Today, my grandmother would have celebrated her 97th birthday. Ninety-seven, the number alone sounds impressive, considering how much has changed since she was born in 1916, it’s nearly impossible to grasp. By today’s standards, people lived in the Middle Ages at the height of WWI. Technology and everyday amenities were still in their infancy, at least in comparison to our technified lives. In the past 97 years, progress has been made on the expense of tradition and time. Depending on your preference, those changes have improved our lives or deteriorated them. No matter how you feel about this development, there’s one thing you may not even have noticed: we as humans have changed, too. And while I still grew up with grandfathers in hats and grandmothers with luscious curls, today’s children rarely get in contact with a generation who still dared to grow old with grace. Personally, I loved having grandparents who had clearly aged. Two people who loved spending their time with me without constantly rushing away. A grandma who cooked, a grandpa who took his afternoon nap in his favorite wingback chair. Two people from a different generation who, from time to time, demanded quietude and patience, but made me laugh like no one else. They taught me things my parents couldn’t, spoiled me without forgetting to remind me of their rules and instilled the desire in me to be a better person. As a child I remember seeing many other sets of grandparents like mine in the streets. Old ladies with handbags full of helpful necessities and grandpas who used their umbrellas as canes until it started to rain. Today, I miss seeing that image: old ladies dressed to a tee, their hair as perfect as their demeanor. I can honestly say, I never heard my grandma using foul language or swearing, no matter how bad a day she may have had. I know that’s an ideal memory but also the childhood I was granted to have. It may be a special bond only grandparents share with their grandchildren, dulcified by the touch of an outgoing generation who grew up in a time so different from the world we are now living in. All those gentlemen and ladies, with their attitude, lessons and style, I love them dearly, the few representatives who are still gracing us with their presence. I really wish we would listen to them more closely and wouldn’t allow their children to take claim to all the positive changes we’ve benefited from in the past decades. So, on my grandma’s birthday, here’s my toast to all my much-admired ladies, those who are still with us and those who live on in my memories. Although today it isn’t always easy to see through, you have taught me so much about being a lady – how to present myself to others and myself, and most importantly, how to be modest in bad times and grateful when the sun is shining again. It’s something I value more deeply the older I get, a lesson I hope to be able to pass on to the next generation with the same kind of love, respect and dedication I was given by my grandma, my all-time favorite lady.
TV classics: Family
USA 1976-80, five seasons, 86 episodes, approximately 50 minutes each, ABC, color. Produced by Leonard Goldberg, Aaron Selling, Mike Nichols. Cast: Sada Thompson, James Broderick, Gary Frank, Kristy McNichol, Elayne HeilVeil, Meredith Baxter Birney, Quinn Cummings.
Plot summary: Family life is not a walk in the park and no one knows that better than Kate and Doug Lawrence, two middle-aged parents who love and curse their kids at the same time.
Review: When Family premiered in the spring of 1976, the family shows had long been established on TV. Programs like Father Knows Best or The Donna Reed Show had coined the genre in the early days. Unlike its predecessors, however, Family dealt with issues and disputes in a serious way. Although joy and laughter belonged to the Lawrence’s household, the overall tone of the show was serious. In contrast to the early family sitcoms, Kate and Doug were loving but stern parents who had to deal with three children and their struggles.
Set in Southern California, the Lawrence family belonged to the upper middle class and led a comfortable life in Pasadena. Kate, played by a warmhearted but slightly melancholy Sada Thompson, was the female head of the household. A woman who had put her family before her own professional aspirations and thus fought with her own demons. Doug (James Broderick) was Kate’s husband and father of Nancy, Willie and Buddy. As an independent lawyer, he was the negotiator of the family, a strict man who had his convictions but wasn’t set in his ways. Nancy, the oldest daughter, was married in the beginning of the show but later divorced her husband. Selfish by nature and equally demanding, she had a difficult relationship with her mother whose own values differed largely from hers. Willie, the second-in-line, was a high school drop out who dreamed of becoming a famous writer. Buddy, the pet of the family, was his favorite sister. A tomboy on the outside, she was a teenage girl within. Insecure about her height and femininity, she slowly grew into a confident young woman who was a reliable and honest friend. As the youngest Lawrence offspring, she had suffered greatly after the loss of her older brother, Timothy, five years prior to the show’s beginning. His death a gash still tangible in the entire family.
