Mad Men Viewers, Expand Your Minds: Other Megan Associations (i.e. Ali MacGraw)

(Originally posted for Vintage Fashion at Examiner.com)

This is for 'Mad Men' viewers who care to put a pause on (or a full stop to) the exhausted Sharon Tate theories. (Why would the show writers give viewers an outcome they've so heavily predicted, after all? They won't.) Any late-1960's aficionado can tell you that there are plenty of other associations to be made. To viewers who are incessantly fixated on just one 1969 reference, especially in terms of Megan: stop limiting yourselves.

Behold something new. Megan Draper, the struggling starlet, is being fashioned after several actresses from 1969-70, but the one who jumped out (for me) is Ali MacGraw, who essentially began her suddenly stratospheric acting career at 30. Megan is pushing 30, and looking for her big break. (MacGraw was also a New Yorker who moved to LA.)

The photo of MacGraw (on the left) is from 1969. Megan wore this exact look in the season premiere, 'Time Zones', as she was getting ready to go to her acting class. MacGraw's photo appeared in the August 1969 issue of Vogue. The image was a big deal at the time: she's wearing her own clothes, standing outside of her NYC apartment, barefoot, after it had rained. This was not the photo Vogue originally intended to use, but they found it charming. Ali MacGraw was about to become Hollywood's it girl and star in 'Love Story'.

Moreover, Ali MacGraw's first film was 'Goodbye, Columbus', in which she starred alongside Richard Benjamin. 'Goodbye Columbus' was based on a novella by Philip Roth. Roth also wrote 'Portnoy's Complaint' –– and its film adaptation starred Richard Benjamin, as well. 'Portnoy's Complaint' is incidentally the book Don was reading in 'The Monolith' episode of 'Mad Men' –– which foreshadowed Michael Ginsberg's terrible predicament in the following episode, 'The Runaways' (since Roth's story deals with issues related to Ginsberg.)

If viewers choose to fixate on just one upcoming event (like the Manson murders), they are sure to miss out on so many other worthwhile details. Think back to the way 'Mad Men' dealt with comparably game-changing events, concepts and moments –– like The Beatles, JFK's assassination, Martin Luther King's assassination: they occurred peripherally, and there was no lingering on the topic. And through certain characters, viewers identify with feelings evoked by the event.

Megan Draper happens to be an actress living near where the murders will inevitably take place. It's L.A., it's the canyons. Of course there were actresses and other such neighbors who felt particularly traumatized by what happened. Of course it will be terrifying for Megan –– and for everyone else –– afterwards. And that is all. Ultimately, there are plenty of connections to mull over. 1969 was a kaleidoscope of people and events. Viewers should 'expand their minds' and just enjoy the show!

One Season Wonderful: Richard Benjamin & Paula Prentiss in 'He & She'

Opening balloons

There is something so sweet but sophisticated about 'He & She' starring Richard Benjamin and Paula Prentiss. The show only lasted one season. As an avid watcher of 'The Mary Tyler Moore Show', and while currently watching my grainy, poor-quality episodes of this rare show, I've noticed striking similarities between them. 

'He & She' is the direct predecessor of 'The MTM Show'. Mary Richards, Rhoda Morgenstern and every one of the WJM News crew in Minneapolis, (especially Ted Baxter), might not have existed if it weren't for Dick and Paula Hollister. Or Oscar North, a.k.a. Jetman. 

Dick and Paula at home tolerating the antics of Oscar/Jetman

As I'd mentioned in a previous post, even the interior of the New York City apartment where Dick and Paula live resembles the Minnesota lair of Mary Richards. At first, it's disarming to see the same windows, the front door in just the same place, the little platform and stairs leading to the door. And Dick or Paula, (especially Paula), frequently bounding toward the door in much the same way many of us MTM fans are accustomed to seeing Mary Richards doing in nearly every episode. 

Even Paula Hollister's physicality and style is a reflection of what was to come with Mary Richards. Long-limbed, she is usually wearing above-the-knee skirts or shift dresses with various levels of opaqueness in her hosiery; shoes with a slight heel. Her hair has that soon-to-be-exceedingly-famous flip. At a peripheral glance, as Paula rushes to the door in 'He & She', one can't help but think of Mary. 

