Friday, March 13, 2020

Miss Tallulah Bankhead as "Black Widow" (2)

This post is the second one in which I examine Tallulah Bankhead's appearances in two episodes of the 1960's television show Batman. You can read my opening commentary and the details of the first episode here





Batman and Robin manage to escape the giant spiders, but they still must face the Black Widow and her merry men.



Ever the polite hostess, BW offers Batman some champagne. 



Batman quickly informs her he only drinks milk, and she replies that there may be some around somewhere. 



One of her men, Trap Door, produces a half gallon carton.




Black Widow manages to drink some milk, but she's not happy about it 




During their little tete-a-tete over milk, Bankhead gets to unleash her raucous laughter.






Black Widow's next nefarious plot is to send a Batman robot and the real Robin to fetch some money from another bank. 




BW and her men are very happy with the idea, but the joy doesn't last long. 






The Chief of Police Miles O'Hara and some of his men show up to capture the gang.





When next we see BW and her men, they are undergoing some brain therapy in jail.







Black Widow emerges very happy with the results, and all is well in Gotham City until next week's villain shows up!






Wednesday, March 11, 2020

Miss Tallulah Bankhead as "Black Widow" (1)

The live action Batman TV series ran for 120 episodes in the swinging sixties, from January 12, 1966 until March 14, 1968. The campy take on the legendary character was so popular ABC broadcast episodes two nights a week during the first two seasons. The series also spawned the first full-length feature film with Batman, released in 1966. 

A prominent aspect of the show featured recurring villains played by well-known actors of the day who joined in the fun. Cesar Romero played The Joker, Burgess Meredith The Penguin and Frank Gorshin and John Astin both played The Riddler. Julie Newmar and Eartha Kitt starred as Catwoman. Less well-known villains were acted by George Sanders, Vincent Price, Cliff Robertson, Milton Berle, Anne Baxter and Carolyn Jones among others.

Alabama's own Tallulah Bankhead appeared in two episodes in season two, "Black Widow Strikes Again" on March 15, 1967, and "Caught in the Spider's Den" the following night. I've done several blog posts on Bankhead and will no doubt do others in the future. I wrote about her 1932 film with Robert Montgomery, Faithless and her 1944 film Lifeboat. She made two appearances, sort of, on Lucille Ball comedy shows. I've also written about a 2018 visit to the Jasper home of her father, William Bankhead. You can find my brief biography of her in that Lucille Ball post.

Well, just how did Miss Tallulah Bankhead get on this show, anyway? Joel Lobenthal in his 2004 biography Tallulah!: The Life and Times of a Leading Lady tells the tale. One of her lifelong friends was actress Estelle Winwood, and she told Tallulah what a good time she'd had during her appearances. Bankhead made a late night call to executive producer William Dozier  and told him she "must" be on the program. Production staff member Robert Mintz wrote two scripts about a new villain created just for her. The Black Widow had taken up a life of crime after the death of her husband, Max Black. In the show her partners call her "Blackie" or "BW". Batman declares she is "sophisticated but evil."

By the time these episodes were broadcast, Tallulah was less than two years away from her death on December 12, 1968. Her health problems had limited her acting in the 1960's. Her last appearance on Broadway came in a revised version of Tennessee Williams' The Milk Train Doesn't Stop Here Anymore which ran briefly in January 1964. Williams' had written the play for her and loosely based the character Flora Goforth on her. 

Bankhead made her last trip to Hollywood from her home in New York City in December 1967 to appear on the Smothers Brothers Comedy Hour. She appeared on The Tonight Show with Johnny Carson one final time on May 14, 1968. Joe Garagiola was guest hosting; John Lennon and Paul McCartney, and pie-in-the face comedian Soupy Sales were also guests.

I recently watched these two Batman episodes, and in this blog post and a second one I'll be discussing them. See further comments below. The show certainly wasn't high art, but these episodes with Bankhead were fun to watch.

Alabama has had at least two other "spider" women, Carol Foreman & Marie Hilley. Alabama native and actress Forman played the lead in The Black Widow, a 1947 film serial from Republic Studios. Hilley was a real-life Alabama serial killer often called "The Black Widow". 




















As our story opens, Black Widow arrives at a bank in the sidecar of a motorcycle driven by one of her underlings. 



In the bank president's office she turns on the charm. 





Black Widow used hypnosis, drugs, and other methods to control victims. In this first episode she uses a machine to short-circuit brain waves and make the victim obey her commands. 





