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Gunsmoke: The Odyssey of Jubal Tanner (1963)
Wanting more
I've now binge-watched all of Seasons 7 and 8, and this is the first episode I can recall during which I was not rolling my eyes at an unbelievable plot development, and that when it ended, I was surprised and wanted more.
The acting was just terrific--no nits for me to pick. And the script was so pleasingly non-spectacular. The script avoided incredible developments and was so perfectly understated. We were shown older characters who had accepted their lives, contrasted with younger ones who still had time to make something out of their lives. The elders seemed to demonstrate that a good life does not mean wild happiness every day, but rather a satisfaction and acceptance. And the ending which seemed so abrupt to me, held out a positive note of hope.
It's not the story, it's the hope that was the point here.
Gunsmoke: Ash (1963)
Still partners
The final scene between the partners was the most sensitive and affecting scene I've ever seen in a sixties Western. I am trying to recall any episode with John Dehner when the viewers are crying (rather than cheering) when his character dies. And Anthony Caruso also was just perfect here.
I noticed a couple of ironies. Right after Ben is shot, the Marshall says he has to lock up Ash. Which brings up the question why Ben was not locked up after he started acting belligerent. Ben became much more of a threat than Ash. Perhaps the territorial insane asylum was too far away.
Regardless, this episode is not to be missed.
Gunsmoke: Shona (1963)
Prejudice
Very good story about prejudice and how it can take root in a community. I think it is very relevant to remember that this episode aired in 1963, and I don't think that Roy Roberts as the hotel manager with a "No Indians" policy, which he says is rooted in local prejudice. He fears a boycott. Good ol' Ma Smalley won't have Shona either, for the same reason. I have no doubt that if a popular vote were taken, discrimination would have been approved.
At present, nearly everyone would condemn the prejudice shown here, but let's recall that in 1963, discrimination was still the law, written and unwritten, in too many locations.
Gunsmoke: The Bad One (1963)
Not good
I didn't like this episode very much, but perhaps it is a matter of taste as much as credibility.
I don't believe the Marshal hauling the suspect out of town and over to Jenny's house to have her i.d. The suspect. Especially when, up to that time, there is no credible reason to think he's a suspect other than being new in town.
And look at the troubles of the troubled youths here. Never-been-kissed suddenly falls in love with the robber. I try to attribute that to having a possessive father. But then the robber seems to have his own suitcase full of mental problems. Love conquers all? Everyone seems in severe need of psychotherapy, but absent that, I guess the sequel will be a loveless marriage where Jenny ends up killing her abusive husband. Oops, I think that's been done, too.
Gunsmoke: Phoebe Strunk (1962)
Deficient dating techniques
I started watching the episodes in order from the start of Season 7. Here it is, nearly a year and a half later, and we have a plot retread of the characters who think kidnapping, rape and general mistreatment of women forms a valid part of entertainment.
It takes quite a lot of good acting to redeem a poor script. Here, I'd say that the hillbilly caricatures are so extreme it's hard to judge the acting behind them. And if a broad-daylight on Main Street attempted abduction is not enough to indicate the perps are true psychopaths, we have the bonus of these same perps having murdered the heroine's parents.
Gunsmoke: Root Down (1962)
Tiresome and familiar wedding theme
Let's see: marriage arranged by parent(s); marriage blocked by parent(s); abduction of intended spouse; falling in love in less than 48 hours; marriage for money; lies to force marriage. You get the idea. You have probably seen it as often as I have.
Granted this is from the 19th Century, but the fondness for making marriage a plot device gives the impression that marriage was a complication, a barrier. Give me an Indian attack any day. This is a western, right? A horse opera, not a soap opera.
That said, I thought the acting was just fine. John Dehner is always a treat, and Sherry Jackson . . .
Gunsmoke: Reprisal (1962)
Women were ok to be hiring killers?
I am going to mark this a spoiler, but Cornelia carries on as though it was perfectly ok for her to hire someone to kill a marshal. And all of Dodge City evidently knew about it. So Cornelia truly thought she'd get away with it?
