This is a creation of the quite prolific Roy Huggins for Warner Brothers Television. Perhaps we could shorten this write-up, as well as so many others, simply by creating a list which would enumerate all of the Motion Pictures and TV Series which Mr. Huggins did NOT have a hand in creating. This man was simply prolific and, we presume, $ort of Wealthy.
We really mean this. In looking over Mr. Huggins' resume, we find it to be not only extensive, but also quit eclectic; having credits in many genre and multi-media. The Huggins Output includes Motion Picture Comedies: THE FULLER BRUSH MAN (Columbia, 1948) with Red Skelton and THE GOOD HUMOR MAN (Columbia, 1950) with Jack Carson as well as such varied TV Series as: MAVERICK (Warner Brothers TV/ABC, 1957-60) with James Garner (Bret) & Jack Kelly (Bart), 77 SUNSET STRIP (Warners/ABC, 1958-64) co-starring Efrem Zimbalist, Jr., Roger Smith & Edd Byrnes, RUN FOR YOUR LIFE (Roncom/Universal TV/National Broadcasting Company, 1965-68) with Ben Gazzara, THE FUGITIVE (Quinn Martin Prod./United Artists TV/American Broadcasting Company, 1963-67) Mr. Huggins' Pinnacle with David Jansen, THE OUTSIDER (Universal TV/NBC, 1968-69) with Darren McGavin, CITY OF ANGELS (Roy Huggins-Public Art Prod./Universal/NBC, 1976) with Wayne Rogers, THE ROCKFORD FILES (Cherokee/Roy Huggins-Public Art/Universal TV/NBC, 1974-80) which is right up there with FUGITIVE & starred Jim Garner and HUNTER (Stephen J. Cannell Prod./Lorimar/NBC Network, 1984-91) with Fred Dryer & Stephanie Kramer.
Additionally, when in-between projects, he contributed scripts to many an other series. So, here's the list-don't ask again! AS for 77 SUNSET STRIP, Mr. Huggins called upon his experience in mystery & hard-boiled detective Noir stories and novels to give Warner Brothers TV and we, the spoiled, pampered, oversexed, overpaid and under-appreciated Viewing Public a right now, happening and super-cool Private Detective show. Setting the show in Los Angeles; the creator disdained the obvious taking the sleazy route in favor of a couple of real "Class Guys" in Stu(art) Bailey (Mr. Zimbalist) and Jeff Spencer (Roger Smith). I mean these guys were smart William F. Buckley Jr., classy like Olivier but tough like Ralph Meeker.
IN giving the series a comic relief component, young co-star Eddy Byrnes was recruited to portray 'Kookie" a young (but not that young) as a concession to the Female Teenie Boppers and to give us a character to assist the big guns and thus keep that old storyline moving along..
Jacqueline Beer (love that surname!) appeared as "Fronch-speaking" secretary-receptionist, Suzanne and Louis Quinn as societal bottom feeder, Race Track hustler and first class informant, Roscoe! THE tone of the stories varied greatly from week to weekly episode. Some stories were deadly serious; whereas others were true Farce. Some scripts seemed to be strictly that; that is type of story that sort of marks time and operates like the menu in a Chinese restaurant. You know what we mean; two from column A, 1 from column B and before you know it, whah-lah, we have enough elements for a story.
The second type is very serious; sort of like a big time Film Noir Movie that failed. Certain aspects are damn near brutal, too violent for TV. Murders abound and the Private "I" always seems to find himself out in a sort of limbo between the sleaze of the underworld and the bright light world of the straight and narrow.
The third type is very similar to a typical MAVERICK Script in that it's all played for laughs; almost being a parody of the Detective Genre.
Whatever the variety that we were shown on a particular week, it was a sure-fire, lead-pipe cinch that the combination of plot, characters & their interaction and some of the Coolest (though now seemingly badly dated) Music all added up to a great Friday's evening of enjoyable TViewing. (TV + Viewing = TViewing. We suspect it'll make it into Webster's this year.) BUT, if there's one thing that is certain in Television, it is that once "The Suits" in the front office start to monkey around with what has been a successful series; it usually means that the show is nearing the end of its run. We're not certain if the declining series prompts the changes or if the changes hurt the ratings of the show; although we suspect that either scenario is likely to occur and indeed has.
IN its final season of 1963-64, the new Production Head of Warner Brothers' Television, old Sgt. Joe Friday (Himself!), Jack Webb decreed that two extreme changes should be implemented. First off, in order to attempt to ca$h in on the JAMES BOND Spy craze, Private Detective Stu Bailey (operating solo, without Jeff Spencer*), turned to international intrigue and espionage. Secondly, the story went to serialization. Though no Cliff Hanger Chapterplay type endings were employed, the stories continued from week to week. Also gone was any semblance of levity that had been a series hallmark for 77 SUNSET STRIP. The series left the air in February of 1964, pre-maturely cancelled.
Mr. Jack Webb was soon shown the door at Warner Brothers as well; in no small way being due to that botched experiment of Detectives to Spies switcharoo.
What with all of that adaption of old TV Series and Cartoon Shows into Live Action tidbits for the pleasure of a rapidly aging Baby Boomer Generation, we wonder if an adaptation of this great Detective Series can be far off! Whatta ya think, Schultz?
