New Orleans, Bourbon Street

Bourbon Street Beat only lasted for one season but it had thirty-nine episodes to its credit. The location for the show was Bourbon Street in Louisana. It starred Richard Long as private investigator Rex Randolph. Rex was the senior partner in a firm. His first partner was murdered prompting him to look for another one. Andrew Duggan was Isaac "Cal" Calhoun, a former police officer who wanted to change careers and after meeting Rex and knowing that his partner was now dead came to offer his services. The two made a wonderful team. Rex was the cook and Cal loved old movies. Rounding out the cast was Arlene Howell as their secretary Melody. She left about half way through the show and the final member Kenny played by Van Williams spent time trying to find the perfect secretary to replace Melody. The show had some really good guest stars and most of the writing was execellent. I hope that the show is issued out on DVD. It would be a good collection to own.

I got to see this series on 7 February 2005 on GoodLife TV, and it is a series that wears well. Of all the Warner Brothers TV Detective series, I think this may be the crown jewel, because it is supposed to be set in New Orleans, away from the glamor and glitter of Hollywood.

The two main characters are played by Andrew Duggan and Richard Long, who do a great job. Van Williams was one year away from his starring role on Surfside 6, and seven away from The Green Hornet, but is still fun to watch. Definitely a 1959 series that did well, as did Johnny Staccato, and it should be released on DVD. Hopefully, GoodLife TV will continue to show this series.

This was one of four detective shows from Warner Brothers, four of a couple dozen series they did for ABC, (that MADE that network), from the mid 50's to the early 60's under the stewardship of William Orr and with the creative genius of Roy Huggins, (who later came up with the best show of all time, "The Fugitive"). Huggins had fancied himself a detective writer in the 40's and came up with Stuart Bailey, an Ivy Leaguer with a background in World War II intelligence who set up his own detective agency in Los Angeles. When Huggins became a story editor for Warners, it was decided to create a show around the Bailey character, 77 Sunset Strip, which debut in 1958. They gave Bailey a partner, Jeff Spencer and created the character of Kookie, the parking lot attendant, for comic relief. It set the stage for the other three, similar shows, each with a pair, (or three) handsome detectives operating in glamorous or exotic locations. Warner's learned you needed a pretty girl involved and the comic relief. they also learned from "Peter Gunn" that a musical interlude would occasionally be welcome.

"Bourbon Street Beat", set in New Orleans, debuted in 1959. So did "Hawaiian Eye", from Honolulu and in 1960 came "Surfside Six" from Miami Beach. Each had a catchy theme tune from Mack David and Jerry Livingstone. The plots were not very inspired but serviceable, (they serviced many episodes, being frequently reused). Sometimes, Warner's would do versions of novels they owned the rights to or TV remakes of some of their classic movies of the past, such as "Strangers on a Train" or "Dial M for Murder", in the guise of episodes of these shows. Characters from one show would show up on another, either in crossover episodes or full scale transfers of characters to be new members of the casts. This was easy because the shows were not shot on location: it was all done in LA.

The real difference in the shows were the cast members themselves. "77 Sunset Strip" had the charming and talented Ephram Zimbalist Jr. and Roger Smith. It also had the "Fonzie" of the 50's, Edd Byrnes. But it lacked a significant female regular or the musical interludes. "Bourbon Street Beat" had the charming and talented Richard Long, who took his charm and talent to Sunset Strip after BSB folded in 1960. It also had craggy character actor Andrew Duggan, young pretty boy Van Williams and Arlene Howell, a slightly ditzy southern belle. No one here was musically inclined but a jazz combo did a turn from time to time. "Hawaiian Eye" had it all. Anthony Eisley was a competent but slightly boring lead. Young Robert Konrad had the most charisma of any of them. Connie Stevens was a cute songbird who belted out the classic tin pan alley and show tunes. Poncie Ponce was a ukulele strumming cab driver who knew every place and every one or had a cousin who did. "Surfside Six" was maybe the weakest entry. Lee Patterson had some presence and acting ability but Van Williams, (over from BSB) and Troy Donahue were attractive but talent challenged. Marguerite Sierra was a cliched Latin Spitfire songstress, (who unfortunately died young of a heart ailment). Diane McBain was attractive window dressing.