The only other explanation is that Cornelia is insane. Not temporary, because it lasts more than a few days. She would have to be insane--women are not "just like that."
Why doesn't someone tell her the facts of what happens to people who hire killers? The last ten minutes seem incredibly stitched together from implausible fabric. The unbelievable plot did not get any better as the show wore on.
Gunsmoke: The Gallows (1962)
Yes it's THAT good
Another comment referred to this story as a morality tale, and I totally agree. That only makes it better.
Unlike too many other Westerns, Gunsmoke did not see the need at this point in its existence, to re-think the characters of its regulars. We were allowed to observe Chester, Doc, Miss Kitty and the Marshal from one episode to the next, and so far as I could tell, the characters were consistent, and they were not re-thought in order to meet a plot necessity.
I think that this morality tale was intended to illustrate Marshal Dillon's character by presenting him with a character that is virtually flawless, which he can see and experience for himself, and the challenges when the Marshal's own instincts and feelings are at odds with the law. This is one of the best Gunsmoke episodes ever (I cannot call it the best because I have not seen them all).
Gunsmoke: Cody's Code (1962)
You're no good
At first I thought we were in for a very nice story of two basically good and generous people who come to grief as a result of acting on their good instincts. The first half of this show set that up perfectly.
At the halfway mark, I was grateful that no hasty triangle had been created. Well guess what . . .
I should have known better. On Gunsmoke, there's only one saloon girl with a heart of gold and that's Miss Kitty. In contrast, Rose had no golden heart, but instead was more of a golddigger. But I don't know why she thought Brack was better off financially than Cody. Instead, she fell in love in less than 48 hours. And Brack, who should know better, can't see that his new love is trouble.
Gunsmoke: Marry Me (1961)
It's the Darlings from Mayberry
The set-up is very familiar, as noted in other comments. I refer to Seven Brides, from about a decade earlier, where abduction rather than elopement was the plot. A serious take on this would be rather grim, but we had an episode recently which had this kind of "serious" kidnapping.
This is about two years before the debut of the Darling family on The Andy Griffith Show, where coming into Mayberry and abducting a bride was played for laughs. The Darlings and their notions of proper "wifing" were the basis of several episodes. Like the Darlings, the Cathcart family also were musical, with fiddle, guitar and jug. And in Mayberry, of course, there was Ernest T. Bass.
Wagon Train: The Betsy Blee Smith Story (1965)
Not funny
First of all, the plot with all the lies and concealment is extremely difficult to follow (at least for me). Taking notes on who knows what, who's lying, etc. Would probably help.
The second major problem with this comic script is that it was not funny. Did this take place before or after Coop was an outlaw and gunslinger? Wouldn't it be a lot easier to have the marriage certificate corrected? If the justice of the peace was known to have vision problems, the omission of a surname from the marriage certificate could be corrected.
Coop admitting he is the groom on the marriage certificate means that Coop is now legally married, requiring a divorce or annulment before he can ever legally marry. And the grandparents trying to legally shanghai Coop is not funny, just revolting.
Wagon Train: The Isaiah Quickfox Story (1965)
It was a hoot, or whatever sound a bat makes
I was amazed by the extremely low score for this episode, but let me say I've sat through a lot worse than this.
There are no vampire bats in the US, so there was no real cause for alarm. But the initial scenes were terrific, in my opinion. The episode was filmed on the Universal backlot, ironically where Dracula (1931) was filmed. The entry into what appears to be a ghost town was suitably creepy.
Of course, the town "coming to life" after dark was kind of backwards: more safety during daylight. The leading lady bursting into hysterics was a nice touch. And the Professor fooling around in the bat cave. Fred DeKova in the Maria Ouspenskaya role.
Wagon Train: The Wanda Snow Story (1965)
Frontier exorcism
This is yet another episode where, instead of cowboys vs. Indians, we have the regulars battling stupidity and prejudice.
It would be refreshing to have an episode where the "good guys" did not have to further the plot by being almost as stupid as the "bad guys."