NOTE: * Roger Smith had to leave the series and indeed all acting abruptly. He was compelled to go into an early retirement due to serious illness. About 20 years had passed and in 1985, he was pronounced as being in full remission.
POODLE SCHNITZ!!
We really mean this. In looking over Mr. Huggins' resume, we find it to be not only extensive, but also quit eclectic; having credits in many genre and multi-media. The Huggins Output includes Motion Picture Comedies: THE FULLER BRUSH MAN (Columbia, 1948) with Red Skelton and THE GOOD HUMOR MAN (Columbia, 1950) with Jack Carson as well as such varied TV Series as: MAVERICK (Warner Brothers TV/ABC, 1957-60) with James Garner (Bret) & Jack Kelly (Bart), 77 SUNSET STRIP (Warners/ABC, 1958-64) co-starring Efrem Zimbalist, Jr., Roger Smith & Edd Byrnes, RUN FOR YOUR LIFE (Roncom/Universal TV/National Broadcasting Company, 1965-68) with Ben Gazzara, THE FUGITIVE (Quinn Martin Prod./United Artists TV/American Broadcasting Company, 1963-67) Mr. Huggins' Pinnacle with David Jansen, THE OUTSIDER (Universal TV/NBC, 1968-69) with Darren McGavin, CITY OF ANGELS (Roy Huggins-Public Art Prod./Universal/NBC, 1976) with Wayne Rogers, THE ROCKFORD FILES (Cherokee/Roy Huggins-Public Art/Universal TV/NBC, 1974-80) which is right up there with FUGITIVE & starred Jim Garner and HUNTER (Stephen J. Cannell Prod./Lorimar/NBC Network, 1984-91) with Fred Dryer & Stephanie Kramer.
Additionally, when in-between projects, he contributed scripts to many an other series. So, here's the list-don't ask again! AS for 77 SUNSET STRIP, Mr. Huggins called upon his experience in mystery & hard-boiled detective Noir stories and novels to give Warner Brothers TV and we, the spoiled, pampered, oversexed, overpaid and under-appreciated Viewing Public a right now, happening and super-cool Private Detective show. Setting the show in Los Angeles; the creator disdained the obvious taking the sleazy route in favor of a couple of real "Class Guys" in Stu(art) Bailey (Mr. Zimbalist) and Jeff Spencer (Roger Smith). I mean these guys were smart William F. Buckley Jr., classy like Olivier but tough like Ralph Meeker.
IN giving the series a comic relief component, young co-star Eddy Byrnes was recruited to portray 'Kookie" a young (but not that young) as a concession to the Female Teenie Boppers and to give us a character to assist the big guns and thus keep that old storyline moving along..
Jacqueline Beer (love that surname!) appeared as "Fronch-speaking" secretary-receptionist, Suzanne and Louis Quinn as societal bottom feeder, Race Track hustler and first class informant, Roscoe! THE tone of the stories varied greatly from week to weekly episode. Some stories were deadly serious; whereas others were true Farce. Some scripts seemed to be strictly that; that is type of story that sort of marks time and operates like the menu in a Chinese restaurant. You know what we mean; two from column A, 1 from column B and before you know it, whah-lah, we have enough elements for a story.
The second type is very serious; sort of like a big time Film Noir Movie that failed. Certain aspects are damn near brutal, too violent for TV. Murders abound and the Private "I" always seems to find himself out in a sort of limbo between the sleaze of the underworld and the bright light world of the straight and narrow.
The third type is very similar to a typical MAVERICK Script in that it's all played for laughs; almost being a parody of the Detective Genre.
Whatever the variety that we were shown on a particular week, it was a sure-fire, lead-pipe cinch that the combination of plot, characters & their interaction and some of the Coolest (though now seemingly badly dated) Music all added up to a great Friday's evening of enjoyable TViewing. (TV + Viewing = TViewing. We suspect it'll make it into Webster's this year.) BUT, if there's one thing that is certain in Television, it is that once "The Suits" in the front office start to monkey around with what has been a successful series; it usually means that the show is nearing the end of its run. We're not certain if the declining series prompts the changes or if the changes hurt the ratings of the show; although we suspect that either scenario is likely to occur and indeed has.
IN its final season of 1963-64, the new Production Head of Warner Brothers' Television, old Sgt. Joe Friday (Himself!), Jack Webb decreed that two extreme changes should be implemented. First off, in order to attempt to ca$h in on the JAMES BOND Spy craze, Private Detective Stu Bailey (operating solo, without Jeff Spencer*), turned to international intrigue and espionage. Secondly, the story went to serialization. Though no Cliff Hanger Chapterplay type endings were employed, the stories continued from week to week. Also gone was any semblance of levity that had been a series hallmark for 77 SUNSET STRIP. The series left the air in February of 1964, pre-maturely cancelled.
Mr. Jack Webb was soon shown the door at Warner Brothers as well; in no small way being due to that botched experiment of Detectives to Spies switcharoo.
What with all of that adaption of old TV Series and Cartoon Shows into Live Action tidbits for the pleasure of a rapidly aging Baby Boomer Generation, we wonder if an adaptation of this great Detective Series can be far off! Whatta ya think, Schultz?
NOTE: * Roger Smith had to leave the series and indeed all acting abruptly. He was compelled to go into an early retirement due to serious illness. About 20 years had passed and in 1985, he was pronounced as being in full remission.
POODLE SCHNITZ!!