East Side West Side (TV series)
1963 American TV series or program From Wikipedia, the free encyclopedia
1963 American TV series or program From Wikipedia, the free encyclopedia
East Side/West Side is an American drama series starring George C. Scott, Elizabeth Wilson, Cicely Tyson, and, later on, Linden Chiles. The series aired for one season (1963–1964), and was shown Monday nights on CBS.
| East Side West Side | |
|---|---|
| |
| Genre | Drama |
| Created by | David Susskind |
| Written by | Edward Adler Robert Alan Aurthur George Bellak Robert J. Crean Edward DeBlasio Millard Lampell M.L. Paterson Arnold Perl Robert van Scoyk Allen E. Sloane Irve Tunick |
| Directed by | John Berry Marc Daniels Herschel Daugherty Tom Gries Alex March Daniel Petrie Allen Reisner Ralph Senensky Jack Smight Ron Winston |
| Starring | George C. Scott Elizabeth Wilson Cicely Tyson Linden Chiles |
| Theme music composer | Kenyon Hopkins |
| Composer | Kenyon Hopkins |
| Country of origin | United States |
| Original language | English |
| No. of seasons | 1 |
| No. of episodes | 26 |
| Production | |
| Executive producers | David Susskind Arnold Perl Daniel Melnick |
| Producers | Don Kranze Larry Arrick |
| Cinematography | John S. Priestley |
| Editor | Sidney Meyers |
| Running time | 45–48 minutes |
| Production companies | Talent Associates United Artists Television |
| Original release | |
| Network | CBS |
| Release | September 23, 1963 – April 27, 1964 |
Set in New York City, the show explored issues of urban life, some of them grim. Though it won critical praise, it also generated some controversy. TV Guide ranked it #6 on their 2013 list of 60 shows that were "Cancelled Too Soon".[1]
The series centers on Scott in the role of Neil Brock, a New York City social worker who works for the private agency Community Welfare Service, with his secretary, Jane Foster, played by actress Cicely Tyson (this was the first time an African-American starred in a television drama).[2] Episodes of East Side/West Side addressed topics relevant to the inner city, with many controversial issues explored. A typical example came in the first two episodes, when Brock investigated a prostitute and her child ("The Sinner"), followed by a story involving statutory rape (“Age of Consent”).
In an effort to tackle issues effectively, Brock resigned from his job during the latter portion of the 1963–64 season to work for a New York congressman, Charles W. Hanson (Chiles). The characters played by Elizabeth Wilson and Cicely Tyson soon disappeared, and Barbara Feldon was introduced as Brock's girlfriend for one episode.
Despite the high quality of both the writing and acting, the show's tendency of addressing sensitive topics forced many potential advertisers to avoid sponsorship of the show, while a number of television stations affiliated with CBS across the country also chose not to air the program for their local viewers. It was reported that CBS programming chief James Aubrey clashed with Scott over the direction of the show, also a factor in its cancellation.[3]
The December 23, 1963 episode, "Creeps Live Here," was originally scheduled to be broadcast on November 25, but was postponed as CBS concluded their four-day live coverage of the John F. Kennedy assassination.
East Side/West Side ran on Monday evenings at 10 PM, opposite ABC's medical drama about psychiatry, Breaking Point and NBC's Sing Along with Mitch starring Mitch Miller. The show's executive producer, David Susskind, began a letter-writing campaign to government officials, newspaper editors, and other prominent individuals to gain support for renewal of the series. However, the effort failed when the show was cancelled on January 28.
