In 1968 I wrote him thru SAG and he sent me a 5by7 glossy photo signed “To Thomas:  I am Marlo’s real father.  Best wishes, Lew Parker.”  With it was a post card written in ever so tiny handwriting but I was able to read it just fine.  On the card this is what the actor wrote:  ”Thomas, thanks for one of the nicest fan letters I’ve ever gotten.  I never knew such pleasure that I bring people nor do they know the joy I’ve had being part of a great television series, “That Girl”.  Marlo is the sweetest dear.  I’m sorry I didn’t have her for my own daughter.  And Ted Bissel - Donald, her boyfriend – Donald might be my nemesis on the show but he’s every inch a gentleman, fun-loving and bright.  And Rosemary DeCamp as my wife is the living end.  What a family I have.  I hope we go on forever. Thanks, Thomas.”

That was all, just a post card with those beautiful words coming from an actor who achieved fame late in life but who showed true humility and appreciation in being in real life a genteman and a fine scholar.  On tv he was forever hot-tempered and sarcastic, abrasive and temperamental and yes, he was  a force to be reckoned with as the doting and overbearing father of his tv daughter, Marlo Thomas, but in real life he was the opposite.  He loved life, he loved people, and he loved his career that came to a high point during the late 60s.  Little did we know that in a few years, a year after this monumental groundbreaking series of a yoiung single woman making good on her own, liberated and all, that Lew Parker would die after a battle with cancer.  We had no other performances to remember him by previously or subsequently. His death was a bitter loss. I heard later he called Marlo Thomas to his side and she later went to his funeral.  That’s Marlo for you.  Who can resist her beauty and common decency and love for humanity?  In the end Lew Parker did indeed love his daughter Marlo Thomas.  In the end Ann Marie came home to be with her daddy.  Just a small photo and a postcard written in fine print…but coming from a true giant, a giant heart not blustery or grumpy but a humble decent man.

Thanks Lew for those 5 years you gave us.   You will always be remembered and missed.  I’ll always treasure the little things like a few kind words on a postcard. We don’t see “That Girl” these days anywhere on tv in reruns but you’ll always be in our hearts and in our minds.  You played your role well and with pride.  God rest your soul too, Lew Parker. And thanks my great friend for acknowledging my letter.

This is Tom Kessel again thanking you tv and movie fans for stopping by.  God bless you all.

He was actually Jon Locher, son of Felix Locher, a grand actor who entered the profession late in life. I recalled Felix in his own horror opus, “Frankenstein’s Daughter” (1958) which is a cult favorite for the baby boomers. Jon hall lived from 1915 to 1979, dying due to suicide, sadly, after contracting terminal cancer.

When he wrote me in 1967 it was still Jon Hall the actor whose address I got through his co-star of “The Hurricane”, Dorothy Lamour. I didn’t know in 67 that Jon was winding down his career and why, I don’t know, but the crux of my conversation with him was not about his films, I’m sorry to say, but largely on his TV series of the 50s, a jungle setting, “Ramar of the Jungle”, now out on DVD.  For years this series ran in syndication until the late 60s.  It hasn’t been on TV since then, largely in part due to the stereotypical casting of one regular black actor who was a jungle guide. That’s sad because I thoroughly enjoyed the weekly series from those years.

In 1967 this is part of what he wrote, “Tom, it’s refreshing to find your letter not asking me about “The Hurricane”.  Wherever I go fans persistently ask me about the making of the film and of Dorothy Lamour. Bad as it was for me, poor Dorothy had been typecast ever since playing in “Sarong”.  But she’s a good soul and she’s managed to make light of it all. I enjoyed the “Ramar of the jungle” set to the jungles on these cheap sets at a TV studio.  The hours were long but rewarding. We had a good cast of travel guides and the crew worked around a very tight budget, trying to get the most out of what little we had to work with.  The lighting was very hot, and I perspired something terrible, but in time we re-adjusted our sets to the proper lighting, adjusting the temperature in studios where we had a.c. It was a simple enough role playing the lead but still the producers always fit me into some jungle or south seas adventure to capitalize on “The Hurricane”.  It was a family-like atmosphere over at Universal while making some of the pics you gave reference to.  I enjoyed working with Maria Montez.  She left us so early.  Lon Chaney, a name you threw at me, was a lot of fun to co-star with.  He would go along with me on a binge now and then when we were in between shooting scripts.  Whenever I would run into him, usually at a western set, we would recall those binges.  His father was the famous silent movie great Lon Chaney Sr. 

I hope you like the enclosed photo of me from “Ramar” in a pith helmet. I prefer this to the typical South Seas briefs. You mentioned “Invisible Man’s Revenge”.  Well, John Carridine was one to recite Hamlet to anyone on the set willing to listen.  I wasn’t into that stuff but he put on quite a show to bring in the crowd during lunch break.  Tom, I want to thank you for writing.  Miss Lamour advised you’d be writing me and I’m pleased to say you brought back a lot of memories.  But I must confess, as much as I enjoyed “The Hurricane”,  it’s not one of favorites and I’m glad not to get the typical questions shot my way. I prefer ‘Ramar’ to be remembered by.  A lot of the roles are drying up these days. I went thru the TV era without much trouble but these days I’m more or less taking it easy just winging it, as they say in the business.  Thanks for writing.  A letter like yours certainly warms my heart.  I like to have people see my other credits rather than just “The Hurricane”. Many thanks.  Jon ‘Ramar of the Jungle’ Hall.”

Folks, it’s clear back then as well as now that Jon Hall preferred other credits to be remembered by. I enjoyed what he wrote, giving me some insight into a film or TV schedule.  When he died in 1979, a victim of  suicide, I took out letter to re-reread.  He gave us several memorable roles. Though “The Hurricane” was his salvation, it was also his damnation. I’m glad I had the inclination to dwell elsewhere to recall his career. He picked up on this quickly.  So sad to hear he died ,victim of apparent suicide. What an end to a great career.  Highs and lows, John Hall was a survivor.

Thanks Jon, it was a joy reading that letter, gleaning your thoughts on a brilliant career despite some reservations you had.  To me he’s “Ramar of the Jungle”.  What a character, what a hero in film and on TV. Jon, you left us all so too soon. Had you lived there might have been revival, a retrospective of your career.  Thanks, John.  You’re up there with Dorothy Lamour. Thanks fans again for this stroll down memory lane. Till next time, this is Tom Kessel

Well, in 1967 she wrote me a kind letter with her 8by10 photo telling me the following:  “Dear Tom, many thanks for your uplifting letter.  I’m overwhelmed by your kind words.  I do so much enjoy reading how fond you are of “December Bride”. It was the crowning point of my career. I had a great crew and cast. And Dezi Arnaz was a great help to us in the production; the radio show was mild compared to the success of tv, but we had a superb cast.  I do so miss Verna Felton, who left us recently.  Desilu Productions was one of the biggest if not THE biggest in the television era.  Desi and Lucy were both very kind and supoortive to us when we were on the air.  The hours were long but after years in films i found the time-table more appealing.  I was tired but never felt better than I did after the long hours we put in.  Did you know Verna did her own stunts on the show?  Few knew this.  She was very daring and we all advised her to get a diouble but Verna loved doing every scene and getting the credit. I see now Harry Morgan is doing very well.  He’s back on television on “Dragnet”.  He was such a nice man to work with.  Our show was a bit ‘fluff’ I’ll admit but we were a product of the times.  TV these days is more bustling and get up and go and the hours are too much on a woman my age but I do thank you for the lengthy letter and I deeply appreciate the effort you put into it praising my career.  Mr. Kessel, I had the time of my life in movies and television brought me rewards I never thought possible; it’s been a wonderful journey.  Thanks again.  With deep respect, Spring Byington.”  

