When I began writing this journal journey, my intent was to take the future readers into the production offices, out to the locations (local and distant), onto the soundstages where the films were created — to in essence provide a fly-on-the wall view of what went into the productions. Now as I am entering the final 6 months of this so far 9-year trek, I am aware of unexpected changes that have occurred — to me and around me!
For one: as I subjectively roamed through the past, reliving it, I was objectively, many times dispassionately, assessing it, and I have to tell you, that can give one the feeling of being a split personality: Younger/Older: Learner/Veteran; Neophyte/Old Warhorse.
But even more importantly our society and culture has changed drastically and dramatically. In the not too distant past we saw the emergence of the #MeToo movement with its roots in Hollywood via Harvey Weinstein. No, I’m not going there – but I could! I remember a day filming when I had to work without our leading man. He was in court defending himself against charges of spousal abuse. I have a different issue to pursue.
In 1963 I directed THE BULL ROARER, an episode of the psychiatric series, BREAKING POINT. The protagonist of the film was Paul, a sensitive young man dominated by his older brother, Murray. Murray was a brawling, construction worker womanizer, who constantly and consistently prodded his younger brother to be more aggressive in his pursuit of women. For Murray that was what proved his masculinity! But Paul’s personality was less predatory. His inability to live up to his brother’s goading caused him to have doubts about himself. He sought psychiatric help. Was he a man – or a homosexual?
That was a verboten explosive subject for 1963 television. Writer-producer George Lefferts, when approached by ABC to develop and produce BREAKING POINT, had insisted he would, but only if homosexuality was included in his personal list of other network unacceptable topics. Amazingly ABC agreed, and George signed on, but he realized that there was no way ABC in 1963 would air a story of a homosexual relationship. It was a major breakthrough that the subject was even discussed.
The psychiatrist, with superb assistance from George Lefferts and teleplay writer Ernest Kinoy, helped Paul. George and Kinoy used the homosexual theme as a means of shining a bright light on an even more universal problem – one that is very manifest, blatant and glaring in our country today! Here are Lou Antonio as Paul and Paul Richards as the psychiatrist in that bright light.
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