East Side/West Side started as a vehicle for George C. Scott, who had recently gained prominence after acclaimed theatrical performances and a series of important films. On January 3, 1962, CBS and United Artists announced that they were beginning preparations for an hour-long drama starring Scott, to be launched during the 1963-1964 season.[3]
Scott did not like the idea of the show being prepared for him and threatened to abrogate his agreement with CBS. The president of CBS, James Aubrey, introduced Scott to an independent producer David Susskind, who turned to his friend Robert Alan Aurthur, a talented television playwright, for a screenplay conception. Aurthur offered an unproduced script, My Three Angels, centered around a trio of inner-city social workers, and rewrote the script to fit Scott. Aurthur renamed the project East Side/West Side, a reference to the two halves of upper Manhattan as bisected by Central Park. The main protagonist was Neil Brock, played by Scott — a tough, impatient, temperamental case worker. With the approval of Aubrey and his newest television star, David Susskind began production on Aurthur’s pilot script, a story about a teen gang killer and his path through the legal system, now called It’s War, Man.[3]
The central location of the series was the Community Welfare Service (CWS), a private agency that served as home base for three social workers dedicated to solving the daily problems, major and minor, of the residents of an impoverished Manhattan neighborhood. According to George C. Scott, the setting was chosen deliberately to get his character out of the office and maximize the audience’s exposure to the real streets of New York.[3]
In November 1962, Susskind attended a meeting of the New York City Social Work Recruiting Committee and announced his plans to create a television series focusing on the social work profession. He and his staff were provided with appropriate literature from the Committee, which they used to discuss story ideas and scripts. In January 1963, Bertram Beck, Executive Director of the National Association of Social Workers (NASW), informed his organization of Susskind's interest in producing a show about social workers and requested that his subordinates send story ideas to the producer. Beck served as consultant and technical adviser for the series, reading the scripts, making editorial comments and changes, and handling much of the mail from social workers who wrote to NASW about the series.[4]
"It's War, Man" resembled an episode of the contemporary courtroom procedural series The Defenders and gave little indication of the shocking, socially conscious show that East Side/West Side would become.[3]
During the 1950s, the Eisenhower Administration accepted the doctrine that "economic growth would itself, by diffusing prosperity, reduce inequalities and resolve social problems. The progressive tax structure, expanded welfare services, mass public education, and the G.I. Bill all served the twin aims of economic growth and income redistribution".[5] However, by the mid 50s, some disputed whether economic growth alone was distributing such benefits as expected.[5]
In 1962, Michael Harrington, in The Other America, exposed the misery and deprivation of a "new" poor. This group, consisting of the sick, disabled, elderly, minorities of color, and members of female-headed families, had not, Harrington argued, benefited from post-World War prosperity. In January 1963, Dwight Macdonald provided an exhaustive summary of previous studies on poverty in an important article entitled "Our Invisible Poor" in The New Yorker magazine. He asserted that mass poverty persisted, and that it was one of two grave social problems, the other being the structural relationship of poverty to race. He concluded that the federal government was the only force that could reduce poverty and make the lives of the poor more bearable. Between 1961 and 1964, federal grants were provided to public and private community agencies to combat the problems of the "new poor" through the improvement of educational facilities, youth programs, and other programs to improve the physical and social well-being of the poor.[4]
John F. Kennedy's 1960 presidential campaign increased the public's consciousness about poverty. Once elected, he established the President's Committee on Juvenile Delinquency and Youth Crime, which sponsored employment programs, manpower training, remedial education, anti-discrimination campaigns, and neighborhood development centers in several cities. The Area Redevelopment Act, passed in 1961, provided Federal dollars to improve public facilities, and to provide technical assistance and retraining in certain regions of the country, particularly Appalachia. In 1962, Congress also enacted the Manpower Development and Training Act. The reform efforts of the late 1950s and early 1960s culminated in the War on Poverty, initiated by the administration of Lyndon B. Johnson.
An episode of "East Side/West Side" on an African American couple in Harlem was blacked out by CBS affiliates in Shreveport, Louisiana, and Atlanta, Georgia, primarily for racial reasons.[6]
| Episode | Title | Directed by | Written by | Original air date | Produced | |
|---|---|---|---|---|---|---|
| 1 | "The Sinner" | Jack Smight | Edward DeBlasio | September 23, 1963 | 2 | |
|
A mother, who is also a prostitute, must battle the parents of her baby's father for custody. | ||||||
| 2 | "Age of Consent" | Ralph Senensky | Story by : David Michael-James Teleplay by : Irve Tunick | September 30, 1963 | 7 | |
|
A teenage romance goes awry when the girl's father (Carroll O'Connor) charges her boyfriend with statutory rape. | ||||||
| 3 | "You Can't Beat the System" | Jack Smight | Robert Van Scoyk | October 7, 1963 | 4 | |
|
Brock offers a Korean War veteran suffering from post-traumatic stress disorder the opportunity to volunteer to work with the sick. | ||||||