Folks, just reading those words getting her short input on the tv and film world, just to hear from another of my 50s icons was a deep thrill.  I thought back then, “Here was a golden nugget from a bygone era”.  I grew up on “December Bride” as I did “My Little Margie” and “I Married Joan”. Whether as grandmother or mother or mother-in-law, long before “Golden Girls” or “The Mothers-in-law”, Spring Byngton blazed new trails years ahead of others showing America that senior citiizens can be fruitful and productive in their golden years.

Spring Byington (1886-1971) was 84 when she left us.  Another golden 50s icon had passed from the American scene.  I can’t recall any great movies I saw her in as her parts were very small, like “Werewolf of London” or “Meet John Doe”, but we got “Decenber Bride”, a show that should be out on dvd these days for future generations to enjoy.  Stunning, graceful, witty, and a mother, that’s Spring Byington.

What a character, what a talent. Thanks, Spring.

Again, folks, til next time, thanks for stopping by.  This is Tom Kessel.

This is in part what he wrote me in 1975 when he was in-between jobs.  He had returned a photo I sent (out of a tv book of all places, a photostatic copy that I made) and he returned with a glossy 8by10, writing on it, “I want no copy of me, but here I am, the real thing. Morey” He said in part “Tom, I loved the van Dyke show.  What an ensemble, one I’ll never see again.  Dick was superb, Mary Tyler Moore was stunning - look at her now on tv, Rose Marie is the living end, she was in vaudeville like I.  We both loved doing the series.  You mentioned my battles with Mel Cooley, aka Richard Deacon, what a seasoned pro.  All he had to do, Tom, was walk into a scene and I’d be all over him with one-liners. as a matter of fact all those jokes I used came from my feeble brain stored there for 50 years.  I’m the human joke book, you might say.  I’m so happy you loved the show.  It was a distinct honor to work with them all.  Tom, did you know I did the voice for the laugh in the laughing box you find in novelty stores?  Few people know it but that’s me. (Folks out there, I did have several in the 70s and I never dreamed it was Morey’s laugh but in hindsight I can see it is his.)  I did one of the first tv shows in 1948 on an old network for 2 years.  I’m so old these days my laundry is younger than I. Take my wife please, no that’s Henny Youngman but take my brother in law.  He would take the shirt right off my back, buttons and all. I have a standing bet I can make a joke out of any topic. I haven’t been stumped yet but I’ve been treed.  You write a kind letter, the kind I don’t like.  The town you live in is so small, Tom, it’s not big enough to have a zip code.  I can go on and on but I’m a bit off tonight.  My wife is calling me and I dare not say what she’s calling me. If you ever come out my way look me up  because ill be up a tree.”

That, folks, is just an example of what Morey wrote.  Even privately to me, a one-man aufience in his eyes, this fan got a heavy dose of why Morey was a human joke machine.  He never passed a chance to make with a joke.  From vaudeville to tv, he did it all.  A few movies and radio but tv was his cup of tea.  I caught him later after the series went off in many classic tv shows such as “The Patridge Family”, where he played a ventriloquist.  He made me laugh like crazy.  Game shows used his talents as a joke book in scores of shows in the 70s and 80s.  As the years passed, the wit was there but age was catching up to Morey.  He left us in 1996 at the age of 87.  He is sorely missed. I like comics like Morey Amsterdam who had their moment in the sun and then sat back and enjoyed doing a show like “The Dick van Dyke Show”.  Rest assured I’d never have written him were it not for that show.  He was around for 40 years but I, like millions, never knew him from any other thing but the Emmy winning van Dyke show.

Thanks Morey. You were on a roll that day in 1975 and I’m glad to say I got my money’s worth.

That’s it, folks, til next time,. Thanks so much for dropping in as we take a stroll down memory lane.  Bless you all.

Tom Kessel p.s. They still make those laughing boxes.  Next time you see one try to remember that box’s voice was Morey Amsterdam, a one-liner million dollar joke machine.

I got some answers in 1972 when he wrote a letter in his own writing with a trace of  a chuckle by his comments. He lightly touched upon some of the roles I recalled him in. Here in part are just a few things this fine actor told me with the cameras off. “Thomas, thanks for your letter. You have a penchant for chatter and I thoroughly enjoyed what you wrote to me but I must confess it brings a bit embarrassment to me because the roles you recall me in are popular with the public but not with critics. Your repeated reference to “House on Haunted Hill”  is well founded. It’s just about the pop favorite with the fans out there. Vinnie (Vincent Price) was a rennaissance man; he had his hand in every facet of the film. He played it for laughs - we all did – and there were a lot lf laughs on the set. The skeleton was a cheapie, the wires were obvious.  It’s campy, yes, I know, but none of us took it seriously; yet we were told to play it up as if it was something out of Hamlet. I got tired of the Ma and Pa series. The egg and I started the ball rolling but Percy and Marjorie were the real stars.  I was just light banter, the romantic interest.  I’m glad you liked “The Stranger”, one of my early efforts. Orson Welles was bigger than life. He dominated that film set.  He was off the set often going somewhere but he accounted for every frame that was shot. I was new to the business but Orson was very particular how a scene was shot to fit his view of a given scene. Yes, “The Cult of the Cobra” is a Universal film I did under contract. We had a lot of soon to be well known actors in that one.  I liked the premise and we all had a great time.  The film has quite a following, I’ve been told.  “The Big Valley” gave me notoriety I never dreamt possible. To work with Miss Stanwyck was an honor.  She was very professional, on time, knew her lines and her mark.  It was long hours, too, but it had a decent run.  What a crew and cast we had.  As you can see, it’s a step down a bit with recently “Nanny and the Professor” but it’s light comedy, cutesy, but the kids were a joy to work with as was Miss Mills.  Thanks again for your letter.  I’m honored to sign the enclosed photograph.  Keep watching for me.  I still feel like a novice after all these years.  I’ve been fortunate to know so many fine craftsmen.  Sincerely, Richard Long. 

Well folks, in 2 years Richard Long would leave us.  He was only 47.  What a loss from a dependable, reliable actor who always gave us a solid role even if it was at times demeaning to him.  I have many of his films on dvd and it’s fun to recall him in his younger days.  He had the looks, the voice, the charisma; he could do light comedy and heavy drama and oh, how I miss him.  He was so young.  He will be forever young to me. To me and to millions he was A STAR – and quite a character. 

Thanks again, Richard Long.

This is Tom Kessel, until next time

Well in 1977 I wrote Ralph and he returned, as many would do, his own 8×10 glossy photo and humbly acknowledged thanks for the long letter (I often wander at the joy these actors would get after reading my long, long letters of say 6 or 7 pages typed out by one finger on my left hand, mistakes and all).