Mary's apartment is nearly identical to Dick and Paula's

Paula's style and hair flip, similar to Mary's in Season 1

I also can't help but think it's a shame that 'He & She', despite being critically acclaimed and endearing to those who watched it when it aired, and receiving five Emmy nominations in 1968 (it won for best comedy writing, while Richard Benjamin, Paula Prentiss and Jack Cassidy were all nominated for their acting) –– as well as for just being all around great –– never had the chance to become a lengthier series we can now freely reference in our collective culture. 

'He & She' aired on CBS following the popular 'Green Acres'. It's been said that Richard Benjamin, for one, (and rightfully so), believes that having had the opposing energy of the city-life sophistication of 'He & She' following a show so completely different in comedic tone was detrimental to their ratings. (On a side note, it seems like CBS has had quite a history of this sort of problematic decision making, you'd think they'd have learned by now.)

TV Guide cover with 'He & She'

The show is a bubbly confection. But it is also very well-written and acted. I have found myself getting somewhat choked up by numerous supporting performances, whilst Dick and Paula stand aside, soaking in the moment with great empathy. The acting couple had been married in real life almost twice as long by 1968 as the fictional couple in the show. Their characters are presumably in their late-twenties and have been married for five years. They live in New York. Paula is from the south, as she is in real life –– and Dick is a born and bred New Yorker, just as he is in real life. 

A still from the show's adorable closing credits

Their onscreen chemistry –– and individual comedic timing –– are terrific. But having discovered some of the backstory of where their life together had led them until that point makes watching the show all the more intriguing. 

In some ways, art doesn't imitate life, since in the show Dick plays a cartoonist who's created the comic strip 'Jetman'. His 'Jetman' comic is now a TV show that stars the bombastic Oscar North, who directly inspires the Ted Baxter personality in 'The Mary Tyler Moore Show.' Jack Cassidy, who plays Oscar North, even appeared on 'MTM' as Ted Baxter's brother.

If it weren't for 'He & She', which was a little too sophisticated and ahead-of-its-time, would 'The Mary Tyler Moore Show' have existed? Or later in the 90's, 'Mad About You'?  Of course, a major revolutionary element of the 'MTM' show was that they built the show solely around the female character, one who had never married and was making her way in the world without a male counterpart. Instead, she interacted with her friends, neighbors, and coworkers. So, The Mary Tyler Moore Show did up the ante, in that regard, forever changing television in 1970 when the first season aired. 

In any case, 'He & She' brought a fabulous precedent to TV and set the bar high enough for similar shows that followed to become as great as they were.

A still from the equally adorable opening credit

I will follow this with some clips of the show from the DVD's, recorded from TV reruns, that I painstakingly sought and happily found. But apologies in advance for the poor quality. Yet another result of this show having gone unrecognized is there hasn't been enough demand for it to have ever made it to DVD. (It never even made it onto videocassette!) I'll do my best to upload as much of it as possible so that more people can watch and enjoy it! :) Meanwhile, here is a CBS promo for the series.

Golden Anniversary: The Enduring Love of Paula Prentiss and Richard Benjamin

Seldom do we see celebrity couples in Hollywood who can withstand years (let alone decades) of commitment along with the pressures of their respective careers. Often cited as having succeeded in that challenging arena of their lives have been couples like Paul Newman and Joanne Woodward. I recently noted the well-sustained marriage of Sam Elliot and Katharine Ross here on Retro Active Critiques.

The Golden Couple

Meanwhile, Katharine Ross' costar in the fabulous original version of 'The Stepford Wives', the enormously talented actress with a knack for playing goofy ladies, Paula Prentiss -- whose finely-tuned comedic timing I've loved in 'What's New Pussycat', 'The World of Henry Orient' and her numerous other film roles -- has had an even longer marriage to equally talented actor-director Richard Benjamin, who starred in two of my favorite films (both featured here) 'Goodbye Columbus' and 'The Last Of Sheila'. As individuals, they've both been significant to me in terms of their films. Together, they have appeared in at least three of my all-time favorites.

Richard Benjamin with Ali MacGraw 
in the wonderful 'Goodbye Columbus'

Richard Benjamin in the fabulous 'The Last Of Sheila'

Paula Prentiss with Katharine Ross 
in the equally fabulous 'The Stepford Wives'

The Stepford Wives' sad conclusion as they 
convene at the grocery store

Paula Prentiss with Peter Sellers in 'The World Of Henry Orient'

I have also recently ordered a very rare DVD copy (of a video copy) of a short-lived but groundbreaking TV show they starred in together called 'He And She', which has also had a mention here. I'm excited to watch it and will report back on that later!

