When I was a child, I was a big fan of "ace reporter" Sweet Polly Purebread. As an adult, I occasionally find myself singing the "Oh, where, oh where has my Underdog gone, oh where, oh where can he be?" when I am roaming around parking lots trying to remember where I left my car.
Admittedly, it I cannot say with certainty it has ever helped me find my car; and a flying dog wearing a red union suit never showed up to guide my way, but it did pass the time until I found it.
Underdog was always my favorite hero: brave, gallant, extremely humble and well-mannered, and spoke in rhyming couplets. If he were real, I would have asked him to marry me.
When he became a balloon in the Macy's Thanksgiving Day Parade in 1965, my world was complete. He remained my favorite part of the parade until he was retired in 1984. I still miss him.
The series Underdog ran from 1964 through 1967, and then in repeats in syndication for a few more years after that. He did not outlive my childhood, and yet, he lives on in golden memory.
Wally Cox voices Underdog, and Norma MacMillan is the career-woman, Sweet Polly Purebread. She did a number of voice roles in cartoons, some television shows, but you may also remember her from Vaughn Meader's 1962 hit comedy album parodying President John F. Kennedy and his family, The First Family, where she voiced the children, John-John and Caroline Kennedy. (The 22nd of November will invariably bring to mind other memories today.) She was also the mother of Alison Arngrim, who played Nellie on Little House on the Prairie. The above episode is a Thanksgiving-themed adventure where one of show's villains, Simon Bar Sinister (whose speech is meant to mimic Lionel Barrymore. Another villain in the series, gangster Riff Raff, is meant to parody George Raft), tries to take over the city in another evil plot, but he can't get through the Thanksgiving parade. So he invents a time travel device "a time bomb" - how clever is that -- to go back to the First Thanksgiving and cause discord between the Indians and the Pilgrims.
Of course, the Pilgrims do not sound like the Pilgrims of 1621, and their "fort" is rather grand; and the native Wampanoag people did not have teepees or sound like Jay Silverheels reading the part of Tonto onThe Lone Ranger. Still, it's a masterful plot with modern lessons of not so much brotherly love as the more practical advice of not allowing your enemy to divide you. It's a lesson for our times (and pre-dates any elaborate plot on Pinky and the Brain by decades).
When you watch the above episode, you will not be transported, like Simon and his toady, Cad, to 1621 Massachusetts; you'll be sent back only as far as the mid-1960s of my early childhood.
Tom Tully was an actor of great depth, who exuded grace even in his most snide, sinister, and crusty roles, and yet who could display such unassuming warmth that one could hardly imagine him ever being snide, sinister, or crusty. Today we join several other blogs in the 9 th “What a Character!” Blogathon celebrating favorite character actors of classic films, sponsored by the blogs Paula’s Cinema Club , Once Upon a Screen , and Outspoken & Freckled . We covered some of Tully’s work in previous posts, including his genial, kindly, and somewhat befuddled uncle of Ginger Rogers, who visits him at Christmas here in I’ll Be Seeing You (1944). He had only been in Hollywood a couple years and it was something like his seventh movie. Mr. Tully already had worked over a decade in radio and on stage, but seems to have made an effortless transfer to screen, where he exhibits a natural, if not actually a shrewd and canny ability to navigate the intimacy of playing to a ...
Hollywood Fights Fascism ...Coming later this month. Past is prologue. Our greatest gift from the Greatest Generation was freedom from fascism...until now. Trumpism is Hitler 2.0. Relive, and celebrate, how evil was faced, discussed, dramatized...and fought. Classic films were the weapon. Collected essays from the blog, special thanks to Casey Koester for the striking cover art.
The Search (1948) is tenderly filmed. The plot of the story carries the weight of the world and the eternal suffering of children during war, but lifts our hearts, though they may be breaking, as if on wings of angels. Those angels are UNRRA (United Nations Relief and Rehabilitation) workers, and a young GI, and even us, if we have taken this movie to heart and take something away from it. This is the fourth post in our series on how Hollywood depicted children during World War II. This time, we leave the well-fed American kids behind, and step back to Europe in the aftermath of war. It is said that the first casualty of war is truth. The final byproduct is refugees. We encounter a small boy, one of the millions of refugees after World War II who have been released from concentration camps. He is brought with nameless others to an UNRRA central tracing bureau to be processed and, if possible, reunited with relatives searching for them. ...
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