But now comes the fun here in a letter sent me and the real fun is that he told me in 1977 a few things I later heard him recall in TV interviews. I knew for years by my own hunch how often two particular films of his that were mediocre at best were rerun for years on end on TV. Example: say Clark Gable known as Rhett Butler for “Gone With the Wind” might be recalled by millions of others, in this case kids, by repeated showings on TV of two minor film efforts that are situated on TV 5 days a week for years on end on local TV festivals. Poor Ralph Bellamy is best remembered by newer fans for playing in 2 minor films from 1941 ad 1942 (I’m sorry to say I’m one of them), with the power of TV adding its luster and a cult following.  I love what he wrote in 1977 about, of all things, two things (and he found much humor in the irony of the insult) he appeared in, “The Wolfman” 1941 and “Ghost of Frankenstein” 1942 over at Universal Studios.  No poverty row outfit, still Universal was poor in the 40s still struggling (the 1943 color version of “Phantom of the Opera” was so expensive that Universal couldn’t afford to film the Universal globe intro, thus they left it out…now that’s cheap, man).  I’m a horror film historian and fan and I love these 2 films and Ralph didn’t really dislike the films but rater found it funny that fans knew him from repeated showings of these 2 films, decent works but no Academy Award-winning films either.  I have several interviews conducted by others to Mr. Bellamy whenever a retrospective is done in old Universal films.  Leave it to Ralph to chime in with good nature humor his opinion of making these films.  Now from the letter I received, read what in part he said about the big buildup of two films that Ralph in all likelihood would prefer not to be remembered for.  He wasn’t ashamed of them – after all, he worked with a top notch cast in both films but again these films were quickies done in a fast budget with money the essence. Get it done and out and over with was the order of the day by Universal. Imagine if Ralph worked for PRC or Monogram where they churned out films in 6 days. Here’s is part of what he wrote me after the big buildup I gave these films.  ”Tom, I’m finding it common-place over the years that you recall among my finest work two small films that I thought at the time were hatchet jobs done fast to feed the public’s hunger. I enjoyed working on “The Wolfman”. Lon Chaney could be intimidating but he had a rough job of it sitting in the makeup chair being donned up as The Wolfman. I read my lines, had them fed to me while Lon had a bad time doing his lines. Yes, he was known to be a drinker but I never saw him tying one on, as they say. Universal was a water boy-type studio; by that, they ran about getting done one film to make way for the next like on an assembly line. “The Wolfman” was fast-paced but it was drawn out a bit because of Lon’s makeup. Hours were long, until 2 a.m. sometimes.  I got along fine with the cast.  Evelyn Ankers was a dear to work with. She was dating a man I think at one time she brought on the set. Universal made us feel at home but my goodness they reused so many of their old sets going from one film to the next, sometimes we didn’t know what film we were shooting. Now on to “Ghost of Frankenstein”, also with Chaney. By this time he had one too many. He could get angry and we had very much the same cast as the previous film. Lional Atwill was very British, known as Binky and then there was Sir Cedric Hardwick. Hardwick and I went out one day on a second unit to see what was going on in the next scene. We had this director who was a show off himself, hamming up the production as if we were doing Hamlet. Sir Cedric and I heard these words to the effect of “Are you fed up with it all” Sir Cedric and I looked at one another because of the stupidity of the scene being played out, the monster chasing Evelyn to no avail. We never forgot that episode. Chaney was built like Mac truck.  We had a scene of him breaking down a door in the lab near the film’s end and his mere strength almost knocked me off my mark as I went thru another door to escape.  As the monster, Chaney looked horrible like a brute. 

There seems to be a demand fir horror films these days.  Audiences crave to be scared. I found both films entertaining, an experience, yes, but still shallow and juvenile.  We couldn’t believe some of the lines fed to us.  I can’t escape these films.  They are consistently shown on TV and have been for some years now. I have a legion of fans who know me just by these two films.  That’s unsettling but I’ve accepted it as such.  Better to be remembered for one thing than not remembered at all, I suppose. I must be boring and long winded but you talked so much about the films that I had to comment. I’m just happy you liked the films but they’re not the best in my work.  Irene Dunne and Cary Grant are more my cup of tea.” 

In later years I caught Ralph on the Game Show channel in old game shows from the 50s. He did so much TV besides Broadway and films. Then after a short illness, he left us in 1991, I guess we thought he was going to be around always, we got so accustomed to seeing him, older but wiser, in all the mediums.  Work was part of his livelihood until the very end.

Thanks, Ralph Bellamy. We all miss you – we loved you in so many roles, in all the mediums. But Ralph, I’m guilty as sin. I confess (to myself anyway) you’ll always be the good guys in “The Wolfman” and “Ghost of Frankenstein”. Could be 1000 times worse. Imagine if you did today’s slasher films complete with blood, gore, graphic violence, sex, and more. God rest you, Ralph. Thanks for talking to me. You’re a great gentleman, an honest soul, you’re everyone’s good friend when in need. This is Tom Kessel, again.  Until next time. Thanks for stopping by.  If only these actors knew you all cared about them more than some of them thought.

To millions today who see the fast food chain across America called Arthur Treacher’s Fish and Chips, the younger generation has no idea who Arthur Treacher is. But to us who are of the older generation, Arthur Treacher (1894-1975) was the ultimate, the very ultimate English butler in the movies. From the time he appeared in “Thank You Jeeves” in 1936, Arthur went thru 30 years as a butler appearing in dozens of films as a butler. He was also a part of the stock company for Shirley Temple in the 1930s, forever playing a butler – be it in “Curly Top Stow Away”, or “Little Princess”. He was very close to young Shirley. His other films were classics such as “Heidi”, the best of Shirley Temple, “In Society” with Abbott and Costello, “That Midnight Kiss”, “National Velvet”, part of an all-star ensemble in the Paramount blockbuster “Star Spangled Rhythm” and finally ending up with “Mary Poppins” in 1964. In between were scores of TV shows highlighted by his 12 year association on “The Merv Griffin Show”, a talk show veteran, where Arthur played second fiddle to Merv, forever sitting on the couch along side Merv’s seat at the desk as Arthur, brooding in silence, took in the news of the guest that night. To younger generations he is known here. And to younger generations too he is the spokesman, the named star, in his Fish and Chips chain. I see him these days in reruns of old game shows from the 50s as a celebrity guest and the one constant re-airing of a TV credit is the “Beverly Hillbillies” where he played what else but the butler in a famous 2 parter in 1964, winding up his acting career with his last years devoted to the Griffin show. It’s fun seeing Arthur ,n the DVD release of “The Best of Merv Griffin”. His constant dry English wit is evident as he takes in the news of the day shooting back with biting wit.
Well, in 1970 I wrote Mr. Treacher in NYC and sure enough he replied with an 8by10 glossy from “Thank You Jeeves” signing it, “My dear Mr. Kessel, would you care for a spot of tea old boy? Eternally yours, Arthur Treacher”. A week later what followed was a letter answering some of the many questioned I posed to him. He wrote it himself. No secretary, no mimeoograph machine but the aging actor always appreciative of fans took time to reply in his own hand. In part this is what I find revealing in what he said. “Thomas sir, your mention of dear Shirley Temple conjures up many happy memories. Young as she was, she was an old pro. She knew her lines had eloquent manners, had no airs about herself. She was more concerned going off to a circus event or having a picnic rather than to meet for instance the President of the United States. She was the genuine article unaffected by the pressures of the day. Your repeated reference to “Heidi” delights me. This seems to be most remembered part. Remember the scene of the milking goat squirting milk on yours truly? We had to do several retakes old chum. The goat was most uncooperative. I see Shirley only when our paths cross say for a social event. She’s unaffected by the passage of years and remains friends with the same people she’s known as a child. I adore her dearly. You mention Abbott and Costello. They were not the most pleasant guys to work with. These old chums preferred wild hi-jinks on the set than to be properly behaved and on time to film a scene. They have had a reputation for such behavior for some years now. Mario Lanza…yes, I enjoyed working with him. I never heard such a voice. He would practice live on the set before cameras rolled to do our film. I marveled at his voice. We lost him at such a young age. I enjoyed my years at 20th Century Fox but I also enjoyed the benefits of freelancing to other studios. My name was well known. I was on call 24 hours a day to play the same role, one tailor-made for me for better or for worse, the butler. But that’s fine. I’m glad just to be remembered. You mentioned “The Beverly Hillbillies”. Yes, that pretty much wrapped up my acting career right after “Mary Poppins” but in that one I played a bobby, not a butler. Your knowledge of names, places, films, and events amazes me. I’m very happy you watch the Griffin show. It’s an easy chore. I could phone it in to be honest. So simple to apply yourself to a seated cushion and look disinterested with a ready made remark. I still have a legion of fans who appear to enjoy my antics if that’s the word. But the money is good and Mr. Griffin or Mervin as we all know I call him in jest is a very learned man, highly intelligent, and he has a good grasp on the events of the day to make great copy on the show. I’m having a lot of fun these days doing pretty much not much of anything. Thanks again, Thomas, and I hope you continue watching. Respectfully yours, your butler in waiting, Arthur V. Treacher”.
Folks if you are like me and can read the words this gifted thespian wrote, you can detect that his sparkling wit and very British way about him is in full force here. I can almost hear Arthur say the very words he wrote in his descriptive mode. Arthur in later years lent his name to the restaurant chain that still bears his name. But to me and to millions there was no other butler ever in the films. He served his role well, did a great service, and gave every role a prestigious quality performance no matter how demeaning at times it might be to repeat the same role. He gave the butler business a sense of pride, giving it great honor. Many of these actors like Arthur Treacher could be looking for an outlet in opening up and revealing to us fans a truer side to their hard-edged character. It’s an outlet to say what’s on your mind privately knowing no cameras are afoot.
Thank you, Arthur Treacher. What a character, what a fine decent man, very British upper crust, possibly a bit stuffy and regal but hey, you did the butler profession proud. We are proud of you. Thanks for your remarks. And thank you fans again for letting me tell you in a small way how the other half lives when conversing privately. God rest your soul, Mr. Treacher. You are indeed a treasure. Not a buried treasure of course. The movies will never again see the likes of you .This man was one classy act. It’s been 35 years since he died at 81. Where have the years gone since I added his obits to my collection? Arthur Treacher: England’s pride and joy.

