One of the biggest changes compared to last year is the broadcasters. Having already waved goodbye to TWW a tad earlier, at the end of July 1968 ABC and Rediffusion were ushered out to form Thames Television and ATV also left London. In their places, Harlech entered Wales and the West, ATV took over the Midlands for seven days instead of five, and Granada similarly increased its days in the North West. With the North having been divided in two, Yorkshire came into, er, Yorkshire, and London was shared between Thames and the new London Weekend Television. I really love that the weekend split now begins on a Friday evening at 7pm. It seems appropriate as most people feel geared up for the weekend at that time. I’m sure LWT were keen on this too, as it meant they broadcast for three evenings a week instead of just two.

This week my ITV programmes are coming from ATV, Border, Thames and LWT.

17th June
The Miracle of Bali ‘Night’
BBC-2

I last watched David Attenborough in 1961. Since then he’s been to Australia and down the Zambezi river in Africa. But mostly, he’s been quite busy being the Controller of BBC-2 and this year becomes Director of Programmes at the BBC.

I don’t know much about Bali so was looking forward to this documentary. If you’re one of the lucky people watching in colour this evening, you’re in for a real treat. Tonight’s episode shows numerous rituals and ceremonies, many of which use magnificent costumes and decorations. You do have to be incredibly fortunate though as in 1968 only 75,000 colour television licences were sold. The price of both the sets and the licence must have put plenty off; a monochrome licence cost £6 [£105 in 2018, allowing for inflation] compared to £11 [£190] for a colour one.

We first see a funeral and though this might seem odd, we are told that it is a celebration in Bali. They are lavish and I was shocked to be told that corpses may lie in shallow graves for years while families save up for the funeral. We are also shown two young girls being put into a trance so that gods may come and possess them. Probably the strangest event is two men becoming possessed by pigs. This is only performed in some of the most remote villages. With straw and other materials tied to them, they shuffle around on hands and feet. Men in a trance like this can “possess superhuman strength” and this is demonstrated when it comes to undo the trance, with several men being needed to hold the ‘pigs’ down.

18th June
ATV Today
ATV

This short feature marks the two millionth Mini being rolled off the production line at the British Leyland factory at Longbridge in Birmingham. The Mini had revolutionised the small car market and sales galloped ahead as various stars from The Beatles to Twiggy were seen with them. Sir Alec Issigonis, who designed the Mini, is interviewed about his thinking behind the Mini as well as his thoughts for the future. He seems sceptical about a car smaller than the Mini but admits they are looking into it. The Italian Job was released a few weeks ago and the Mini is one of the stars . This must have had an impact as just two years later the original Mini would achieve its greatest ever sales at 318,475.

It Takes a Thief ‘The Galloping Skin Game’
Thames

Having never heard of this programme before, I decided to watch it based purely on its intriguing title. Robert Wagner plays Al, a former thief now employed by the government to put his skills to more positive uses. In this episode he’s been asked to make sure some important papers don’t get into the wrong hands. But as he finds himself dealing with a fellow criminal, he needs a cover so also steals a necklace.

The titles are wonderful. They are full of images of luxury like casinos, of Al smooching with women, foreign locations – it’s very James Bond and I’d even say our rebellious Al is slightly cooler than 007. Al is a likeable, witty character and I warmed to him right away. He has an uneasy relationship with his superior, who holds the threat of sending Al back to prison over his head and these comments filled in a nice bit of background for this new viewer.

Nick Grobbo is the fence Al finds himself crossing and he is played with utterly charming villainy by Ricardo Montalban, whose slight accent can be traced to his birthplace of Mexico. He has a beautiful voice and I could listen to him speak for hours. His henchman, Willy, is played by Richard Kiel, who must have conquered a line in such parts as this is a more refined role than that I saw him playing in The Man From U.N.C.L.E. in 1968. He wears a suit and generally acts more dignified while Nick makes threats against Al’s body.

I really liked It Takes a Thief and upon looking him up, I’m delighted to discover that Montalban appears as Nick in another episode. I will definitely be watching another and hoping to discover a little more about Al’s past.

