Combat!, a one-hour WWII drama series on television, followed a frontline American infantry squad as they battled their way across Europe. With mud-splattered realism, the show offered ... See full summary »
When a twenty-something computer geek inadvertently downloads critical government secrets into his brain, CIA and NSA assign two agents to protect him and exploit such knowledge, turning his life upside down.
The Saint is a modern day Robin Hood of sorts. He steals from rich criminals (gangsters and the like) and keeps the loot for himself. And he usually manages to get the rich criminals put ... See full summary »
The Cartwright's thousand-square-mile Ponderosa Ranch is located near Virginia City, Nevada, site of the Comstock Silver Lode, during and after the Civil War. Each of the sons was born to a different wife of Ben's; none of the mothers is still alive. Adventures are typical western ones, with lots of personal relationships/problems thrown in as well. Written by
Ed Stephan <email@example.com>
In 1968, Dan Blocker began wearing a toupee on the series as he was approaching forty and losing hair. He joined the ranks of his fellow co-stars Pernell Roberts and Lorne Greene, both of whom began the series with hairpieces (Greene wore his modest frontal piece in private life too, whereas Roberts preferred not wearing his, even to rehearsals/blocking). Michael Landon was the only original cast member who was wig-free throughout the series, as even Victor Sen Yung's Hop Sing wore an attached queue (ponytail). See more »
The story of Bonanza starts in 1859 Nevada but the clothing worn by the cast is invariably 20th century . For example belt loops did not appear on men's trousers and jeans until many decades later. See more »
In the opening sequence, when the actors ride on their horses towards the camera and are introduced, the order in which they are introduced is never consistent - this was most likely done to prevent a single actor from becoming the "main" star of the show. See more »
Feature film makers have many lessons to learn from this classic western serial. Although each episode was made on a small budget when compared to the Hollywood "A" features of today, all of the production values of great classic movies of the golden age -- painterly composition and design, emotionally effective acting, lyrical music, suspenseful storytelling, beautiful timing, strong dramatic dialogue, elegantly choreographed action, powerful themes, colorful period costumes, folksy comic relief -- all of these values were at a consistently high level from show to show, with never an awkward effect or a misfit scene. Each of the featured characters was drawn in a unique and stylish way, suggesting the storybook characterization that distinguishes the best of the Hollywood golden age. Every one of the episodes stands well as a feature length movie in its own right and would look as good on the big screen as on TV. There's plenty of feeling, no padding or softness, and no mindless experimentation with technique or vulgarity such as has ruined so many westerns made since 1970.
It's difficult to understand why an approach which succeeded for so long was abandoned in the 1970's by both television and feature film makers. Many producers turned instead in the direction indicated by spaghetti westerns. Compared to classic westerns like "Bonanza," spaghetti westerns were much less lyrical and took more of a gutter eye view of the old west, stripping it of its romantic appeal and substituting what to a misguided new generation seemed a dirtier and therefore more authentic realism. In retrospect, Hollywood gave up way too much for the little that it got in return. The success of a vast body of works similar in appeal to "Bonanza" (including many of the other action adventure TV serials made from the '40s to the '60s) is proof that there is a widespread taste that is radically different from the one which has predominated in Hollywood since the '70s. Let's hope that one day we'll see the return of Bonanza's classic values to the screen.
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