This is Tom Kessel. Thanks all of you.

He was by this time America’s Number One dad.  It was the 50s, the time of peace with Ike in the White House.  Running joke was you could put both men in exchangable roles and America wouldn’t know the difference. America loved Ike and Jim Anderson the Insurance agent who brought foresight, logic and common sense in one of the finest series ever (at least to me despite the bad image it must endure with today’s generation poking unmerciful insults at it as a letdown, an unreal picture of the ideal family).  Bob was the first to say in that era the family wasn’t the ideal family but the vision of what an ideal family should be. They have problems, they come home, father listens, father preaches, all is well.  Bob won emmys as did Jane Wyatt; then in 1960 this great actor, tired of 11 years of playing the same role, decided on his own to cut it off.  FKB went into reruns and a rare thing uncommon today is that the last season aired for a full on in 1960-61 in prime time reruns.  It was that popular. 

I grew up on this show and to me this was Robert Young’s finest role.  It left quite an indelible mark on me.  I recently got the 3rd season out on dvd and I love it.  It brings back memories so well when I originally saw the episodes in first run.  The music, that unforgettable music, pitched and timed so right…seldom had a comedy series been so richly remembered for its music to highlight every emotional scene, to embellish a special moment. Then  after the diastrous failure of “Window On Main Street” in 61, Bob took a few years off, wrote and did some tv parts and stage jobs, and then in 1969 all over again he won new audiences when he did Marcus Welby M.D.  For 7 seasons still racking up emmys and winning newer fans, America’s Dad was now reinvented as its favorite Doctor. Bob Young was still teaching us.  We were still his students learning by his wisdom.  He could do no wrong.  Or could he, when in the 80s he tried to commit suicide after years of being an alcoholic.  He was under severe depression but the toll was heavy as he sank deeper into the bottle, a battle he eventually won.  He did several “Father Knows Best” tv reunion movies and even a “Marcus Welby, M.D.” reunion but by the 90s Bob Young had come full circle.  He had paid his dues.  

In 1972 at the height of MW I wrote Bob Young and he sent back a photo not of FKS as I sent him but an up-to-date version of Marcus Welby in a sweater with a new hair style befitting his present image.  He wrote, “Sorry Thomas but today I’m remembered as an M.D.  I’m very happy you enjoyed my career and the films and yes I enjoyed working on “Father Knows Best” but it’s taken a lot out of me.  It had set a bad example to today’s kids telling them of a false image of a dad no one could truly acceot as the ideal father.  I prefer today’s character, the kindly doctor.  Here is a doctor who still went to your home and cared enough about you far more than the almighty dollar…I’m a staunch conservative and hold certain beliefs in the ideals of a greater, better America. I liked your views but I must tell you these days people know me by another name. Marcus Welby. I don’t write often but your long letter warranted a response. I’m deeply touched you took the time to write. I admire your stamina. Recently I saw “Father Knows Best” on tv and I thought how far we came from curing a stomach ache to now curing a social disease.

“Thanks, Thomas, for writing. I hope my photo meets with your approval. You’re ok in my book, young man.  You will go far. Thanks again for writing. Keep watching.  We will get some more mileage out of this show with the superb writing crew ABC has offered us. Most gratefully, Robert Young. ” Fine by me. it was a big hit, anything Bob Young did for the most part was a big hit.  He conquered radio films and tv.  True, he had demons - demons of the worst kind – that played with his ego and tortured him, but after years of struggle again, he made it to the top. He will always be my hero from “Father Knows Best”. He was the best from my generation. I’m so glad to see him come full circle at the end, dying of old age in 1998 leaving behind an impressive body of work. Thanks, Bob Young. You’re ok in my book too. Rest your gentle soul.

This is Tom Kessel again saying thanks to those of you who stopped by to say hello and see my window on Main St with my interviews from these great performers and icons from a bygone era. God Bless.

 We hit upon various topics quickly as he was busy at the time doing episodes of “Sanford and Son”.  He could have retired by this time, being past 70, but that tough voice, that sharp wit, and his own challenge to – yes – me, on names he worked with, to see if I knew them or knew of them, I think I won him over when I told him about Eddie Cantor. He was happy to see “It’s a Wonderful Life” get resurgence on TV long after the copyright ran out and local TV stations aired film at random putting it on the Christmas schedule. “Tom, I thought people forgot about my bit part but TV now gave it a new life of its own. And Jimmy Stewart was a sweetheart. What a great guy, always in time, on cue, few retakes as I remember. Eddie cantor was a dear sweet man, too, but Abbott and Costello – I can see why they got in trouble with the IRS, betting thousands on the movie set, putting schedules behind, testing the crew.  But they were stars and they got away with anything they wanted but I’m a  pro, an actor who knew his mark when he showed up on the set but no way could even I stand up to the boys.  Sorry but it was no fun working with them.  I later worked far better with Brown and Carney at RKO for that Zombie film you made reference to. Those two guys had more class than Bud and Lou. They showed on time without any incident.  And Bela Lugosi was a fine actor, no bogey man on this set.  He was of the old school, very aristocratic, he smoked his cigars on the set, had elegant manners and his wife drove him to and from work.” 

 I spoke with him about the Andy Griffith Show and he was especially proud of the fact that I quoted something co-star Hope Summers told me of Andy himself having a hand in the production. “The lady is right.  We had a great crew and cast and Andy had a hand in every facet of production.  Oh, he’d catch an act like say Jim Nabors at a club or get a tip of a bit actor in need and he’d tell me.  That was decent of him but I never debated with Andy. I trusted Andy. He was there from conception until after the show was off the air, and he still had a say in that Mayberry RFD.  We only had one bad apple that I got rid of fast.  It was Walter Baldwin. He played the original barber but he had a drinking problem, coming on the set tipsy, forgetting lines.  We gave him his cue but he got belligerent and stormed off one day.  We decided to let him go and with that we got Howard McNear. We lucked out getting that actor. I knew him from radio.