19th June
On the Buses
Border

I had seen an episode of LWT’s On the Buses before but I didn’t remember being too keen. I didn’t dislike it but I didn’t instantly love it either. I did, however, quite like this episode. There were a lot of characters to meet but as they could pretty much all be classed as Stan’s mother, aunt or something-in-law, I didn’t need to keep up with them.

It’s the visit of Stan’s aunt, accompanied by her enormous dog, that upsets the house’s sleeping arrangements, leading to Stan attempting to share a bed with his brother-in-law, Arthur. With his freezing feet, he is less than ideal company.

There are plenty of things that make this episode of its time. Auntie’s conversation with Stan’s mother stands out most though. Auntie is enquiring about Stan’s lack of a girlfriend and says, “He’s not gonna turn out like Uncle Herbert?” and when Stan’s mother explains this with a limp wrist it makes it quite clear. They never used to talk about this uncle – “But it’s alright now ’cause it’s legal.” But it isn’t alright, is it? Auntie could have asked, “Is he a bit…?” yet she wants reassurance that Stan isn’t. It’s ok perhaps, so long as it isn’t one of us. Their tones show that it isn’t. The fact that she won’t just come right out and say, “Is Stan by any chance one of those homosexuals?” shows that it really isn’t ok. But in all honesty, this is not what interests me about these programmes because it’s exactly what I expect from the period. Just like Arthur expecting the women to have his liver on the table when he gets in from work, I find it more remarkable that liver has definitely fallen out of favour as an evening meal.

21st June
Candid Caine: A Self Portrait of Michael Caine
LWT

Michael Caine is someone I associate with London’s swinging sixties. David Bailey’s photographs of him are the first thing that come to mind and they epitomise cool as far as I’m concerned. With rising stars like Caine, having a regional accent would no longer be seen as such a disadvantage for actors. His profile has grown considerably by 1969 due to the success of films like Zulu, Alfie and the Harry Palmer films. The timing of this documentary is unlikely to be a mere coincidence because, as referenced above, his latest film, The Italian Job, came out a few weeks ago.

The documentary follows Caine around, visiting some old haunts as well as seeing him just relax with some friends over a game of snooker. Part of it has a ‘look how far he’s come’ feel as we cut from the outside of his childhood terraced house to his current home, filled with artwork. He certainly conveys his appreciation of what he’s earned.

In between this, Caine chats about various topics and he’s happy to move beyond just himself and his films. He compares cockneys with African Americans and black people in Britain. It’s incredibly strange to him use the word ‘negroes’. Mostly, I cringe at how old-fashioned it sounds being spoken so casually. It’s impossible to date exactly when words became unacceptable and my only reference for this is Richard Burton’s diaries. In October 1968 he writes ‘Sammy Davis Jun. told me […] that it was no longer considered kosher or ‘in’ to call Negroes Negroes but blacks’.

Caine talks about how black people often have jobs like bus conductors or lavatory attendants and comments “Well, those are all the jobs that everybody’s father I knew did.” It was interesting as he compared the way both groups had been oppressed (by the Klu Klux Klan and the aristocracy respectively), told that this was the best they deserved, and was clearly something he felt strongly about.

22nd June
Department S ‘The Mysterious Man in the Flying Machine’
LWT

I had seen an episode of Department S spinoff Jason King, so was curious to see how this would compare. It’s far less over the top and camp than the later series, which I’d found great fun, though I enjoyed this too.

A man is shot on a plane that is revealed to be a mock-up, with tape-recorded sounds being played out. He escapes and Department S are called in to investigate. I found this episode intriguing and quite gripping but by the end I felt like I’d missed something as I wasn’t sure what the plot’s conclusion was supposed to be. Nonetheless, Peter Wyngarde alone is enough to bring me back for more.

What you could have won – missing and unavailable

Here are some of the listings that intrigued me but I was unable to watch this week.

UNKNOWN How – This children’s series shows you how to do all sorts of different things. For instance, this week you can learn how to lie on a bed of nails. I have dim memories of the revived version of this programme, titled How 2.

MISSING The Bruce Forsyth Show – Every episode from this year’s series is missing. Just billed as Bruce Forsyth in this week’s issue of TVTimes, I believe you can never have enough Brucie and would love to see some of his show. This week’s guest is Sid James, which is all the more enticing. In fact, I’m keen on all the guests this series as they include Ronnie Corbett, Cilla Black, Edward Woodward and Harry Secombe.

