I love 60s sitcoms. Even now, along with a few British shows, and cartoons (Simpsons or Futurama or Bevis and Butthead) they are the sit coms I am most likely to watch when they come on TV, even ahead of great shows like Seinfeld, or All in the Family or Taxi or MASH. Get Smart, Batman, Hogan’s Heroes - even the Beverly Hillbillies - I can always watch those shows.
It’s personal preference, shows I grew up on (though already in syndication; watching them at 4 in the afternoon, between Gunsmoke and Mr. Rogers), but it’s also the style. Sitcoms changed in the 60s - especially in the mid-60s. The culture changed; the technology changed (color TV!) - sitcoms shifted along with these things. The early classics - I Love Lucy, The Honeymooners, Leave it to Beaver - were all domestic shows, centered in the home; this was still the case in the early 60s, with shows like My Three Sons, The Andy Griffith Show, though the latter is as much about the town as his home. But around the middle of the 60s, shows started to appear that were more and more set outside the home - Get Smart, Hogan’s Heroes, Batman, Gilligan’s Island. And shows still built around home and family started to get a bit stranger - Bewitched and its magic, The Munsters and Addams Family, with their monsters, even the Beverly Hillbillies, with it’s over the top farce (it’s Li’l Abner vibe.) The technology changed - most of these shows were in color; most of them used single camera setups rather than multi-camera live shooting. And the tone changed - they were parodic, satiric, they embraced absurdity, camp, surrealism. They stopped trying to be realistic, they stopped pretending to be about people like you and me in naturalistic (if comic and extreme) situations - they embraced genre stories, and made fun of them, usually by combining commonplace situations (going to work, hanging with your friends, or even the old domesticity of sitcoms) with absurd situations - spies, POWs, witches, superheroes. In many ways, they adopted the style and tone of cartoons, comic strips, comic books - directly, when it comes to the Addams Family or Batman, but a lot of these shows share the style.
It didn’t last. Sitcoms in the 70s developed in a different direction - even political and socially aware shows became naturalistic again, treated their characters and situations as real people. All in the Family and Normal Lear’s other shows; Happy Days; and all the (wonderful) workplace comedies of the 70s - The Mary Tyler Moore Show, MASH, Taxi, Barney Miller - did this. Showed real work places, not comic spy headquarters or German POW camps; dropped the genre parodies, the absurdity, the magic and science fiction. The 70s was a great era for sitcoms - but I miss the weirdness of the 60s.
And none of them did it better than Get Smart. It was developed and written by Mel Brooks and Buck Henry (with Henry staying on as story editor for two years), conceived as a combination of James Bond and Inspector Clouseau. It starred Don Adams, Barbara Feldon and Ed Platt, plus a mob of character actors, with single or recurring roles. It ran 5 seasons, 4 on NBC and one on CBS, fading a bit through the years, and engaging in more than a few cheap ratings boosts in latter years, though we don’t need to dwell on that. And it was exemplary of the kind of show I am talking about here. It was made right when shows switched to color - the pilot is black and white, but the rest of the show is color; it was a single camera show for it’s whole run; it was a genre parody, and one that let in a lot of genre nonsense - spies and adventure, and funny gadgets, and straight up science fiction; it was never shy about parodying other culture - movies, other TV shows, and so on; it was packed with in-jokes, puns, references outside the show (names and titles and such); and it was a work place comedy, combining the goofy spy stuff with the banalities of an office job, using both to send up the other.
And it was brilliant. The talent was top flight - Brooks and Henry are as good a pair of originators as you could ask, and the rest of the team measured up as well. Leonard Stern and Jay Sandrich, Irving Szathmary’s glorious theme song and scores, a host of fine writers to create the show. It featured a host of outstanding supporting players, but the cast - the three leads were perfect.
Don Adams carried it, of course - he’s ideal, a perfect buffoon, with his weird voice and beady little eyes, his physical flair, the way he walks, the way he could move, the way he wore a suit. It helps that he’s a little guy, looking up to everyone around him (including 99, when he didn’t pull her down to his eye level), vain and silly, his size making him a bit more ridiculous, but also a bit more sympathetic than he could have been. He is great at everything - the broad physical comedy, the little stuff (the way he can smoke or put out a cigarette), the voices, the serious detectiving, the oblivion, the prudishness and occasional bout of lust - he was always great. He had a mile long list of catch phrases, but always seemed to deliver them as though he were thinking of them for the first time ever - except when it was funnier to think he’d used the same line 4 times this month already. He was great.
His two main foils more than hold their own. Barbara Feldon was gorgeous, with a husky, sexy voice - and she was a fine actress, and marvelous comedian. The writers didn’t give her the gags they gave Max and the Chief, but she got all the reactions, and she played them with the precision and timing that Adams played the jokes. She had an infinite supply of eye rolls and head tilts, side eyes and body language, that convey a kind of infinite patience, as though she were managing this idiot until he needed to do something heroic. And Ed Platt embodies sober authority, but with a slow burn, driven to distraction by Max, but never quite breaking, and recovering when he did - he didn’t have 99’s infinite patience, or her understanding that idiot or not, Max was blessed by the gods (or the writers) and would always come out right, so he blew up now and then, but he always recovered - and could sell the idea that he was in control all along, no matter how bad things got, how ridiculous Max's solution was, Platt could make it seem as though that was what the Chief had in mind from the start. With that voice - he could sell anything.