The other main difference was the setting. "77 Sunset Strip" was about glamorous people up to no good or international intrigue, (and Stu Bailey traveled a lot more than these other guys did). "Hawaiian Eye" was exotic- perhaps a little too much so with an occasional embarrassing story about witch doctors and voodoo type curses and such. Natives were played by guys from Jersey and Chicago in the grand tradition. Surfside Six had a beachboy look to it. Bourbon Street beat was darker and more mysterious. New Orleans at that time was not a tourist trap but a relic of the old south in which Miss Havisham's cake might have seemed at home.

But they were all pretty solid entertainment. If you liked one, I'm sure you'd like them all- if you could find them. They are all in black and white, so cable stations are loathe to show them It seems that the moment a younger audience sees those monotones, they turn the stations. It's too bad. They don't know what they're missing.

TV actors, at least in the old days when they were placed in a separate class from movie actors, often seemed to be clones of their movie brethren. Some were singular in their associations. Nehemiah Persoff seemed to be the Edward G. Robinson of television, getting similar roles and acting them in a very similar manner. Carolyn Jones was the Bette Davis of TV, even to the point of playing a set of sisters one of whom is a murderer on Burke's Law. Other's had company in their pursuits. The western stars were all either John Wayne or Gary Cooper, with an occasional Jimmy Stewart or Henry Fonda thrown in, (including the real thing on "The Deputy"). There were a whole selection of Clark Gables, including John Russell, Rory Calhoun, Richard Egan , Robert Lowery and others. There were plenty of Brandos, including Burt Reynolds, George Maharis and John Saxon. There were enough Rock Hudsons to fill a theater, with John Gavin, Tom Tryon and Gardner McKay coming immediately to mind. The blonde versions I call the "Redfords", a group of thoughtful , well educated types of which Robert Redford was one along with James Franciscus, Richard Chamberlain and William Shatner. They had varying degrees of success with Redford emerging as the head of the class.

Perhaps the most successful strain, however were the Cary Grants. Grant made an ideal model for the suave detective hero, able to be charming or tough as the occasion demanded. Craig Stevens was hired to play Peter Gunn specifically because of a strong resemblance to Grant. His tightlipped performance was not really very charming but it's surely how Cary would have played that character. Latern-jawed John Vivyan played a role that Grant had actually essayed in the movies, Mr. Lucky. He was competent at best. The heroes of the Warner Brother's detective shows were largely based on Cary Grant. Ephram Zimbelist Jr.'s Stu Bailey was a grant-style role with a lot more charm than Peter Gunn. Richard Long's Rex Randolph on Bourbon Street Beat was much the same. Anthony Eisley's Tracy Steele was a less convincing version of the same character on Hawaiian Eye.

But the best of the Grant clones was Gene Barry. He was male-model handsome, had good breeding and seductive whiskey voice. He was also TV's greatest reactors. He had a series of comic takes that was perfect for Amos Burke, who had to confront an unending series of eccentric subjects. Yet he could turn around and romance the ladies or get tough with the tough guys. And he was a good enough actor to hold up his end when the heavy dramatics intervened.

One wonders what the originals of these clones must have thought as they watched the boob tube in it's infancy.

The Warner Brothers detective clone factory came out with a model that didn't sell. Perhaps had Jack Warner actually shot the thing in New Orleans, taking advantage of the many sights and wonders the Big Easy has to offer Bourbon Street Beat would have had a longer run.

This show featured three detectives Richard Long, Andrew Duggan, and Van Williams with a curvaceous secretary named Melody played by beauty queen Arlene Howell. As with the other shows 77 Sunset Strip, Hawaiian Eye, and Surfside Six detectives in a hands across the studio policy helped each other out on cases. Certainly did save Jack Warner on spending money for pricey guest stars.

Bourbon Street Beat only lasted one year, the shortest of any of the clones. But the resourceful folks at Warner Brothers had Van Williams move to Miami Beach and open a detective agency on a houseboat there, long before Frank Sinatra and Don Johnson would operate from same. Williams took his Ken Madison character and over to Surfside 6 and co-starred with Lee Patterson and Troy Donahue. In the meantime Richard Long as Rex Randolph moved to the other coast and joined the guys at 77 Sunset Strip..

As for Andrew Duggan, a few years after Bourbon Street Beat was canceled he popped up on a 77 Sunset Strip episode assisting Efrem Zimbalist, Jr. when a case took him to New Orleans. Duggan's Cal Calhoun character had gone back to the New Orleans PD from whence he came.

It was like they cannibalized parts from one model fix up their other cars. It maybe what makes Bourbon Street Beat unique among forgotten television series.