MISSING Opportunity Knocks! – It seems absurd that so little of this long-running talent show exists, especially as many later stars appeared on it. Hughie Greene is the presenter and his name has appeared several times in the schedules across the last few years so I would like to see some of his work.

MISSING The Gnomes of Dulwich – I’ve seen Terry Scott and Hugh Lloyd in an episode of Hugh and I Spy and enjoyed them. Several of their comedy programmes are missing so it would be great to see any more. This sitcom is written by Jimmy Perry, best known for penning Dad’s Army.

MISSING An Enemy of the State ‘Point of No Return’ – The BBC really got their use of this series before it was wiped. This is its first broadcast on BBC One after being transmitted on BBC Two three times previously. They were clearly sometimes struggling to make proper use of their newer channel as at one point the same episode was being shown on Saturday and Sunday nights each week. ‘Harry Sutton, about to fly to Russia to install one of his firm’s computers in a top-secret steel plant, is trapped into getting information for a man called Hendersort.’ As I like all things espionage-related, this series sounds fantastic.

The post Back in time for TV: 17-22 June 1969 appeared first on THIS IS MY 1960s from Transdiffusion.

Outside the studios hundreds of teenage fans waited to mob Cliff. This was only a ten minute programme, but they had come from far and wide, travelling countless miles, just for the chance of seeing their idol in action for a few minutes.

Some of those crowding outside did not even catch a glimpse of him. But still they were happy to be there; content just to be near where Cliff was.

Since then Cliff Richard has reached an even higher peak of success. And apart from being one of the few pop stars to have stayed high in the popularity stakes, he has even knocked on the door of the exclusive Presley hall of fame to challenge the almost legendary Elvis for the No. 1 position.

Pop singers come and go, their career governed by the restless tastes of the teenage record buyers. Some of them are one record wonders who cut a hit disc, climb high into the Top Ten and then slide off into obscurity. Others find themselves stars overnight. But unless they can continue to provide the type of music the teenage audience want, their popularity — like the moonlight kisses of the famous Nat King Cole song — “cools in the warmth of the sun”. Some are stars at 15 and has-beens at the ripe old age of 20.

But for all these, the vagaries of “pop” music life, there are those with obvious talent — an ability certain to keep them in favour with their capricious audience. Such artistes are Brenda Lee, Helen Shapiro, Bobby Vee and Bobby Rydell, not to mention those old timers Connie Francis, Pat Boone, Tommy Steele and Frankie Vaughan.

All of these favourites have featured in ATV shows during the past year.

Cliff Richard, for instance, has appeared frequently in Startime and Sunday Night at the London Palladium programmes. That Cliff is one of Britain’s hottest show business properties is undisputed. There was a time when this swarthy dark eyed twenty-two-year-old meant nothing. But by the time he was 19 Cliff had made the top. Today he can smile at the cynics who thought him to be just another guitar-strumming teenager when he made his early television appearances in the Oh Boy show.

But the teenagers had faith in him. Cliff justified that faith. Today he is mobbed wherever he goes. ‘You miss being able to walk about unmolested,’ he says. ‘It would be nice to be able to wander about. But I like what I am doing, and that is enough to make up for it.’

In addition to the year’s stage and television successes, 1962 saw Cliff’s film The Young Ones, on release. It was a tremendous box-office success. And while the teenage fans naturally flocked to see him, so did the mums and dads, and there were many who came away from the cinema with the feeling that the Cliff of 1962 appeals to a far wider audience.

Like Cliff Richard, Tommy Steele, although he still has his youthful following, now appeals more to the family-type audience. Tommy was one of the pioneers of the business of disproving the cynics in their belief that his talent consisted only of an ability to strum a guitar and wiggle his hips.

Tommy gave a polished performance in Sunday Night at the London Palladium in January and offered a feast of entertainment later in the year when he appeared in his own show. When he made this appearance in Sunday Night at the London Palladium few people knew that he almost did not go on. When he arrived by cab for the afternoon rehearsal he discovered that he had left his music in the back of the taxi. A frantic search was begun and the police called in to help. Fortunately, the cabbie found the music, took it to a police station, and it was delivered to the Palladium by a constable.

