- she gets moral support from Millie: "Look, it wasn't your fault the car got scratched, right? But is Rob gonna believe that? No, he's gonna use it as an example against women drivers, and you'll be giving our whole wonderful sex a black eye."

Laura tries to persuade Rob to let her have the car for one more day for carpool -- actually, so she can get it fixed. But he sneaks out and drives the car to work. Now Laura is positive that she needs to tell Rob, but Millie holds tough: "Look, before you tell him the truth, give lying another chance, okay?"

At the office, Rob enters furious and frazzled. He can't even speak, which leads to a game of charades with Buddy, Sally and Mel:

Sally: Rob -- you gonna cry?

(Rob nods)

Mel: What's the matter?

Sally: Well, he's either got a toothache or somebody stepped on his Tarantula.

(Rob stamps desk affirmatively)

Rob thinks the scratch happened in the parking garage.  He comes home furious and zooms off to see his attorney. Laura feels worse than ever. Rob returns home sheepish -- in his anger, he has run the car into a couple of concrete posts in his attorney's driveway.

So the situation that drives the comedy ends up being largely irrelevant, and the humor comes from recognizable behavior -- Rob's obsession with his new car. From his silly hat to his instructions to Laura -- "Don't park it under a tree. Or under a bird." -- Rob is the comic center of this episode. As I said, it isn't perfect -- there are a few jokes about women drivers that don't date very well. But there's so much that's good here -- and, again, on a consistent basis for more than 150 episodes, that's how they rolled at "The Dick Van Dyke Show."

Rob and Laura Petrie have been reunited on several shows, including the absolutely terrible 2004 special "The Dick Van Dyke Show Revisited." Here they are on a 1979 episode of "The Mary Tyler Moore Hour" (which featured Michael Keaton as a regular):