Such as storing several crates of dynamite in the supply wagon with the sugar and flour. Could Chris Hale not see trouble brewing after noticing wild-eyed witch hunters on the train?
And those same witch hunters, who otherwise would be accomplices in an attempted murder, have a conversion in less than a minute so as to facilitate the happy ending.
Wagon Train: The Echo Pass Story (1965)
Plots and plotting
I have to count this as a spoiler, but Coop spends all but a minute or two with his hands bound at the wrist.
The "outlaw" gang seems a cut above the usual gang of thieves and murderers. As though they might actually have an ounce of intelligence.
The writing here is remarkable, I think. The particular journey here is so much more than a typical desert escape--more than a trudge through the desert as the buzzards circle.
After a few scenes, it becomes apparent to the viewer what Coop is doing. He has a long-range plan and sticks to it. Perhaps that sort of plan is unrealistically intricate, but at least it makes sense and is motivated by survival rather than dramatics. Excellent episode.
Wagon Train: The Richard Bloodgood Story (1964)
A few questions
Early in the show, Coop says there are no hostile Indians in the area. Coop throws Charlie off the train. So my question is: if Sangre is gunning for Coop, why can't someone tell Sangre and his driver to depart? They don't have any overriding privilege to stay on the train.
I also am disturbed by shows which depend on a regular character behaving uncharacteristically, such as Coop carrying on as though he were scared and paranoid. Especially to the extent of not taking Charlie and Barney into his confidence. Makes no sense whatever. Why have regulars at all,, if they don't have any fixed characters?
Wagon Train: The Brian Conlin Story (1964)
Justifying prejudice
It seemed to me that this episode did a fairly good job of justifying anti-Irish sentiment. The patriarch of the immigrants is selfish, dishonest, belligerent, ungrateful and manipulative, showing absolutely no inclination toward tolerance. Perhaps the writer thought this was simply a way of dramatizing the situation. If so, a better way should have been found because no one on the train seemed to be prejudiced against Irish.
My understanding of anti-Irish sentiment (and anti-Italian sentiment) is the religious question. Catholics were forbidden by their church from intermarriage with non-Catholics.
Wagon Train: The Barbara Lindquist Story (1964)
Romance in the desert
I think I have reached my lifetime capacity for Wagon Train episodes which involve getting stranded in the desert without water. Just not a very pleasant set up.
To the Hell of the desert, we soon have High Water added, as the pair are seen sloshing through a swampy area.
But nevertheless, Dana Wynter and Robert Fuller do a fine job with a developing romance under extreme conditions.
It would be interesting to have a chart done showing what body parts certain characters have had shot or otherwise injured. There can't be many uninjured parts Coop has left. Yet in a characteristic of most western series, by next week Coop will be fully recovered, with no scars. Not a spoiler, just a fact.
Wagon Train: The Hide Hunters (1964)
Buffalo songs
About half way through the episode, as I was watching the second buffalo song performed at length, I recalled that the last episode featured Tommy Sands in a non-speaking (and non-singing) part.
Chris Robinson plays a totally unredeemed character, though his singing is just fine.
I guess we should make some credibility allowances here: sending Barney out with Gib, risking Indian attack in pursuit of meat. And in addition to the songs, we have an extended arm-wrestling competition.
In general, the episode was enjoyable and interesting. I won't comment on any plot developments. But this is well worth watching.
Wagon Train: The Zebedee Titus Story (1964)
Justifying age discrimination
As I was watching this, a thought occurred to me. What if this episode had started with the wagon train personnel not having any doubt about Zeb's ability and usefulness, instead of everyone clearly indicating that they thought he was too old for the job? The subtle message is that age discrimination is justified without allowing an elder a chance.
Granted, Zeb does indeed have limitations (there'd be no show if he didn't), but it would have been more dramatic and certainly more interesting to see the discovery of the limitations and the extent to which anyone might be willing to accommodate them. Chris Hale has the best approach.
Neville Brand was simply wonderful here, demonstrating that he was an actor before becoming a cowboy.