‘Was I glad to see that policeman,’ said Tommy. ‘I wonder if that taxi driver knows that he probably saved the show that night.’ Tommy showed his appreciation by sending a reward to the police station for the driver.

Billy Fury, too, appeared in several ATV shows, including All That Jazz. Many people mistake Billy’s natural shyness for coldness. On a first meeting he is apt to appear quiet and serious. But once the ice is broken Billy quickly shows himself to be a warm, humorous person. His great love is fast cars — an interest he shares with many young pop singers, including Elvis Presley.

Of all the teenage stars to hit the headlines during the past year perhaps pert little Helen Shapiro has made the greatest impact. The latter half of 1961 found Helen an established star. And 1962 consolidated that success. Successive hit records brought fame to a poised 16-year-old girl who, when her first record was climbing high in the Top Ten, was still at a London school. Since then she has headlined Sunday Night at the London Palladium, appeared in Startime and starred in a two weeks’ season at the London Palladium Theatre.

In addition to these British successes, 1962 has witnessed another pop invasion from across the Atlantic. Brenda Lee, Neil Sedaka, Bobby Vee, Bobby Rydell, Jimmy Dean, Connie Francis and Pat Boone all came to Britain to star in Sunday Night at the London Palladium.

Pat Boone, now a firm favourite with British disc fans, came to make a film at Shepperton Studios and stayed for six months. Connie Francis, of course, has been a frequent visitor to these shores for a number of years and, as one Press man jokingly put it: ‘Connie comes here so often that the airlines are giving her a season ticket!’

Four years ago a petite 15-year-old American girl set foot in Britain for the first time. Her name? Brenda Lee. She appeared in a television show and immediately set people talking. In April of this year she returned again, this time as a fully fledged star, to top the Sunday Night at the London Palladium bill. During these four years Brenda had set the American pop world alight with her powerful voice and extraordinary personality.

Her youthful zest earned her the title ‘Miss Dynamite’ and, backed by several hit records and her successful Palladium appearance, Brenda set out to conquer Britain with a hectic tour of one night stands. Unanimously, British pop artistes acclaimed her. ‘Brenda is great,’ said Cliff Richard. While Helen Shapiro, who can probably claim to be Britain’s counterpart of this dynamic American teenager, said: ‘I think Brenda Lee is the greatest female rock singer.’ Adam Faith used Norman Vaughan’s expression to describe her. ‘I think Brenda is swinging,’ he said.

Apart from teenage entertainers, television during 1962 has seen appearances from many established star singers, from both sides of the Atlantic — artistes like Eartha Kitt, Matt Monro, Shirley Bassey, Frankie Vaughan and Lonnie Donegan. Donegan, for example, starred in another successful series of Putting on the Donegan shows for ATV and proved himself to be a dab hand at comedy in addition to being one of our most popular recording stars.

Matt Monro, the former busman, found a ready market for his talents in American night-spots. It is not easy for a British artiste to win acclaim in the United States but Matt was able to do this quite emphatically.

Before leaving the pop scene, mention must be made of a young man who, through those fine recordings Moon River and Jeannie, found a place in the top echelon — Danny Williams. Danny, the quiet spoken South African-born singer, has a style reminiscent of the velvety tones of Johnny Mathis. Danny appeared in All That Jazz for ATV.

It would not be right to talk about Cliff Richard without mentioning the fabulous Shadows — Brian Locking, Bruce Welch, Hank B. Marvin and Brian Bennet, who took over as the group’s drummer from Tony Meehan in the latter part of last year. Although they still back Cliff Richard, they are now stars in their own right, and in the past year there has been a friendly battle between the Shadows and Cliff for the top chart positions.

It has been a good year in the ‘pop’ music world.

The post The Pop Invasion appeared first on THIS IS MY 1960s from Transdiffusion.

During the summer ATV signed Chevalier for two shows which gave British viewers the opportunity of seeing again the restrained charm of this internationally acclaimed artiste.

In September, Chevalier reached his 75th birthday. For over 50 years he has been on the stage. He made his theatrical debut in 1906. In 1914 he joined the French Army and was wounded in an early battle of the First World War. He was captured, and spent the remaining war years in a prison camp.