They were a great trio. They could carry all the modes of the show - the spy stuff, but also the workplace stuff and the social stuff. The workplace comedy was obvious from the beginning: in the pilot, Max clocks in when he enters the chief’s office, mentions overtime later - the show always had that element. Office politics, boss/employee dynamics, money - wages, benefits - unions, perks, the competition, part time work, interdepartmental rivalries, regulations, paperwork, anything you could imagine in a workplace comedy. Some of it more than you’d see in actual workplace comedies later - unions and wages and benefits and hours and such, especially. The show plays the workplace jokes against the spy jokes, a pattern that extends across everything in the show. The adventure stuff is constantly deflated with banality: the Job, or things like dialing wrong numbers, the indifference the population seems to have to all their gunplay and brawling, or just the way everyone in Washington seems to know who Control is, where they are located, what their phone number is, sometimes before the spies do. And it goes the other way - the everyday concerns of an office job or apartment life travestied by throwing spies and science fiction machines and gunplay into it. Those marvelous machines - show phones, and all the other places they hid phones; the protective devices in Max's apartment; the Cone of Silence; all the inflato-coats and lipstick guns and radio controlled pool balls and giant arrows and everything else - which parody James Bond, but also mean that the spy stuff is buried deep into their everyday lives. Kind of like the way phones and computers and technology is buried into our lives, now....
There’s more of course. Get Smart was political - a cold war comedy that mocked the cold war from start to finish. A war time comedy that mocked the military, as well as spies, as well as cops - it was a product of its time, maybe, however much it also mocked the counterculture. It was a product of its time in less admirable ways too - ethnic jokes and sexism - but these things weren’t straightforward. It had plenty of ethnic jokes - but they were as often about the people who held stereotypes as they were stereotypes themselves. And sexist jokes - Max got the lines, the action, the story, at 99’s expense; this got really bad in the last year or so, when poor 99 married him, and was confined to the house for most of the last two seasons - but it also made fun of sexism. One of their running gags is 99 coming up with a good idea, an important question, a way out of their predicament, and Max either ignoring her or saying he’d rather do it his way. 99 always defers - and Max always does what she suggested. Shoot - I saw someone making fun of that on Twitter the other day! Max the mansplainer, in 1965. There is a lot of that - with 99 and Max, with the racial and ethnic jokes they make. They play the jokes both ways - it can be complicated.
Of course, a lot of it depends on the fact that nothing, in this show, is taken seriously. I mean - nothing is treated as though it were real. There is no sense that Max or 99 or the Chief, or any of the villains and supporting characters, are real, in the way Mary Richards or Hawkeye or Archie Bunker are treated as though they are real. There is always distance - always a sense of unreality. Characters don’t have to be consistent, in this world: Max can be an idiot for 20 minutes then turn into James Bond himself for the last act. Max can be a prude in one show and a skirt chaser in the next, without missing a beat. He respects 99, he ignores 99, he flirts with 99, he’s oblivious to 99. Situations are ridiculous - machines that vaporize buildings and people without a trace; magnets that can sink a whole fleet; masters of disguise who can turn into anyone (and do - they loved that plot device!); the chief and Larrabee - or even Siegfried, complete with a mustache - dressed up as old ladies, and no one noticing. And all of it completely pliable - half the world might be destroyed, but there they all are at the end back in the office arguing about time off and whether KAOS gets better benefits. It’s not inconsistent - it’s as though the whole world was being made up again in every scene. It’s a cartoon aesthetic - not as explicit as Bugs Bunny or Krazy Kat, but it’s got the same sense that it’s not subject to any of the rules of god or man, except that it should be funny. It’s an aesthetic shared with a lot of sitcoms in the 60s, that then passed out of sitcoms - except for the animated ones. The Simpsons and Futurama, Family Guy and South Park can feel a lot like that era of TV. Though probably not as much as some of those 60s shows felt like Bugs Bunny or Pogo.
In short - it was a good one. Always funny - usually with decent story lines (though they clearly struggled sometimes to find 30 little spy stories every year for the show - a lot of them feel very thin.) Max is an icon, and 99 and the Chief (and Siegfried, especially) are not far behind. They created a host of running gags, that worked almost all the way through the show - I can't list them all can I? Missed it by that much! I asked you not to tell me that! The old X trick - second time I fell for it this month! I hope you don't mind that crack about the dummy. Sorry about that, Chief. Would you believe.... They created a host of cool and backing parts - Siegfried and Larrabee and a string of scientists to make up the gadgets, The Claw and Harry Hoo and Rupert of Rattskeller and a million lookalikes. (They leaned hard on doubles in this show - Alexi Sebastion, the Chameleon, the league of imposters, as well as Charles, King of Coronia, Connie and Floyd. They might have overdone it - but it's part of the style I think - nothing is real, nothing is permanent, no one is who they necessarily seem to be, and everything works out in the end.) I can watch this show all day and all night - it is as good as they come.