 “I Spy”, yes you’re right in that w selected Bill Cosby and he’s done well since.  We tapped talent from every corner.  It was turbulent times the 60s – the Civil Rights movement.

 Walter Brennan – well now, there’s a pro if ever there was one but you’d never know it.  He was every inch a gentleman, respectful considerate, he gave us ideas on his character as Grandpappy Amos to embellish his role.  He won I guess 2 or 3 Oscars. I can see why.  He really got into the role. He was reluctant to get into TV and his film roles were few by the time we approached him for the show.  But the last year he was tiring of the show.  It showed.  

 We’re now on location with Sanford and Son. I’m so glad the times are changing and opening doors to so many peoples. And about Jack Benny:  he was anything but stingy like his character. In real life he was more concerned hearing about how your kid was doing in school than to rush off to get to a TV set or whatever.  He was caring about others before himself. Hey, young fellow – you ought to look me up the next time you come out to California.  I’m damn busy but I got time for you.  You really did your homework on me, bringing up names of people I never dreamed you’d know.  But it’s a lot of fun.  I’ll send a photo of me. It’s a standard shot my agent gives out of me with my perpetual cigar in my hand.  If you call again, by all means leave my secretary your phone number.  If I’m on a set I promise I’ll call you back.  If I come to Connecticut will you show me around?” (he was laughing)  

I told him what an honor it was and folks, it sounds silly, and yes I said it and I was sorry only because it sounded awkward but I was so floored by Sheldon Leonard taking the time to talk to a nobody like me, I actually said, “Mr. Leonard, I can’t get over how human you are.  You’re like one of us.” Oh brother, what a stupid way of trying to pay a compliment to a gifted performer-producer, but you know what he said before he hung up the phone?  He said, “Thomas, after 40 years in the business I’ve got a lot of people who think I’m anything but human.. I knocked off more people in the movies than the Mob.” (heavy laughing by him followed by), “Thanks, Thomas, it’s a real pleasure.  I hope to meet you, young man.  You’re a walking encyclopedia of my career.”

That was it. Of course I went to California afterwards but I never looked him up. Leonard went on doing more TV guest spots and did reunions with van Dyke and Cosby .He broke new ground like on the van Dyke show with that classic baby mix-up with a black couple and Dick and Laura.  I never got to ask him about that but its gone down in TV history as a milestone in TVs maturity. Sheldon Leonard (1907-1997) lived to be 90. Gosh, I miss him. When I see his movies or look at his body of work in television series productions as a forerunner of Norman Lear, and then recall my phone conversation and look at that 8by10 glossy of him dressed up with cigar in hand with that big smile bristling with success, I miss him more now than ever.  He was tough in real life and in movies but still he had a heart of gold.  He was indeed a down to earth regular guy always fighting for the underdog and looking out for the other guy when he wasn’t busy killing people in movies. Thanks, Sheldon. Wow, a joy, what an honor that you took time talking to me. Others can take a page from your book Sir.  God rest your gentle soul. This is Tom Kessel saying thanks for all of you stopping by.  It’s a window on Main Street telling you of my joys knowing even briefly these gifted show business people. God bless.

Long before all the other gifted actors playing nerdy wimpy milquetoast characters, there was squeeky, small,  with his horn rimmed glasses, Arnold  Stang. Arnold died recently on December 20, 2009 at age 91. Long retired outside of tv voice-overs and cartoons,  Arnold died in Massachusetts, not in his previous home a few miles away from me in New Canaan, Connecticut where in 1990 I interviewed him by phone.  Such a sweet, dear, unassuming man deeply appreciative of his fans.  He looked forward, never looked back, except for retrospectives such as my interview of his tv career.  The only film (and he made many as second banana) that I knew him from was the class bombed DONDI in 1961.  Now this film is so bad it’s not even out on dvd.  Ihad to get s copy recently off vhs from a recorded tv version.  I enjoyed the film but sadly it too like other films isn’t as bad as critics make it out to be.  I thoroughly enjoyed it, with Patty Page and David Jannson, “The Fugitive” himself. It centers around a platoon of soldiers who take in a waif. Ive seen a whole lot worse, trust me.  When I called, I was prepared to ask questions to get his reaction, but when he heard I was in the next town over, he seem more interested in myself and in the performers I knew. Who was inerviewing who, I began to wonder.  He had a contagious laugh and it was readily used when he needed it on recollections. As for me, I knew Arnold as a tv performer, a second layer, a banana, a foil for Phil Silvers or Milton Berle on tv in the 50s. Berle was a perfectionist who shouted out, yes, barked out orders to get every show going. He wanted perfection making ad libs part of a planned script but spoken as if it was off the cuff. Berle, Stang said, could be very tough with the cast and crew and you’d think with his voltile temper he wasn’t respected, but Arnold said Berle was a keg of powder ready to explode.  Berle wanted only the best in his comedy troup.  He would go through the roof if you were late on the set.  He’d swear his head off, threaten to fire you, only to come back an hour later aplogizing for behaving so rudely.  He got along with Arnold very well, calling him Arnie.  It was no easy chore being on the Berle show, the Buick show or any show but you earned your dues working with him. And Berle, he said, expected the same toughness and loyalty coming from him. He was tough but fair and he paid well. “Dondi”, Arnold told me, was a film that got the cold shoulder treatment being too sugary for adult audiences and the kid actor who played him went nowhere after this fleeting moment in the spotlight.

“I enjoyed doing film,” he told me. “I always enjoyed ‘The Fugitive’, thinking back to the old movie set of when we filmed ‘Dondi’. David had no special airs about himself.  He was one of the guys.  All of this  led up not to Top Cat or Tv commercials where he made his money but the one role millions recall him in. “IT’S A MAD, MAD, MAD, MAD WORLD” in 1963 with an all star cast headed by Spencer Tracey. He told me,  “Tom, I broke my arm prior and it was in a cast for some weeks. Stanley Kramer (the director) advised I used a canvas, some form of material to cover my bent shaped arm, but if you look closely, Tom, you can see my arm is immobile.  We worked around it. “Jonathan Winters was brilliant as ever, funny, improvising on the set and breaking everyone up in the 100 degree temps.” It was hot as H, he said. The entire cast was working for one cause:  to make this film the comedy to end all comedy.  Not quite that, still it’s now a classic high up on everyone’s top list of great comedies. I just love the film. Marvin Kaplin played Arnold’s brother at the gas station.  The makeshift set fior the demolition of the service station was brilliatly choreographed he told me, each frame set alligned in such a way with break away work to fall accordingly on cue as the service station collapses after Winters dispatches of Kaplan and Stang. It’s a highlight of this megahit.  But he added, “Spencer Tracy wasn’t very friendly towards  me.  He laughed everytime he saw me as if to poke fun at my face or my name. I couldn’t strike up a conversation with him ever on the set at any time.  Others could though.  Tracy kept his distance and I got a feeling we were  there to cater and amuse him, ill as he was.  We all knew he was sick.”  But he added, “Tom, we all respected Mr.Tracy. In fact I referred to him with respect as Mr. Tracy but he didn’t seem to take me seriously.  He liked to laugh whenever I approached him.  But I took no offense.  He was the lead here, the one dramatic actor sent here to bring this production together.  He only worked so many hours in the early day to his death.  I loved my part in the film.  I see it all the time on tv and I remember about my arm and the coverup.  You know Tom, I did a lot of radio on serials, I made movies, did a lot of tv with big stars and I had a great time in this business, the cartoons are profitable.  They love my voice, I play these pansy charaters so unlike the real me but to this day MAD WORLD seems to be high point, the one role everyone talks about if i walk down the street.  I’m very happy with the role. I made peace with it.” Thanks Arnold.  And thanks fo the photo you sent.  We will all miss you but you left us a body of work with one special high point few can attain: MAD WORLD. I’m sorry you moved away to Massachusetts.  I was still thinking you were in New Canaan. But thanks to you too for all the laughs you brought us.  You gave it your all and more. What a character, this Number One Nerd, but a decent, giving  warm hearted man in real life.  God rest your soul, Arnold Stang.