In 1919 he returned to the stage. This was the beginning of his fabulous career, which has taken him all over the world. His film career started in 1929 and in recent years he has made a number of films in Hollywood. Despite his 75 years, the now silver-haired Chevalier can still put over a love-song in his accustomed masterly style. He is one of the few artistes who can hold the stage alone for hours.

The famous broken-English accent, the irresistible grin and the straw hat at a rakish angle all have become Chevalier’s own trade marks. So, too, has “Louise”, the song he made famous and the one which has become his signature tune.

All over the world the name of Maurice Chevalier has been identified with romantic songs. Even today, it is rare for Chevalier to be allowed to leave the stage without singing at least one of these numbers.

He has worked in every sphere of the entertainment world. He has appeared before royalty many times in Command Performances. His artistry has captivated world-wide audiences.

The post Chevalier the Great appeared first on THIS IS MY 1960s from Transdiffusion.

Yet this is Elstree in Hertfordshire. Bow Bells are miles away out of earshot. I’m on the set of Market In Honey Lane (Mondays).

I’m not exactly a stranger to London markets, either. Walked up and down Petticoat Lane on a Sunday morning (and came away with my shirt still on). Once bought a genuine “pup” in a suburban market. (A corgi, it was called. But it was a crossbred greyhound. Anyway, I got my money back.)

And there is something special about market shopping. A feeling of belonging. A camaraderie and communication between buyer and seller that is unique.

Today, I’ve got that haven’t-I-been-here- before sensation; there’s that freewheeling feeling in the air in this, probably, the greatest make-believe market in the world.

How has this authenticity been created?

Well, there’s the market people. They do look like London market people. Over 100 actors and actresses were interviewed to select the 13 regulars for the series.

There’s Billy Bush (played by John Bennett). That’s him on the vegetable stall. Lean-faced, quick-witted, perky.

Grafts only when he runs out of money; can’t stand unions, any kind of organisation, respectability means nothing to him. Always a fighter for the underdog, a Scotch drinker, big-time gambler, four-time loser.

“Hey,” he says, “watch those spuds — they squeak!”

I’m weighing up a couple of King Edwards from his stall (not barrow; Honey Lane people, like real market folk, object strongly to being tagged barrow-boys. They’re stallholders. Difference is a question of licences, apparently). But back to the potato. It does squeak. Over £500 was spent on artificial goods. Billy was lumbered with novelty potatoes. That’s his sort of luck…

But these flowers look real. “Course, they are,” says Harry Jolson (played by Ivor Salter). “Every item we handle in front of camera is genuine. Only the background stuff is plastic. Only the choicest blooms on my stall, mate.”

This is Harry all over. Flamboyant. The olde worlde dash, the carnation buttonhole, the small cigar, cheeky-chat for the birds. Every inch a business man and inclined to be mean with it.

He’s everything Billy Bush isn’t; the dreamer, not the realist. Little wonder they have a smouldering dislike for each other.

Mind, Sam English (Michael Golden) over here, is usually the man in the middle, the peace-maker. Chairman of Honey Lane Street Traders’ Association, runs a fruit stall, red-hot on market affairs… licences, breaches of the law, gossip.

A man of integrity with a big heart, yet not a sentimentalist.

As you wander down Honey Lane, you realise these people are real, human. Nothing fancy or pretentious. And you realise why Market in Honey Lane has such authenticity.

Here’s another fruit stall, run by Polly Jessel (Pat Nye) and her son Danny (Brian Rawlinson). Polly, tough, a widow, hard bargainer, yet with an acute humour. Protects her son Danny like a lioness. She is fully aware that he’s not the quick-thinking type.

Polly is aptly cast — Pat Nye keeps an antique stall in the Portobello Road market in Kensington, London, every Saturday. Honey Lane is a real home from home for her.

I must remember to nip down and see her next time I’m looking for an antique snuff-box…

Her Honey Lane son Danny might be thick, but he’s a cheerful type that you can’t help but like.

Easily distracted from the job, kind to animals, a bit like a pup himself. Bachelor by inclination, never gets involved in market politics, enjoys lashings of chips, soft fizzy drinks, and fondly imagines it’s him looking after his Mum — but it’s the other way round.