It were topics like these that set the show apart from many others. Family didn’t shy away from touching uncomfortable or somber topics. Breast cancer, divorce and the doubts of an expectant mother are just some of the examples that made this program what it was: a story about a fictional family with realistic challenges and problems. Although not yet available on DVD as a complete collection, the first two seasons provide an insight into the difficulties and changes of the 1970s. Influenced by subjects and questions discussed at the time, the show now functions like a time capsule. No matter if you are fond of the era or critical of it like me, Family offers a wonderful cast and moving storylines. A real treat for anyone who wants to understand the sensitivities of a different time, as well as the roots of female characters who speak their mind. Kate Lawrence has always been one of my favorites, strong, hands-on and maternal. Here’s my favorite scene with her from the pilot, a great example of the style and tone of a show that started as a mini series and ended its run at the dawn of a new decade after five seasons.
As requested by Ben Masters on Facebook, I am following up on my TV themes post and have a look at the visual aspect of TV intros. I don’t know about you, but if an intro is well done, I’m already getting into the mood for a show I want to watch. If the music and visuals match, the better the effect. So when I think about intros without primarily listening to the songs, the shows that have had a lasting effect on me with their introductions are definitely Charlie’s Angels, Bewitched and (you probably guessed it) Perry Mason. Like many other fans (so I’m sure), I’ve always wanted to know what was in that silly script that brought out Raymond Burr’s handsome dimple smile.
Charlie’s Angels, like Hart to Hart or Babylon 5 used narration to add to their pictorial introductions, explaining the background or premise of the show. While Lionel Stander introduced his screen bosses with scenes from the Hart to Hart pilot and only slight textual changes in the five years the show was on TV, Babylon 5 used a different introduction every season. Merging scenes from the show with the voices of lead characters, the season intros offered an outlook on the individual seasons, as well as a quick summary of what you needed to know to follow the plot of this complex show. And since I’m speaking of the 90s, who could forget ER, Home Improvement, Touched by an Angel, The X-Files or Chicago Hope – all equipped with visual intros that made clear what to expect from these specific program. Friends and Mad About You, two sitcom flagships of the era, also put us right into a quirky, urban mood, something Sex and the City would perfect in 1998 by making Manhattan a visual main character.
Looking at the evolution of these TV intros, in the 1980s, Cagney and Lacey and Scarecrow and Mrs. King already used their urban setting (New York City and Washington DC), as well as scenes from episodes to give the audience an idea of the content and nature of each show. The Golden Girls and Who’s the Boss did the same while The Cosby Show, Growing Pains, Roseanne or Valerie primarily introduced us to the type of family we were about to visit for half an hour every week. In the 70s, the intros of Happy Days, M*A*S*H, The Mary Tyler Moore Show or Family set the tone for very different shows while the 60s had already distinguished themselves from the often sponsor-laden intros of the 1950s. As the first era to introduce color TV, the 60s loved to use colorful effects and a contemporary style of music that showed a development away from family-friendly entertainment to more adult-oriented shows. While Hazel still proved to be traditional and rather quiet in the early 60s, Ironside‘s intro made clear the show was going to be filled with action, not unlike Adam-12.
In the new millennium, The West Wing tackled the unthinkable and turned politics into popular TV, the show’s intro already setting the mood and quality of a show that had a good run of seven seasons. The original CSI uses a similar pattern, creating a symbiosis of music and images, teasing the audience without giving too much away while the intro to the re-imagined Battlestar Galactica did not only set the tone for a dark-edged series, but also treated its audience to a glimpse into each new episode. Whether you enjoy the classic style of merging video material with a catchy tune like Trapper John M.D. did in in the late 70s and early 80s, prefer graphics as used in Cheers or are fond of the genuine way The Closer interlaced its credits with an already commencing episode – TV show intros are a like a good business card. Selling your product without being obtrusive while making a lasting impression on your audience.