This is Tom Kessel, just a phone call maybe but phone, letter, or in person, each performer gave me a sense of pride in just knowing them. This is Tom Kessel  until next time. God bless you all.

ONSLOW STEVENS:  the name says all. He wasn’t a villain or heavy in movies, he wasn’t into horror films, he was as far as I knew a bit actor, a character actor, one of hundreds with no vast talent. Someone who, as he told me in 1973, was called by his agent to report to Universal to play a mad doctor of all things in a little film of this stature. Now forget 1945 folks and forward to 2010. This wasn’t your typical Dr Jekyll and Mr Hyde or mad doctor, hammy or overacting.  How it all came about one can only guess.  I’m a good detective.  I look for answers and form logical conclusions.  In the 40s Universal, like other studios, tried daring little things to tease us fans into seeing  something a bit out of the usual fare just enough to catch our eye.  Dr Edelman, the good Dr, is respectable, typical and a pleasant portrayal but Mr Stevens, on his own, by his own acting instincts, poured his heart and soul into the role, along with the ghastly earthly makeup given us by the great Jack Pierce.  He gave movie goers a role we can’t forget. How creepy, eerie, and unusual for 1945 audiences to see such a demonic, satan-like, patch-eyed, disheveled madness flash before their very eyes.  In 45 scares and thrills in horror films were typically tame in the code of decency.  Nothing too ugly or unholy was accepted.  Well, now, look at how sneaky (and aren’t we glad) of Universal to get by the censors – the gut-wrenching ugliness of a dope addict-like fiend running rampant bringing death and destruction.  True, it’s all done within the code of decency but they dared to be brave to give a glimpse of true scariness.  Look, my God, look at the makeup on this great actor.  If that isn’t bone-chilling even to today’s audiences, I guess it’s time for me pack it in.

Onslow Stevens made the most of his scenes chewing up the scenery as he wrought death and destruction.  Look at his mirror shot as he turns into an unholy vampire.  Look at his expression, his gritty teeth, his madness in full glory. Look at the Siegfried  scene on the wagon, the lighting on the set even with the process screen, look at Stevens as he sets out to tear up the throat of Ludwig (Little Old Winemaker) Stossel.

In an  interview with Stossel in 1972, when he was age 89, he was too feeble-minded to recall HOD.  Stevens’s role is one for the books.  Paul, you wrote and told us fans about a theater audience poking fun at the wrong places at this actor & the film.  It’s a shame people are too insensitive to take the film or any film as was in perspective according to the times and look for its merits, not its faults. This film HOUSE OF DRACULA is ONSLOW STEVENS and ONSLOW STEVENS is HOUSE OF DRACULA; you can’t have one without the other.

I’m sorry the most famous photo of him is the worst I’ve seen to the goatee falling off his face but I’ve seen some wicked photos of this gifted actor on the set in stills looking as evil as one ever could. 1945 is 2010 to some degree. No blood, no gore, no decapitated head, no repulsive scenes like today but the makeup – that’s the success of a modern day horror fim, and it still packs a whallup, still holds up.  Now, I knew Onslow Stevens in 1973 when we exchanged letters.  He had great humility, kindness and appreciation.  I’ll be brutally honest, Gaz and Paul, & all fans of HOD.  I can’t prove it but I’m sure if Onslow Stevens had his way he would have wanted to be remembered for anything BUT a 2nd rate horror film best forgotten. Who wouldn’t, in 1945?  But you know what?  Our luck is that Onslow Stevens never ever again had a starring role in a film and with the horror cycle in the 1950s on horror films, it won him new fans.

In the end this great actor wrote that he was proud to have been Dr Edelman and proud of the film.  It sounds silly but I bet this actor was tempted to say, “Tom, I was the star of that movie.  I made that film memorable.”  Destiny kept him quiet but Gaz and Paul, trust me as I knew him.  He enjoyed making this film.  It was his day in the sun, his one shot at fame.  Little did we know tv showings, vhs, dvds would bring new audiences for Onslow. Then tragically, making me sick to my stomach, this great actor died in a cover up story in a nursing home in 1977.  Some, excuse my language, Gaz, Paul, even Marsha and all fans of horror films, some BASTARD jumped Onslow in his wheelchair, I heard later, and beat Onslow Stevens to death.  The poor actor couldn’t defend himself. What an untimely death to a great actor as he lay helpless.

But let’s move on to more cheery things.  The movie and the actor will live on. My website, my interviews with him, Paul’s website in honor of the actor and Gaz, my good kid bro, kissing cousin, you Welchman  (tho I’m German), you honored Onslow Stevens by your figurines on your web pages. This actor needs my help, Paul and Gaz’s help.  We must carry the torch, remind fans every chance we can to give him a plug and give the film a plug so newer fans can catch the artistry, the brilliance of movie madness by the maddest dr of them all. DR. FRANZ  EDELMAN.  Sorry everyone this story is a bit long but Onslow deserves our respect and our adulation. It’s up to horror fans like the three of us among others to tell the world, here’s a damn good actor in a forgetful film giving us a rare glimpse, a rare look at brilliant acting as a murdering madman, a mad doctor, the best there is.  Nothing silly or hammy but over the top.  What an acting chore.

Paul and Gaz, we will continue to communicate. Thanks Marsha. Printing this doesn’t do us 3 justice. The glory belongs to the actor who was tragically killed who can’t be here today to defend his good name or his acting chore.  It wasnt a chore.  It was brilliant unwavering acting, breathing new life into a run of the mill role. Onslow Stevens, you are  the greatest mad doctor of them all.  History will vindicate you. Thanks Gaz and Paul and all actors. And Onslow, thank you for letting me know you the last few years of your life. I went out on Halloween in 1962 dressed up as you. I wore a mask, cotton balls, paste, and eyebrow liner and show polish. I was scary  but no one can out-do you, my friend.  Sleep well, rested soul. I’m your #1 fan, a fact I’ll fight with anyone.  But Gaz and Paul  are right behind me.

God bless your soul, Onslow Stevens. We love the film and we love Dr Edelman. Gaz and Paul how did i do here? Bless you both. Tom Kessel

In 1967, when she was already in retirement, where she stayed for nearly 25 years til 1987, I got a  lovely 8by10 glossy photograph sent to me from one of the most beautiful women to grace films and then television:  the stunning Loretta Young. I sent her as I recall a 6 page typed letter with a small cut-out photo from a  movie magazine of Loretta in her hey day only to receieve – get this – not only a fresh new photo but a gentle reminder in a note “Tom, you don’t want to remember me  thru this tiny photo of me, do you?  The Lord is directing me to offer you a better image.  Please accept this with my gracious  love for the lengthy letter you sent.   I’ve received many a fan letter but yours was such that I’m sending you a men’s bracelet for you with the Lord’s prayer on it.”  Sure enough, folks, she did.