Just the opposite type to, say, Dave Sampson (Ray Lonnen) across on the vegetable stall. Dark, good-looking, sharp, go ahead, inclined to be shady if it earns a bob. Younger brother Mike (Iain Gregory) is scatty; the bird-chaser.

Yes, Honey Lane people are real all right. But then, so is this incredible set, probably the most ambitious ever erected by an ITV company.

It’s cost over £20,000… real sterling, too, not the “Bank of Funland” notes in all their tills. It is 150ft by 120ft, tucked away on a waste patch at Elstree Studios. The roads and pavements were laid by a 12-strong gang of construction workers in a month.

The barrows… sorry, stalls… are real and are hired weekly from a dealer at £5 per week for the 10 regulars. The street-lamps (eight of them) were bought from a London council for £15 each. They say the sparrows even flew in specially from King’s Cross station.

Every window on the set (16) lights individually. There’s enough power here to feed a street of 15 houses, plus something like 20 miles of cabling!

It looks right. It even smells right. Litter and decayed cabbages are specially brought in every day from Covent Garden, and spread around.

Books and magazines in the bookshop look real. But most just have saucy covers. Inside the subjects range from cookery to a guide on stage lighting — a disappointment for the night raiders on the set. They’ve had two break-ins so far.

Yes, life is indeed interesting in the Market in Honey Lane, where reality and make-believe merge almost completely. You never really know where you stand. Like right now. There’s Billy, Sam and Harry heading for the Duchess of Verona public bar. I think I’ll join them.

Well, you never know. There might be real beer in there…

The post Lanning at Large… with the Honey Lane set appeared first on THIS IS MY 1960s from Transdiffusion.

An example of this latter development was seen in a recent episode of ATV’s “private eye” series “77, Sunset Strip”.

In his air-conditioned offices in the heart of Los Angeles, Stu Bailey, senior partner in the private investigation company of Bailey & Spencer, suddenly found himself in need of vital information concerning a case on which he was working. He heard of a lead from a similar case reported in Honolulu.

In a matter of minutes he had made contact with his Hawaiian opposite number, Tom Lapaka (one of the “leads” in ATVs detective series “Hawaiian Eye”). The information he wanted was readily available and another piece had been fitted into the puzzle he was trying to solve.

Science has made possible this co-operation at great distance; but this incident also served to show the vastly different settings in which the stories told in two of the most popular series to come to the television screen are acted out.

For it is a far cry from the air-conditioned suite of offices where Stu Bailey and Jeff Spencer, “Rookie”, “J.R.” and the inimitable Roscoe -not forgetting the glamorous Suzanne — operate and have their headquarters to the tropical setting of the South Sea islands of their “Hawaiian Eye” counterparts.

Traffic passes outside the office in Los Angeles, bumper to bumper, but the pace is more leisurely in Honolulu. Being active businessmen as well as investigators, Bailey, Spencer and company must conform to wearing business suits. It is only when their inquiries take them “south of the Border” that they can exchange jackets and trousers for bush shirts and shorts. The order of dress for Tracy Steel and Tom Lapaka, however, is much more casual: their wardrobe consists mainly of linen suits, multicoloured “hot shirts” and panama hats.

When pressure of business demands some relaxation, the office staff at No. 77 have the nearby cocktail bar and restaurant of Dino’s in which to relax, there to listen to all that is latest in modern jazz, played by the resident trio.

Down Hawaii way, Tracy and Tom have their own swimming-pool, built into their office compound, and when the atmosphere surrounding a case starts rivalling the mounting temperature outside a cool plunge into the pool, with a “header” taken almost directly from their desks, can do much to get even the most complicated piece of investigation into perspective.

The pace they know out of doors is more leisurely —the climate demands this—and if road travel is almost as harassing as any Los Angeles driver has come to accept as being natural, the office’s pet taxi-driver, Kim, knows the back roads and unofficial short-cuts so well around the island that the two detectives are never likely to be delayed because of local, Hawaiian-style traffic jams.