Soon she is leaving the bank with a big bag of money.





In her lair, the Black Widow and her henchmen admire the money.




Soon she is arriving at another bank. Here, before she can take possession of the money, Batman and Robin show up. Police Commissioner Gordon has asked for thei help in catching her.






Blackie whips out another of her weapons, the Instant Nerve Paralyzer ad zaps Batman with it. She doesn't even bother with little Robin. 




With Batman under control, the Black Widow can toy with Robin.





Black Widow and her driver return to the lair, which is underneath a suburban home. 





On her periscope she watches the arrival of Batman and Robin after the nerve paralyzer has worn off. 





Black Widow soon has the Dynamic Duo in her web, literally, and questions arise when she unleashes her real giant spiders.






Well, as they say, "Tune in tomorrow night...."




These are the actors who played Black Widow's partners in crime. Donald Barry acted in a number of western TV shows as well as other programs and films. Al Ferrara has only a few credits in the IMDB in addition to these episodes. Michael Lane had a number of roles in films and television between 1956 and 1994 including Hondo, Gunsmoke, Kojak, and Mission Impossible. 





Actor George Raft makes a brief, uncredited appearance near the end of this episode. In November 1933 Bankhead had a five-hour radical hysterectomy at a Los Angeles Hospital. The operation, which almost killed her, was done to treat an advanced case of gonorrhea. According to Lobenthal's biography, she later told a confidante that Raft had given the disease to her. The two actors don't have a scene together, but the juxtaposition seems odd. Were such uncredited appearances common on the show, or did Tallulah have something to do with it in this episode? 














Tuesday, March 10, 2020

Alabama History & Culture News: March 10 edition





Here's the latest batch of links to just-published Alabama history and culture articles. Most of these articles are from newspapers, with others from magazines and TV and radio station websites. Enjoy!


Remember When: The history of Johnson Park
Johnson came to Alabama where he began his teaching career at the Enterprise High School as coach and teacher. He served as Superintendent of ...


New Adka community to receive historical marker
Coley has served as part of the Alabama Historical Commission since being appointed in 2017 by then-Gov. Robert Bentley. One of the many duties ...


'Big Fish' author Daniel Wallace visits Wallace State March 12
... Read book, “Big Fish: A Novel of Mythical Proportions,” and the 2019 Harper Lee Award recipient, is a nationally-recognized Alabama writer.


Today in History, March 7: Civil rights march in Selma, Alabama violently broken up on 'Bloody ...
... of people in Selma, Alabama, to commemorate the 50th anniversary of the "Bloody Sunday" march of 1965, saying that America's racial history "still ...


Inside The Museum Preserving Selma, Alabama's Complicated History
The history of Selma, Alabama, is often defined as a long and tumultuous ... The book goes on to describe her capture — a rival tribe tried to make ...

The protest in Marion, Alabama was sparked by the arrest of a minister who was leading efforts to register black people to vote. It ended with the fatal ...

History Professor Looks Back On Four Alabama Suffrage Leaders And Their Fight For The Vote
By Carla Davis. Alabama women today hold political office at local, state and national levels. In 2018, Alabamians elected Gov. Kay Ivey as the state's ...

A Pilgrimage to Montgomery, Alabama
I don't know precisely why this history strikes such a chord with me, but it does, even though I was born and reared in Santa Barbara and have lived here ...

History and Preservation Society making its mark on Lawrence County
Anne Newport Royall, born in 1769, to whom the historic marker is dedicated, relates her experience at Melton's Bluff in her “Letters From Alabama ...


McCarter writes 'Pandamonium' to recount return of baseball in North Alabama
“He brings home our message of 'Minor League Baseball in a Major League way.' We are proud of this work.” McCarter has won “Alabama Sportswriter ...

Wetumpka First Baptist Church to raze historic building damaged by tornado
"Alabama's archive was second only to Virginia's in its size and scope; unfortunately, nearly 40% of the buildings documented since 1935 have been ...

Women's History Month: 18th US Surgeon General Dr. Regina Benjamin has roots in Alabama
Women's History Month: 18th U.S. Surgeon General Dr. Regina Benjamin has roots in Alabama. By Donna Cope. March 5, 2020. Women's History ...

Historic Selma Pilgrimage Preparations Underway in Selma
From the West Alabama Newsroom–. The city of Selma will showcase another aspect of it's rich history soon. That's because the 45th annual Historic ...