Beloved and charmed by all who knew her,  not only was this grand actress a dear woman loved by all her fans, but she was also  indeed what she appeared…one who  had a well known closeness to God that warranted more respect from me.  She had recently retired from her tv series running nearly a decade, what an image of Loretta forever gracing her way swinging thru those doors at the opening credits of her weekly anthology show, an image we fans remenber so well from the 50’s.  What an image to remember from  our childhood.  Her series was still fairly popular thru the 60s, and then it faded from view in reruns after  she retired.  Sorely missed, she returned in the 90s to wrap her career up in fine dramatic television work.   We knew her from her films, “Farmer’s Daughter”,  “Story of Alexander Graham Bell”,  “Call of the Wild”, known partly because during the filming she had an affair with Clark Gable which then produced a daughter, “The Stranger”,  “The Bishop’s Wife”.   My gosh but this woman went way back to early days of silents as a teen before hitting it big in the 30s.   She was even in Lon Chaney’s “Laugh, Clown, Laugh” in the mid 20s.  I knew her best – we all did – from television where she reached out through tv in its infancy.

She wrote a beautiful letter, writing, “Thomas, if you recall me coming through those double doors, bless you my dear.  It was  my idea to try that out as way to introduce myself outright to television viewers.  Television enabled me to excercise more my dramatic flair at roles that films seldom gave me.  I was the star, as they say, rather than a secondary actor over at Fox.  My goodness, you sure do recall episodes of my series.  You mentioned my entry as a Chinese woman; well, I had considerable  makeup on to pull that off.  I enjoyed that episode immensely.  Your knowledge of my career is uncanny.  Obviously you have done your homework.  Whoever told you about the quarters i collected everytime I heard somene on a film or tv set use profanity and that went into a box donated to charity is very true and I always felt profanity in our industry on the set has no welcoming mat with me.  I thoroughly enjoy my retirement.  I paid my dues, as the saying goes.  Let me know how you enjoy my gift.  Your sweet letter deserved such a rememberance.  Your knowledge is unbelievable.  You mentioned many co-stars you knew.  I always had a fondness for Henry Fonda.  It was joy having known him.  Bless you, my dear, and I pray the Lord will keep you and protect you.”

Folks, I like that.  It’s a telling story:  an actress as fine as she was with such beauty, vision, and graceful charm can still remain a  wholesome, sweet and unassuming woman who  truly loved her fans.  Her image from tv  from the 50s was enough to prompt me to write her a long letter of appreciation.  These stories, these revalations that these actors offer me tell me so much about their behind-the-scenes personna adding greater depth to their personalities.  It takes us into private worlds for a quick  view on the other side of the mountain, you might say. Loretta Young was a class act, a classier beauty, breathtaking, the envy of so many people.  She was 87 when she left us, one of the last holdovers from Hollywood’s Golden Age. She will be missed by generations of fans.

Many thanks again for your interest in another stroll down memory lane.

God bless. Until next time. Tom Kessel

Great way for me to get back into swing of things with The Big Mouth: Joe E Brown 1893-1973.  He had his counterpart by that title,  Martha Raye, but that’s for another time. As a kid I grew up on tv watching Joe’s many classic films. From “Circus Days” to vaudeville films and tv,  Joe could be seen all over the tubes during the early days of tv,  performing live and on tape be it “The Buick Circus Hour” or in tv anthology shows,  guest shots on game shows “I’ve Got A Secret” or “What’s My Line?”.  His films were classics of an era, filling theatres during the Great Depression.  “Elmer the Great”, “Midsummer’s Night Dream”,  “Chatterbox”,  “Shut My Mouth”, perfect title for this film, “Polo Joe” and “Sons of  Fun”, the list was endless.  After the war, for some reason, Joe was going into more dramatic, meatier roles with the changing of times.  Never the less, he was playing bit parts in the 50s and 60s in “Around the World in 80 Days”, “Comedy of Terrors”, “It’s a Mad, Mad, Mad, Mad World”, and of course “Some Like It Hot” with Lemmon and Curtis with his memorable tagline at the end.

There was a lot of tv on most guest bits and dramatic roles to exercise his dramatic muscles.  “Route 66″ is a fine example.  By the mid-60s he slowed down, tapered off, all but disappeared.  He was forever young whenever I saw him on tv, never ever looking his age, slicked-back black hair, great complexion, that big smile, outgoing gregarious nature about him.  In recent years seeing him now on cable in old shows in later years, he never seemed to age but like all people the creative juices ceased to flow.

In 1967 I wrote Joe E and in reply he wrote the following:  “Thomas, many thanks for writing me.  I’m still in the harness but my heyday has come and gone.  Funny you mention “Some Like It Hot”; it’s a cult favorite I’ve been told and it came near the end of my career.  I thoroughly enjoyed the job Billy Wilder did with it.  It’s a fine way of going out as they say.  Tony and Jack were coming from a newer generation but they brought a freshness of adult humor laced with slight naughty humor that made me feel at home.  I was winding down my career.  I’m glad you mentioned “Fireman Save My Child”, a favorite of mine as well as “Elmer”.  These films were made long before your time but evidently you know my career.  You brought back a lot of memories.  I got the title The Big Mouth many years ago long before our friend Martha Raye came along.  I greatly admire her work.  I enjoy the pace of television and tv kept me going but Thomas I sure miss the films I did in my heyday.  The studios, as you know, were run by high powered men like Mayer, Cohn, Zanuck…. i got along well with these studios head but it was business like usual not a real happy family but a top notch place of work again thanks for your kind words. I only wish you were around during those golden years but with your knowledge you certainly are appreciative of us old-timers. If I ever do another tv spot I’ll wave to you. God bless, Joe E. Brown

Folks, in his letters he was as warm and outgoing as he was in person. What you saw on tv and films was the same in real life.  This man had great humility, trust  me.

Thanks Joe… It was only one photo and one letter but the fact you wrote and told me what you did shows why you have a lot of fans who will always cherish you and your work.

He left us in 1973. Thanks Joe and to my readers…thanks for welcoming me back.

Until next time, this is Tom Kessel.

Kelli, it’s true there was friction between the “Car 54″ Toody & Muldoon characters.  I tried to piece together the cause but it’s unknown.  I got subtle hints from Gywnne and Ross but, hey, it’s not uncommon.  Fred & Ethel, Bill & Vivian hated each other immensely on and off the set of  “I Love Lucy”  but you’d never guess it. The publicity dept. kept it a secret for years.

Paul, regarding Onslow Stevens, where is your blog you speak about?  You didn’t provide the name or link.   I’d love to see it.  One skunk for lack of a better name went on YouTube calling me a liar.  Thankfully, I have had others besides yourself defend my claim.  I’m sure it’s just jealousy that I found time 40 years ago doing the seemingly impossible, looking up these actors.  It bothers me.  Paul you told us of kids laughing at “House of Dracula” recently for no apparent reason.  It’s a crying shame.  It’s a mediocre film as we all know but the performance of Onslow  Stevens aka  Dr. Edelman is superb on all accounts.  I dressed up as Edelman on Halloween in ‘62.  He’s my favorite mad doctor.  Look at his makeup, scary, dark patches under the eyes, crazed demonic  look, satanic-like, never hammy.  His makeup is something out of recent horror films.  You never saw a mad doctor like that in those days.  He was an extremely good bit actor who makes good.  His death was tragic.  I miss him dearly.  He had the role of a lifetime.  Those kids laughing at portions of “House of Dracula” should hang their heads in shame.  It would have broken Onslow’s heart to be laughed at.  What acting.  His death at the end, the way he throws Nina’s body – flung so unladylike – and his “thanks for the bullet” look after Talbot shoots him is powerful.  The death of Siegfried on the wagon is the highlight.  A fine gentleman, he died tragically in a nursing home.  I miss him dearly.  He’s my favorite icon in horror.  The maddest of all doctors!  But again, please submit the link to your blog.  We would love to know  its name so that we can check it out.