When a case has been successfully completed and there is time to relax — even to celebrate another job well done — the laughing voice of songstress Connie Stevens is always on hand at the club at which she works to add to the pleasure of the occasion. Connie plays “Cricket” in the series. She may appear madcap, with a quaint choice in hats, but she cannot hide the fact that she wears her heart on her sleeve for the two private detectives.

That her typical woman’s jealousy has much to feed on is seen in the number of occasions when she must stand by and see her twin beaus become involved with some of the loveliest women ever to join a ship and sail south across the Pacific to romance, adventure and, sometimes, involvement in crimes of which they are the innocent victims.

To such lovely maidens in distress the services of Steel and Lapaka are always available. Though at times they may seem to fall under the spell of these beautiful women, with the added inducement of tropical nights, balmy breezes and Hawaiian-style music, their surrender is never complete. For their agreed principle of “business first” always prevents too many lasting complications, which, of course, is very much to the liking of the ever-hopeful “Cricket”.

Meanwhile, back at the “Strip”, the latest “77, Sunset Strip” series has seen Gerald Lloyd Kooksan III (“Kookie”, to the uninitiated) emerge as an investigator in his own right, with a distinct leaning towards using scientific methods of detection which no one who recalls the parking-lot attendant of two years ago with his undisciplined quiff of hair and a peculiar style of speech which earned itself the description of “Kookie talk” would have thought him capable. Certainly the two senior partners in the business have been surprised at the emergence of this “new Kookie” — but pleased, too, for here, now, is an additional and capable member of their investigation team.

Stu Bailey continues to grow wiser and more handsome as the grey hairs collect around his temples. He is still prepared to fly to the ends of the earth in pursuit of a clue. He still is given to setting female hearts a-flutter, but never finds the true girl (though Dorothy Provine came pretty close to providing the answer in one of this year’s stories!).

When not on the job, Jeff Spencer continues his liking for strumming his guitar as an accompaniment to the Latin love songs which he learned in an earlier chapter of his life.

Roscoe’s successes “playing the ponies” are no more marked than in previous years, though his contacts with bookies, race-track touts and all the other types of ne’er-do-wells who are attracted to the sport continue to be invaluable to the detective agency.

If “Rookie” has grown up, then the “hot-rod generation” have found a new champion in the new odd-job boy in the firm. His liking for a conversation in which initial letters take the place of words may occasionally confuse and irritate his colleagues, but he has already proved himself to Stu, Jeff and “Rookie” to be a handy six-footer to have around in an emergency.

Suzanne of the reception desk continues to blossom — in looks and in the more important parts she is given in the stories — which is a development to everyone’s liking.

It is true to say that life and business continues to flourish at 77, Sunset Strip, just as it does, thousands of miles away, in Hawaii.

There may be only occasional contact between the two organisations, but in one thing they have a common purpose: they provide excellent entertainment for British television viewers. And the vast correspondence which the two series — and the leading artistes in each — prompts from these viewers bears testimony to their popularity.

The post Hawaiian Eye and 77 Sunset Strip appeared first on THIS IS MY 1960s from Transdiffusion.

It was in ATV’s Saturday evening series “Man of the World” that he first caught the eye of a shrewd television executive who saw in his portrayal of a suave, devil-may-care rogue the possibility of something more than what is known in the business as a “oncer”. For the performance of Carlos Thompson, as he charmed his way through situations fraught with danger, was such as to spark off thoughts of a number of programmes reflecting similar escapades, set against backgrounds which could be international in their appeal.

The idea took root—and the “go-ahead” was given for a series of programmes. And the planners of the programmes were told that they had to stick closely to the character that had been created for that one “Man of the World” story. The hero had to be impeccably dressed; sophisticated without being foppish; attractive to women, yet of that stuff of which heroes are made; he must be witty, athletic and very much a man-of-the-world.

A tall order for a character. Equally so for whoever was to take on the role.

Carlos Thompson can truly be said to measure up to the requirements of such casting.

The Argentinian-born Thompson is tall (6ft. 2ins.), dark and handsome. He has been described as a Latin heart-throb. Although born in the heat of South America, he has made his home for a number of years in the cool “and ice” of Switzerland, where he lives with his film star wife Lilli Palmer—3,000 feet up a mountain. The very effort of getting up and down that self-same mountain answers the demand for athletic prowess. He is also robust and quick on his feet—and he has “been around”, having spent much of his adult life in the majority of the capitals of South American countries, in New York, London, and the bigger cities of Europe.

