The Golden Age Of Television (Criterion) – The title is no hyperbole: For a brief period in the 1950s, as television was coming of age, a handful of showcase anthology shows turned live television theater into the vibrant center of original American drama. It came from New York rather than Los Angeles, where ambitious producers pushed young writers to writer dynamic contemporary teleplays and drew casts from a new generation of hungry young actors (many of them trained in the Actor’s Studio) and New York stage veterans alike. And in the days before videotape and before filmed programs were the norm, these were all performed and broadcast live, partly because of the attitude that live TV was not just a program, it was an event). (The accompanying booklet, written by TV historian and Paley Center for Media curator Ron Simon, gives a much more complete background to the culture of live TV.) The production realities of live multi-camera shoots were both a restriction and an opportunity for creative solutions: an expressive visual language was born and evolved for a brief period, until film became the TV drama standard and brought a more conventional style with it. But it was only when the focus shifted from adaptations of classic novels and plays to original contemporary stories, written by a new generation of writers who watched the evolution of American society in the years after the war and wanted to get their observations into their stories, that everything came together: stories that viewers could relate to, scripts that inspired the best from the directors, drama that rose to the levels of the most gripping contemporary stage plays and actors who devoured the roles in a one-night-only performance.

Patterns: Ed Begley, Everett Sloane and Richard Kiley

This collection features eight landmark productions from that short-lived era, from the original Marty (1953), written by Paddy Chayefsky and starring Rod Steiger as the lonely working class butcher, to the original Days of Wine and Roses (1958), directed by John Frankenheimer (the most fluid, dense and dynamic of live TV directors) and starring Cliff Robertson. Both of these production were expanded into acclaimed feature films, as were many other productions featured in this set: Rod Serling’s dissection of corporate culture Patterns (1955) and his poignant Requiem for a Heavyweight (1956), the bumpkin comedy No Time for Sergeants (1955) that made Andy Griffith a star (in both versions), and Bang the Drum Slowly (1959), with a pre-stardom Paul Newman learning his craft in front of the camera. Because they were live and unseen since their original broadcast (at least until 1980s revival on PBS), these original were largely forgotten next the polish of the feature film adaptations, but live TV brought out something unique to these dramas: an intensity, an urgency, an intimacy, and an expressive storytelling language combining theater conventions and film technique with the intimacy of the small screen and the creative solutions to production limitations. “It was live,” explains Keenan Wynn in the introduction to one drama. “Not perfect, but live.” A Wind from the South (1955) starring Julie Harris and Rod Serling’s searing show-business drama The Comedian (1957) fill out of the collection. The Comedian is a perfect illustration of these limitations turned into strengths, with its feral performance by Mickey Rooney and the almost claustrophobic intensity created by director John Frankenheimer, who fills the screen with a density of background detail and a flurry of action while zeroing in on the dramatic center with laser-like precision. It couldn’t be more different from Marty only four years earlier, where Delbert Mann pulled the camera back to show characters almost isolated in their drab environments, rarely going in for the close-up, letting Steiger’s body language communicate not just his loneliness but his resignation to living out his life as “a fat, ugly little man.” You can see the evolution of language and technique in four short years, but also just how defining the director’s eye can be on live television.

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