Wagon Train: The Link Cheney Story (1964)
Melodrama with cards
In The Cincinnati Kid, the card game was undoubtedly the central framework of the film, showing in a more or less realistic way the reigning champ and the challenger. We even got to know the dealers.
In contrast, this episode had a few games, but these games were only a clothesline on which to hang out the melodramatic wash. The show was not about the game or even about gambling, but rather about settling down, growing up, and being an adult. Perhaps gambling was intended as a metaphor for life. If so, why is the take away "Know when to hold em, know when to fold em." That's an ace you can keep.
Wagon Train: The Santiago Quesada Story (1964)
Great action episode
Finally, cowboys vs. Indians in many variations, but there are several extended armed attacks: on the wagon train, on a cavalry regiment, on a bank. It would be very unusual for the production budget to cover the filming, stunt men, trained horses, extras, etc., needed for such extended scenes. So obviously some footage was found elsewhere. But so far as I could see, the recycled footage was mostly appropriate, and it allowed for a good, traditional western episode, rather than the soap opera and psychological stories which dominated most of this season.
At times the battle lines became a bit blurred: who hates who and why. But I really enjoyed this episode.
Wagon Train: The Whipping (1964)
Repellent
I am not sure why a series would have regular characters and then have the same characters act so uncharacteristically.
For instance, Barney suddenly developing a shocking lack of maturity for a 16 year old. Perhaps he should not be expected to act as an adult, but more should be expected than acting like a 10 year old. And he has been a regular for nearly a season, and been with the wagon train for more than a few days. Yet no sense of responsibility has developed? Maybe he's a sociopath, like Clu Gulager was in the last episode.
And Bill acting just as irresponsibly. I had to turn this off after about 10 minutes.
Wagon Train: The Duncan McIvor Story (1964)
Familiar recipe
Can you imagine the commanding officer of an Army post being unfeeling and basically inhuman, resenting any subordinates who may be competent? Well, certainly; that set up should be familiar to Wagon Train viewers.
Can you imagine a talented and conscientious officer who is unjustly accused of a crime which everyone assumes he committed? Ditto.
Can you imagine two officers with a common backstory, friends from earlier, and one of them is good, one bad? Ditto.
Add a dash of Lady Macbeth, sprinkle liberally with Indians, and you have a very familiar salad. Tasty, yes indeed. But certainly nothing new.
Wagon Train: The Melanie Craig Story (1964)
Predictable
This is basically a comic episode in a battle of the sexes from the Sixties. I believe that a viewer will probably guess before even halfway through how the episode will end.
Do not expect any real western action here. Instead there are comic scenes of the four suitors battling one another for the widow's affection. And there is also a dinner-table scene with the Basham family which reminds me of "Overboard" crossed with "Mary Poppins" with a dash of the Sabine Women from "Seven Brides".
The whole episode was pleasant, with no unnecessary contrived drama added. The Outdated Cultural Depictions can't be denied, but if such stuff offends you, there are other television shows to watch.
Wagon Train: The Andrew Elliott Story (1964)
Duke gets a story
I thought this was a terrific episode. Everett Sloane was just right, and luckily the writer did not think it was necessary to make him into a stereotype. Instead he played a father in search of his missing son, but he appears to be open to learning the truth rather than finding an excuse to deny and cover up.
Dick Sargent is also near-perfect in the part of the son, who basically had to relate through a few brief speeches the essence of his character. Marvelous job.
Col. Ryder unfortunately is an example of the stereotype, and I can't really see any point in his character other than serving as a plot device.
But Denny Miller was given an opportunity to shine, by having a script which makes him the main character and uses his rather limited acting range to what he does best. Denny had maybe three crayons in his box of colors, but his best is being honest, having a good sense of right and wrong, and perhaps being too trusting. He is obviously unfamiliar with government and big city life. That kind of innocence is just perfect for Duke.
His best was in a Season Five episode with Dick York, the "Charlie Shutup" story. But this episode was a close second. And Duke didn't even have to take off his shirt.