"He And She" CBS promotional photos

Two decades into their marriage, in 1980, the funny couple even hosted Saturday Night Live together. There have been many couples who've appeared on SNL together, but I hadn't heard of a couple who shared hosting duties on that stage, equally.

Sharing hosting duties on Saturday Night Live

What I discovered in looking deeper into this magnificently lengthy marriage is there are aspects to their commitment to one another I couldn't have imagined. It's an incredible story, a saga of sorts, that really shook and surprised me.

Prentiss and Benjamin met at Northwestern University in 1958 before either of them had started acting professionally, before they became famous. This had to have helped in their longevity, since they were able to evolve with their relationship and fame and see one another from a perspective beyond their romantically-challenged profession(s). Prentiss, born Ragusa, was from San Antonio, Texas and it's been said that she wanted to become a doctor. Richard Benjamin was from New York City (born and raised) and had always wanted to be an actor. They both studied acting at school.

Richard Benjamin and Paula Prentiss in the early days

I found a People magazine article from 1976 that speaks volumes –– and opens up this story to new interpretation (not to mention my noticing how much more politically correct even writers who write for entertainment publications are today than they were back in 1976.) Here is one excerpt I'd like to share from the article that chronicled their life together until that point, having already been together for 15 years (they were married in 1961) because only this piece in its own time can capture the real graveness of how Hollywood can be a frightening place to exist. Or even coexist, as in their case (from People Magazine, 1976):

Their present plateau of success and serenity would have seemed unforeseeable just a decade ago when Paula experienced her harrowing mental breakdown. At the time she was in Paris filming What's New, Pussycat? while Dick was touring with Barefoot in the Park in Cincinnati. "One day during shooting," she recalls, "I just climbed up the ropes to the catwalk and started walking the beams. Very loudly and clearly I called down to everyone on the set, 'I'm going to jump.' A French technician grabbed me, and there I was, hanging by one arm."

Paula Prentiss in 'What's New Pussycat'

She came to in a Paris hospital and later transferred to the Payne Whitney Psychiatric Clinic in New York. "It was horrendous. You're crazy because they say you're crazy," she says. "It was especially horrible because I couldn't figure out how to do what they wanted me to so I could get out." Dick took her to lunch once a month but usually found her so drugged up that "she wasn't Paula. I'd make believe everything was all right, but it was like taking a carrot out to lunch. What did I know about psychiatry? I was a Jewish boy, and in our house, if someone had a headache, no one worried about brain tumors or neurosis. It just meant you hadn't eaten enough."

Paula's crisis may have had some of its roots in the celebrity shock she sustained during her first years out of Northwestern University's drama school. She and Dick met there while studying under noted acting teacher Alvina Krause. Prentiss was born Paula Ragusa, an Italian from San Antonio who at a reedy 5'9" loomed over her classmates like a stork. Dick, a sardonic New York kid whose parents struggled in the rag trade, wowed Paula because she claimed on an earlier occasion he was the first New York Jew she'd ever seen. They started housekeeping together "before the pill," notes Dick, "when things were dangerous."

New York meets Texas

An MGM talent scout auditioned them but, ignoring Dick, signed Paula to a seven-year contract in 1960. "It was a life I hadn't picked," she says. "It was terrifying. I just allowed myself to be driven along." In less than a year, Paula cranked out three dizzy frivolities, beginning with Where the Boys Are. "I was such an idiot," Benjamin groans. "I accepted it all to be with the girl I wanted to be with." Even their marriage was arranged by the studio: Paula had to make a promotion junket, and in 1961 an unwed traveling companion was considered a no-no. They were forced to delay the ceremony before a New York judge for one hour so that the bride could log publicity mileage about the wedding with long-distance calls to Hedda Hopper and Louella Parsons. "The only thing that woke us up," she reflects now, "was that crash landing in Paris."

She dropped out of films and into analysis, while Dick began his breakthrough as Ali McGraw's schlemiel in Goodbye, Columbus. Along the way, Paula found her best therapy was co-starring with him in a 1967 CBS series called He and She that approached an almost Lear-like level of sophistication before its time. It died after a single season. Still, Paula believes, "It was worth it after what we'd been through. By working together we learned to live with each other again."