In “Sentimental Agent” he is shown as owning and running an import-export business called Mercury International which has ramifications all over the world. From his own personal experiences Thompson could well be suited for such a job in real life, for he is essentially cosmopolitan—in origin and in outlook. Despite the country of his birth— or perhaps because of it—he claims to be one quarter German, one quarter Spanish, one quarter French, and he speaks eight languages.

In his linen suit —or that cut by a fashionable Savile Row tailor when the occasion demands — his panama hat set at an angle which is neither rakish nor too lacking in character, and his inevitable, specially prepared cigar alight in its ebony holder (and this is his smoking preference as practised in real life), he is the embodiment of the male whom most women secretly hanker after, whom many women openly spend their life looking for.

It was one of the most beautiful women ever to grace the world’s cinema screens from Hollywood who first saw the potential in Carlos Thompson. He owes his career in the competitive world of filmland to the tempestuous Yvonne de Carlo. She it was who spotted him for his first English-speaking films. She lured him to the film capital in California to co-star with her in “Port Algiers”. Based on this picture — to which he had brought a tough apprenticeship in Argentinian films — he was given a Hollywood contract and hailed as a new heart-throb. Roles opposite Lana ‘Turner and Esther Williams followed. Starring parts in “The Flame and the Flesh”, “The Valley of the Kings”, “Magic Fire”, “Thunderstorm” and “Raw Wind of Eden” followed. Then he disappeared from the English-speaking screen.

Where had he gone? By his own admission he recalls: “The Hollywood-stvle life was not for me. I had to decide whether I wanted to return to Hollywood or be myself and live the sort of life I wanted”. He made his decision—and chose Switzerland as his home.

But this did not mean he was lost to films. Austria and Germany are within easy reach — after a tough journey on skis — from his 1800-built converted peasant’s chalet on the Swiss mountainside.

In these countries he has made eighteen films in the last ten years and established himself as one of the Continent’s most sought-after and popular leading men. Witness to this claim was shown while Carlos was on a quiet, private, sightseeing tour around London this spring as a break from househunting for his wife and himself for their stay in Britain to make the “Sentimental Agent” series.

As he strolled through Trafalgar Square, overcoat draped characteristically over his shoulder, cigar-holder at its jaunty angle, the eyes of some members of a visiting party of girls from one of Kent’s most proper finishing schools for young ladies noticed him. Immediately the long hours of training and insistence on decorum were forgotten. “Eet ees Carlos”, shouted the German, Swiss, Austrian girls in the group. In a moment deportment was forgotten and the smiling actor found himself surrounded by excited girls while he tried to keep up a conversation with them in the many different languages with which he was being assailed as his fans recognised him, demanded that he speak to them—of his films and of “home”.

Such is his standing on the Continent. Before long the distinctive accent of the English used in the North Country, in Wales, Scotland, Northern Ireland, Birmingham and around Hampstead could well be added to this acclaim.

The son of a writer — his father was an Argentinian newspaper editor — Carlos Thompson is following in Thompson senior’s footsteps. His main hobby is writing. He has written many short stories and at one time seriously considered taking up writing as a career.

His home in Switzerland provides the ideal requirements for a man of letters: he has peace, air like champagne — inducive to good composition — and a wife who likes to read herself and who understands the needs of a creative mind… a far cry this from the role of the modern-day swashbuckler of “Sentimental Agent”.

But Thompson is an adaptable person. He has to be, for to every role he plays he brings his own instinctive interpretation. This is always realism. In ATV’s “Sentimental Agent” he is called on to draw on the vast experience that has been his career to date. One moment he is in danger, another he is in love, in yet another he is in a situation that taxes all his wit, ingenuity and charm — but without doubt he is always in the centre of things. In such situations he gives his all — and who can blame him? Always at the back of his mind, to relish and look forward to, is that snow-covered mountain retreat where visitors, if they have negotiated the difficulties of the journey, are always welcome; but he knows that the unexpected knocks on his thick oak front door will be few and far between.

Truly, a man with a mind of his own — and a place of his own — is Carlos Thompson, “Sentimental Agent”

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