'Pandamonium' chronicles launch of Rocket City Trash Pandas
“Pandamonium: Engineering Pro Baseball's Return to the Rocket City,” a book chronicling the Trash Pandas' arrival in Madison, will be released in ...

The Legacy of George Wallace
Despite this history, Wallace's name still appears on buildings across Alabama – including in Birmingham, at the University of Alabama's Bell-Wallace ...

Remembering author Charlotte Miller, a victim of the 2019 Beauregard tornado
She was a regionally renowned storyteller who wrote the kind of old stories most Alabama writers don't anymore, according to Randall Williams, ...


Huntsville Civil Rights driving tour
A lot has obviously changed in six decades, but the history last forever. ... had never gone to school together, in the history of Alabama,” said Hereford.


Bill would designate Alabama Black Belt a heritage area
(AP) — Alabama's Black Belt region would become a National Heritage Area ... historian's work preserves moments from Alabama's early history.


Library event draws book lovers, features well-known writers
Library event draws book lovers, features well-known writers ... bestselling author Joshilyn Jackson who wrote “Gods in Alabama” and Thomas Mullen, ...



Kenneth Jones' ALABAMA STORY Combines Homecoming, Debut At ASF
Alabama Shakespeare Festival presents Alabama Story by Kenneth Jones on the ... to ban a gentle children's book, in which a black rabbit marries a white rabbit. ... The Montgomery premiere of Alabama Story is a true homecoming!

Wednesday, March 4, 2020

Actress Viola Allen

Tallulah Bankhead was a Huntsville native who grew up to become a major figure in British and American theater from the early 1920's until the early 1960's. I've written several blog posts about her, including this recent one on her appearances on the Birmingham stage. In this post I want to talk about another female theatrical star who was also a Huntsville native.

Viola Emily Allen was born in that city on October 27, 1867. Her parents were actors, Charles Leslie Allen [1830-1917] and wife Sarah. I did not find any of the three in Alabama in the 1870 census, and by the time Viola was three years old the family was back in Boston where her father was born. 

He made his first professional appearance in Uncle Tom's Cabin in Troy, New York, in 1852. During his long career he shared the stage with such theatrical luminaries as Edwin Booth and Edwin Forrest, in plays like Hamlet and King Lear. In the 1864, 1865, 1866 seasons Allen worked at the National Theatre in Washington, D.C. Perhaps in the 1867 season he was on tour with a play and a pregnant wife who just happened to give birth in Huntsville. I'm not sure what else would bring actors from the northeast to a town in a war-ravaged region in the midst of Reconstruction. The finding aid for a collection of Allen's playbooks at the University of Buffalo is here.

After education in Boston, then boarding schools in Toronto and New York City, Viola Allen had her initial professional role at 15 via her father's connection. He was in a production of Esmeralda at a theater in New York in 1882. The actress playing the title role became ill, and the stage manager asked Allen's father if Viola could fill in. That successful debut attracted attention, and Viola went on to a long career of Shakespearean and other roles until she retired in 1916. Her career included over two dozen plays on Broadway. Her final part there was Lady Macbeth. 

Allen starred in one silent film, The White Sisterreleased on June 15, 1915. The six reel film was based on the successful 1909 Broadway play of the same name by F. Marion Crawford and Walter Hackett in which Allen also starred. Crawford wrote the original novel. The film is presumed lost. 

In 1905 she married Peter Duryea, and they remained married until his death in 1944. After retirement Allen supported various theatrical and charitable groups. She died on May 9, 1948, and is buried in Sleepy Hollow Cemetery in Sleepy Hollow, New York. 

You can see numerous photographs of Allen at the New York Public Library's Digital Collections

The lives of Viola Allen and Tallulah Bankhead have similarities but also  differences. Both were born in Huntsville. They both started acting careers very young, Allen on the stage at 15 and Bankhead in a silent film at 16. Both had long careers, although Bankhead's extended almost twice as many years. Both women came from prominent families, one in the theater and the other in politics. 

Although most of Bankhead's career was in theatrical work, she also made many more films than Allen. Finally, Bankhead's ties to Alabama were much stronger than Allen's. She returned to the state many times to visit family and to act in touring theatrical productions. I would be surprised if Allen ever return after moving away with her family at the age of three. 