Ben Weldon – hey Ben, I spoke in 1971 with the actor Ben Weldon.  What a gentleman and so delighted that I called him as he sat in retirement.  Yes, I have episodes of “The Millionaire” on tape  but John Richards I don’t have, sad to say.  But the most famous episode was the classic of someone actually breaking their word to tell the world that the million dollars came from Mark Anthony.  What a TV series.  I grew up on it. Marvin Miller was every inch a refined gentleman who did voice-overs at end of his life.  I wish they would bring “The Millionaire” and other oldies from 5o’s  back.  Thanks.

And hey there, Pete,  old chum, thanks for your shot in the arm. Pete, you knew my collection from the 70s.  You can vouch for my character.  Glad you’re back home.  Bless you, Pete.

Well, that’s it…my catching up.  I’ll have more interviews soon once I wrap up this virus-hacker situation.  Bless you all til next time.

Tom Kessel. Not the fraud but the real thing.  Not much but I’m still here.  (Thanks again, Allan Newsome.)

I would like to thank those who were concerned. I will soon resume my interviews to share with you fans.  Though it’s been a nightmare, I survived this as I have many other unspeakable horrors.

God bless.  Til next time. Tom Kessel – not the fraud, but the real thing.

This is Allan Newsome and I’m posting because I received an e-mail from Tom Kessel’s G-mail account this morning that is a SCAM.   I searched the internet and was able to confirm that it is a common scam including the words “inform you about my traveling to Scotland for a Seminar.”

Please do NOT fall for the scam.  The e-mail is NOT from Tom Kessel.

–Allan Newsome

So what happened here that two fine actors who were so good and convincing in their roles didn’t seem to want to acknowledge one another years after their tv series? We all know Fred hated his role on “The Munsters”. He made it known to anyone out there that he regretted playing in it as it typecast him for years til near the end of his life when he did “My Cousin Vinny” in 1992. Ross did “It’s About Time” in 1966 but it bombed.  He did stage work.  He died in 1982. Sadly Fred died in 1993.

Fame and glory and all the riches cannot change how a performer feels in a given role if there is stereotyping and/or irreputable damage done to one’s image. I was glad I had both autographs but it’s sad that I was tipped off to any friction. I hold both actors to this day in high regard. That’s my story:  very short, direct but both these two series are now acclaimed cult classics. It wasn’t too bad for Fred to do “The Munsters” if he gave in, in later years, to do a tv special or a Munsters movie.

In any event, the photo I chose is a good reminder of a classic tv series that holds many happy memories to baby boomers during the New Frontier era of the 1960’s. We live and learn. There are some performers who just aren’t too receptive to autographs and while both these men replied, look at the few choice words sent to me that I as a simple fan found very informative and enlightening.  But now much of it, like old Hollywood, is lost history. But we all like a good mystery. Thanks Toody and Muldoon You were a great team on the NYC police force.  We are so happy you brought much humor to us all. This is Tom Kessel. Thanks. Until next time…

Death had to catch Steve Allen asleep. Had it tried while he was awake prior to his nap, Steve would had put up quite a fight. This man could  sing, dance act, write music, he was an MC, entertainer, humanitarian, pioneer in television. He was tops in anything he did.  He wrote me in 1977; along with an 8×10 he sent a lovely letter thanking me for the list of credits and salutations I sent him.  He wrote “Thanks, Tom but are you sure I don’t owe you money?  I can’t believe I’ve done everything you said I did.  Do you take cash or check?”  In private his ever-active fertile mind was in high gear. He was a bit player on tv before landing  on “What’s My Line” in 1950 and staying with it as a panelist on and off til its demise in 1967. He made way in 1954 for Fred Allen, a great radio humorist (no relation) but after Fred died in 56, Steve returned to fill the 4th seat.  Everyone liked his ad libbing, his sparking wit, good humor &  easy-going, snappy personality. He left WML to head up the “Tonight Show” as its first host. He had quite a cast for late night comedy skits. Don Knotts, Gabe Dell, Bill Dana, Pat Harrington.

He gave us 3 years of top rated comedy sketches, fun & great laughs. His interviews included such greats as Dick Powell, Abbott & Costello, Gary Cooper.  He made way for Jack Paar who made the “Tonight Show” all his own before Johnny Carson came along in 62 followed by, 30 years later, Jay Leno.  It still is in the top 10 of late night talk shows. When Steve had it, it was more comedy sketches than talk but in the late 50s he had another tv series.  He did the “Benny Goodman Story” superbly in 55.  And guest shots in films and mostly the former radio disc jockey stayed put to some degree in television.  He was one of its truest early pioneers. He took over “I’ve Got A Secret” from Garry Moore in 64 til it folded in 67.

He was a game player, emcee,  comedy writer, wit, singer, he composed thousands of  songs, he wrote music, was a discoverer of great talent, an actor, and  a narrator.  Right up to the very end in 2000 he kept his hands busy, never having a dull moment; he was at the throttle always keeping his hand on the pulse of an ever changing  taste in American culture.  He kept up with the times.  And  he had the lovely wife Jayne Meadows a beautifully talented actress & game player well known in the business, sister to Audrey Meadows. Jayne, I’m happy to say, is still active, busy and helping to keep Steve’s legacy alive and well.

In the letter he wrote me, he said among other things of interest to you fans,  “Tom, I knew Lenny Bruce in his early years, we had him on our show blue material and all.  He did it clean and was great.  Lou Costello after his split with Bud Abbott used his old routines on my show to try out on newer audiences.  It gave Lou a chance to stay alive, keep up with the times.  Our show with him in Cuba was a great one. He wasn’t well – we sensed that – and sadly had he not died so soon, we would have used more of him. You’re right about my battle with Walter Winchell.  It got a lot of press but I came out smelling like a rose.  I guess I wasn’t wearing my regular cologne  (inside joke).  I am glad you liked our PBS series on historical figures doing interviews.  It keeps us busy.  Jayne thanks you for the kind words. I love her so much.  Your take on “What’s My Line” seems to be your focus and thank you.  You’re on the mark regarding its history, its impact, and its longevity.  But by 67 it was clear it had cracks in its surface.  It was time to close up the shop but we  came back in syndication. And hey, I like that you mentioned Fred Allen.  No hes not my dad but I regret he wasn’t.  He was the Paul Bunyan of his time.   He greatly influenced my career.  Hey Tom, if you have any booking out there in the East Coast let out a howl.  I’m in between jobs now.  I did “I’ve Got A Secret” here the 2nd time around but it’s in syndication.  It’s more up to date to appeal to the younger generation.  I’m in full swing here tho I like original pop, (not the soda either) and they seem to want me to stay around.  With adoring fans like you I  have a place to stay at $40.00 a night (ha ha).”

Folks,  this man Steve Allen had an engaging wit even in personal letters.  I can read every joke when I read his remarks.  He’s still calling the shots even privately going for the bellylaugh even with only me, one man, as an audience.  A comedian’s work is never done.  With Steve Allen what you saw you got and in large doses. I miss this man terribly.  When I read this great figure had suddenly left the scene so quickly and unassuming, I was glad he didn’t suffer but the loss is so all the more sudden and shocking.

Thanks, Steve aks Steverino.  For many years of fun in television. we will never forget you or your dear wife Jayne Meadows for so much pleasure you brought the American landscape. What a wit, what a man, what a character. And thanks to those out there who wished me a happy birthday.  I pray it’s not my last.  Bless you all.

Tom Kessel

Tom Kessel

(Tom, I hope you don’t mind – I couldn’t pass up this opportunity!)

–Marsha Scheuermann (Aunt Bee)