These two go way back

Despite situations that would have been too much for most couples endure, they seem to have always persevered. I can only speak for myself here, but I find the idea of Prentiss having been signed to a seven-year contract with MGM –– at the start of the 60's, before so many social mores and messages in life (and subsequently, films) were about to change –– then being forced into marriage (ironically) to the man she loved to keep up appearances in terms of publicity, and where society still stood, and then being trapped in a mental institution because of a supposed 'breakdown' on set (I'm hesitant to believe she actually had one since she may have been temporarily immersed, as actors can be, in her role as a kooky, suicidal chick in the film 'What's New Pussycat'.) It's altogether terrifying. Seems like they managed to keep their heads, while keeping their feet planted on that shaky ground, to get past those heady times together and not fall apart. There are very few couples who made it through the multitude of changes happening in the 60's, 70's & all the way back until today. Let alone film stars.

Jack and Paula and Dick

Richard Benjamin and Paula Prentiss may not be considered 'stars' today. They may never be featured in People magazine again. I, for one, have gone from enjoying their work individually to having the utmost respect and admiration for them as an unsinkable pair who've navigated this world (and Hollywood) together, despite whatever they may have faced. It is now 2011, so they have been together for exactly half a century! Apart from their list of professional accomplishments and their marriage milestone, they have two grown children: Ross and Prentiss. 

Happy golden anniversary to Richard Benjamin and Paula Prentiss, an inspirational Hollywood couple if there ever was one.

The golden couple. Still solid, still smiling.

And an update: here is the opening for the absolutely wonderful 'He & She'. I've received the series (not the best quality, but okay) and I've been watching it with fervor. I am really excited to report back on this fabulously sophisticated 'one season wonder' in an upcoming post. Stay tuned...!

'Goodbye Columbus' (Trailer)

'Goodbye Columbus', starring Richard Benjamin and Ali MacGraw, is a charming and somewhat overlooked film. 

I made a trailer for it several months ago. So at least there is one for it now. There isn't an official trailer anywhere and mine appears to be the one and only. 

(You can also find more posts with MacGraw here & here.) 


Based on a novella by Philip Roth and featuring original songs by The Association - "Goodbye Columbus" is about Neil, a poor Bronx librarian, and Brenda, a pampered Jewish princess from Westchester. 

This was both MacGraw and Benjamin's film debuts, playing Brenda and Neil as they try to cross class lines. A very funny and poignant comedy.

The Last of Sheila (1973)

Retro Active Critique #15

Directed by Herbert Ross, scripted by Stephen Sondheim and Anthony Perkins, 'The Last of Sheila' is a snappy whodunit that's fun from the get-go. Each moment has bite and the teeth belong to the splendid cast, stand-outs being the brilliantly dry James Mason as the burnt-out director, the crackling and buzzing Dyan Cannon as a loud-mouth Hollywood agent, the dour yet dapper Richard Benjamin as a defeated screenwriter and the irrepressible James Coburn as the wild man, Clinton, who pulls all the strings for his little marionettes.

Rounding out the bunch (beautifully) are Racquel Welch, Ian McShane and Joan Hackett. The film is about several friends, their Hollywood trappings, a murder, a colossal yacht, a sadistic host and one heck of a game –– but it's all in good fun. Or so Clinton tells them.

'The Last of Sheila' is so refreshing and it boasts enormous talent, in terms of its writing, direction and performances. Yet it remains rather unknown. Of course, it is from 1973, which explains its being reviewed here 'Retro-Active'ly. A mystery about a mystery –– within a mystery. What a film! 

For me, this is one of the best –– perhaps because it matches my personal preferences on so many levels. But I recommend this gem to anyone who can find a copy (and fortunately, this one is available on DVD, unlike some previous Retro Active recommendations I've made :-))

Indeed, who doesn't love a good mystery? Particularly one that's this tautly-written with a good, healthy dose of psychology mixed in. Each character is fully fleshed out. But what's more, the story is immensely fun and engaging. Interactive, if you will. In other words, if you like to THINK, you'll be sure to enjoy yourself. 

As if that's not enticing enough, you'll also feel as if you are going along for the ride, having a mischievous time on board the yacht. The entire film is a mass of jovial entertainment, but it's worth watching if only to see the masterful James Mason in the final scene. And Dyan Cannon gives a strong performance, particularly in one scene after she nearly drowns and is brought back onto the boat.

I could rave about this one to no end. But I am not just being a cheerleader. I already feel the urge to revisit 'The Last of Sheila' again, as I write this, despite having watched it only a few days ago. That is how much I love it. 'The Last of Sheila' could be one of the most entertaining films you've never seen –– or heard about –– before.

Here is a preliminary viewing to get you started, made with several clips & the song 'Winds of Barcelona' by Herb Alpert & the Tijuana Brass.