Source: New York Public Library Digital Collections



Allen in the film version of The White Sister

Source: IMDB





VIOLA ALLEN DURYEA
1867-1948
HER VOICE WAS EVER SOFT,
GENTLE AND LOW

She is buried in Sleepy Hollow Cemetery in Westchester County, New York

Source: Find-A-Grave
Photo by Jody Lutter



Allen in Daughter of Heaven

Source: Wikipedia


The following profile of Allen by Henry Tyrrell appeared in Cosmopolitan Magazine February 1913.








The Daughter of Heaven, disguised in martial aspect and a heavy harness of armor, descended from the beleaguered ramparts of Nanking at the Century Theater, and stepped out of the gorgeous poetic atmosphere of Pierre Loti and Mme. Judith Gautier's Chinese love-tragedy into a severely modern and unimaginative stage reception-room for a few minutes' human chat. Only her eyes and voice were natural; but these would suffice for instant identification by anyone who had ever seen and heard Viola Allen. "'The Daughter of Heaven' always appealed to me strongly as just my kind of play and my kind of part," she said after the preliminaries of greeting were over. "It is Romeo and Juliet reincarnated in the terms of an art and a civilization so ancient that by comparison Shakespeare's romances seem strangely modern. But to me it is just as human in its emotions as they are. Of course there is more literary formality about this piece, even in the French original - and any such work is bound to lose something in translation. However, since the authors were well content that their play should have its first production on any stage by English-speaking actors, and Pierre Loti himself expressed unreservedly to us, to us and to the public his admiration of the result - why, there's glory enough for us all, don't you think?"

"Surely. And what is the significance, or, rather, the effect - of the popular price admission schedule introduced by the present management in a millionaires' playhouse, which was also handicapped with a reputation for harboring high-brow stuff?"

"The effect," answered the actress triumphantly, "is that now I can point to real, big, responsive audiences - like this you see to-day - and enjoy the supreme satisfaction of saying, "I told you so! I never knew it to fail. Put within the public's reach something you have conviction in, something that has made a hit with you, and it will make a hit with them. I don't care whether it is high-browed, or low-browed, so long as it is human."



Viola Allen ought to know, for she has been in all these and other kinds of theatrical experiences during practically the whole period of a restless and changeful generation. Her New York debut was in "Esmeralda" when she was fifteen. Between then and now is a long stretch, a wonderfully diversified career, especially interesting as we have reason to believe that its full culmination is yet to be achieved, although her place is already secure in that small but supreme group of our native actresses whom you could number on your five fingers, and which includes Maude Adams, Julia Marlowe, Ada Rehan, and Minnie Maddern Fiske.



Here is a striking, a splendid record. Lit with lurid glare or vibrant with coarse-grained passion in the Hall Caine outpourings - "The Deemster," "The Christian," "The Eternal City" - it has risen to serene classic heights in the Perdita of Shakespeare's "Winter's Tale," found the sacred fount of tears in "The White Sister," and donned the trappings of garish society in such artificial comedies as "The Toast of the Town" and "The Comedy Mark." Even the startling and spectacular had her recognition, though not to say any great effect, in Louis N. Parker's "Lady of Coventry," a discreet version of the same horse-back riding Eve who figures in Mascagni's most elusive recent opera, "Ysobel." "Shenandoah," "Twelfth Night," "Aristocracy," "The Rivals," and "The Hunchback," were also on her road to fame.


Like all dramatic artists who put thought and intellectuality as well as emotion into their work, Viola Allen has some individual views regarding things theatrical. Everyday-experience in the real work of her profession has brushed away illusions and made her shrewd and practical. At the same time, observation abroad has widened her artistic horizon, and kept her ideals from fading.

According to her, the self-sacrificing heroine will hold her place on the dramatic stage as long as she survives in real life. Yet the modern view, that the weeping, willing victim of oppression and wrong sets a harmful example, is probably correct. Optimism has grown fashionable; and the greatest acts of heroism and devotion nowadays are performed by cheerful, smiling, and perhaps well-gowned women, in a logical, undeclamatory, matter-of-fact way.



Speaking of audiences, Viola Allen remarked recently (but it was before she had come to the Century Theater): "It is a grand thing to have an interested, politely attentive Broadway audience, and yet - well, it is grander to have an audience - a Harlem audience, let us say - that will take a thrill and then give it back to you. Broadway is a bit blase. Can you blame it?"



Originally published in the Cosmopolitan Magazine, February 1913.
Written by Henry Tyrell.