| 4 | "Something for the Girls" | Richard Whorf | Edward DeBlasio | October 14, 1963 | 9 | |
|
A wealthy socialite, guilty of numerous unpaid parking tickets, is "sentenced" to serve as a social worker for 30 days. | ||||||
| 5 | "I Before E Except After C" | Daniel Petrie | Story by : Ossie Davis Teleplay by : Arnold Perl & Ossie Davis | October 21, 1963 | 8 | |
|
A dedicated schoolteacher (Howard da Silva) is faced with the problem of delinquent students. | ||||||
| 6 | "No Wings at All" | Marc Daniels | Allan E. Sloane | October 28, 1963 | 11 | |
|
A father (Theodore Bikel) must deal with the challenges and struggles of raising an adult son who is intellectually disabled. | ||||||
| 7 | "Who Do You Kill?" | Tom Gries | Arnold Perl | November 4, 1963 | 12 | |
|
A black couple (James Earl Jones and Diana Sands) struggles to deal with life in the slums, but their world falls apart when tragedy strikes their baby. | ||||||
| 8 | "Go Fight City Hall" | Marc Daniels | William M. Alltmas | November 11, 1963 | 6 | |
|
After being evicted from his apartment due to urban renewal, a man begins to lose his faith in the importance of the individual. | ||||||
| 9 | "Not Bad for Openers" | Nicholas Webster | Edward Adler | November 18, 1963 | 10 | |
|
A cab driver (Norman Fell) with a gambling problem finds a wallet containing a large sum of money. | ||||||
| 10 | "No Hiding Place" | Herschel Daugherty | Story by : Millard Lampell & John Gabriel Teleplay by : Millard Lampell | December 2, 1963 | 13 | |
|
The issue of Blockbusting is explored as a black couple finds suburban life difficult until they are befriended by their neighbors. Ruby Dee, Joseph Campanella. | ||||||
| 11 | "Where's Harry?" | Tom Gries | Stanley R. Greenberg | December 9, 1963 | 14 | |
|
An emotionally disturbed suburbanite (Simon Oakland) abandons his family after 20 years of married life. | ||||||
| 12 | "My Child on Monday Morning" | Daniel Petrie | Robert J. Crean | December 16, 1963 | 5 | |
|
Parents of a mentally disturbed child seek out Brock's assistance. | ||||||
| 13 | "Creeps Live Here" | Walter Grauman | Phillip Reisman, Jr. | December 23, 1963 | 3 | |
|
Semi-recluse tenants are faced with the prospect of losing their home. | ||||||
| 14 | "The $5.98 Dress" | Ron Winston | William Altman | January 13, 1964 | 16 | |
|
Brock rushes to the aid of a mother with four children who is abandoned by her irresponsible and erratic husband. | ||||||
| 15 | "The Beatnik and the Politician" | Allen Reisner | Robert Van Scoyk | January 20, 1964 | 17 | |
|
A folk-singing beatnik (Alan Arkin) stirs up a storm with his odd friends in a sedate neighborhood. | ||||||
| 16 | "One Drink at a Time" | John Berry | Edward Adler | January 27, 1964 | 18 | |
|
A Bowery resident (Maureen Stapleton) desperately tries to reform her derelict boyfriend. | ||||||
| 17 | "It's War, Man" | Daniel Petrie | Robert Alan Arthur | February 10, 1964 | 1 | |
|
Despite heated public opinion against him, Brock helps a teenage gang member accused of murder. | ||||||
| 18 | "Don't Grow Old" | Herschel Daugherty | Edward DeBlasio | February 17, 1964 | 15 | |
|
An elderly construction worker who is forced out of his job by age discrimination, becomes frustrated by his inability to find a new job. | ||||||
| 19 | "The Street" | Ron Winston | Millard Lampell | February 24, 1964 | 19 | |
|
After a teenage girl is abused by her mother's boyfriend, she runs away and tries to survive on the streets. Brock shares a career crisis with his girlfriend, portrayed by Barbara Feldon. | ||||||
| 20 | "If Your Grandmother Had Wheels" | Tom Gries | Allan E. Sloane | March 2, 1964 | 20 | |
|
Brock attempts to help a wheelchair-bound man concentrates all his energies on walking again. Guest star: Alex Cord as Sam | ||||||
| 21 | "The Passion of the Nickel Player" | Charles S. Dubin | Edward Adler | March 9, 1964 | 21 | |
|
Brock comes into contact with a 12-year-old boy actively engaged in the numbers racket. | ||||||
| 22 | "Take Sides with the Sun" | Alex March | Allan E. Sloane | March 16, 1964 | 22 | |
|
Brock receives an offer to work as a legislative aide to Congressman Charles Hanson and debates whether to leave his current position. | ||||||
| 23 | "The Name of the Game" | Charles S. Dubin | Mel Goldberg | March 23, 1964 | 23 | |
|
A union leader (Daniel J. Travanti) and an industrialist battle each other in the negotiating of a new labor contract. | ||||||
| 24 | "Nothing But the Half Truth" | Alex March | Robert Van Scoyk | March 30, 1964 | 24 | |
|
Brock considers quitting his new position with Congressman Hanson, when Hanson doesn't follow through on promises made by Brock on a television discussion show. David Susskind appears as the television host, along with Scott's real-life wife Colleen Dewhurst. | ||||||
| 25 | "The Givers" | Tom Gries | George Bellak | April 13, 1964 | 25 | |
|
Brock and Hanson must battle pro-business lobbyists in their bid for legislation that would stiffen penalties for contracting fraud. | ||||||
| 26 | "Here Today" | John Berry | Story by : Allan E. Sloane & Matthew Andrews Teleplay by : Allan E. Sloane | April 27, 1964 | 26 | |
|
Brock writes a series of articles highlighting the plight of the poor, but is unable to get them published anywhere. He finally finds one paper that can do so, but the paper itself is about to be taken over, with its style of journalism certain to be neutered. | ||||||
In 1964, the series received eight Emmy Award nominations, including one win for Outstanding Directorial Achievement awarded to Tom Gries for the controversial November 4, 1963 episode entitled, "Who Do You Kill?". The episode, which also received a writing nomination and acting nominations for supporting actors James Earl Jones and Diana Sands, explored the aftermath of a child's death from a rat bite in a Harlem slum.[3]
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