The Motive Matter

Yesterday my son asked me what spurred me to start this project. The effort to come up with a relatively concise answer reminded me that my motivation has definitely shifted over the past couple years. Initially, it was almost a lark, a project to prove to myself that I hadn't forgotten everything I learned in film school, using a topic I loved as a means to an end. As I pursued both interviews and research,  though, one thing did strike me. Perhaps the most fascinating thing about Yours Truly, Johnny Dollar is that the circumstances that led to it being such a smart, character-driven show - particularly during Bob Bailey's tenure - are the same ones that ensured its ultimate end.

During the decade-long shift from television to radio, the sponsors who dictated the content of the network airwaves as much as - if not more so than - network executives were paying much more attention to the new medium. This intersection of the sponsors' benign neglect and an overall more sophisticated listening audience created a window of relative creative freedom for radio. Through  this opening came such talented writers and producers as Jack Johnstone, Ernest Kinoy and Norman Macdonnell (to name just a few), for which I am hugely grateful. As much as I love The Shadow and I Love a Mystery, shows like X-Minus One, Frontier Gentleman and Yours Truly, Johnny Dollar are the ones that have stuck with me the most.

Working in the television business at a time where another new technology in the form of online delivery is changing both form and content, it's not hard to see similar patterns playing out. The principle of "least objectionable programming" has long dominated mass media, especially in the United States, and many smart people in the TV industry insist that this dominance is now over. However, it's worth remembering that even the smartest people in the business are lucky to be right more often than they're wrong. It's tempting to believe that quality will win out, and in the long run it often does. At any given moment, though, this is far from certain.

The Lost Pilot(s) Matter

Though television ultimately put an end to radio drama as a mainstream form of entertainment, the medium also gave second (and, in many cases) longer lives to of radio's best loved dramas. Sometimes the shows had completely different casts, such as Gunsmoke where the radio cast was never seriously considered, while others were very much the same as their radio incarnations. Jack Webb's Dragnet and the soap opera Guiding Light are two such programs, the latter being the ultimate example by virtue of the TV and radio versions having been produced simultaneously for a number if years using the same scripts and cast.

Many other radio shows fell quickly into obscurity in television's wake, and others gave it their best shot but fell a bit short. The latter was Yours Truly Johnny Dollar's fate. Not surprisingly, considering the off-beat nature of the radio version, the attempt to transfer the program to television has a murky history in its own right.

One of the few things that's certain is that at least one Johnny Dollar pilot got made. Produced in 1962 by Blake Edwards, who also wrote for the radio series, it starred character actor William Bryant in the title role and martial-arts pioneer Ed Parker is known to have worked on it in some capacity. Beyond that, very little else is clear.

It's not even clear whether this was the only attempt at adapting Yours Truly, Johnny Dollar for television. In his book The Encyclopedia of Television Pilots, media historian Vincent Terrace refers to the 1962 pilot as the second attempt but there's very little that can be determined about this predecessor. A pre-1962 timeframe, when the radio show was still going, suggests that this earlier version would be the one for which Bob Bailey was supposedly rejected for not being the right physical type, but even that's pure speculation. The main thing we know is that the efforts to put Johnny Dollar on TV were ultimately unsuccessful.

That's probably for the best, though, because I don't think the medium would have been kind to the man with the action-packed expense account. On radio, Dollar's narration could take us anywhere in the world and, though they occasionally got details wrong (as any Maryland resident who's listened to "The Chesapeake Fraud Matter" can attest), it was always believable. The budget restraints of television would not have been so forgiving. Similarly, the supporting characters couldn't possibly be quite as colorful as those that populated the radio series. Even if Bob Bailey had played the title character on-screen, the character of the show would have been fundamentally different. Fortunately, we'll always have radio.

Rethinking the Golden Age

Like many old-time radio fans, I've tended to think of the golden age of radio as a single amorphous era. As I've been researching for this project, an intriguing book by radio historian Jim Cox entitled Say Goodnight Gracie: The Last Years of Network Radio has made me realize how important seeing radio's heyday as a series of eras within the larger era is to understanding the development of old-time radio and Yours Truly, Johnny Dollar in particular.

The show's early years intersected with the period where television was truly starting to erode the mass audience for whom radio had been the primary form of entertainment. As the 1950s went on, many long-running radio shows ended, including icons like The Shadow. Some found a second life to television, while others simply vanished. Much of this was driven by the sponsors who once supported the lion's share of radio programming deciding that television was where they wanted to put their resources. And though many classic shows suffered as a result, there was also a curious, and in some ways beneficial, flip-side to that shift.

Though both audience sizes and sponsor support for radio programming were declining, there was still a substantial audience for the networks to serve and - more to the point - airtime that the networks needed to fill and, as much as possible, fill cheaply. Those factors turned out to be a genuine boon for radio drama. Unlike the star-driven music and variety programs which required large (i.e. expensive) casts and orchestras, dramas could be made for a fraction of the cost. Cox cites the average weekly production cost of a variety program as $40,000, whereas a detective series might only cost $4000-$7000. Clearly, the economics favored scripted drama (a marked contrast to today's TV environment but that's another story).

It wasn't just economics that benefited the detective show and other dramatic genres, which is of particular note for Yours Truly, Johnny Dollar. By the middle of the decade, the audience that was still loyal to radio drama was also a more discerning audience that desired more substantive story-telling of the kind offered by writer-driven programs like Gunsmoke and X Minus One. This was the environment into which Bob Bailey and Jack Johnstone stepped in 1955 when the program began its year-long run of character-driven long-form narratives. As we know, it turned out to be the perfect one. That the same factors that ultimately doomed radio-drama in America were also a factor in some of its greatest shows is the sort of irony that would have been appreciated the character Bob Bailey played (and Jack Johnstone wrote) so well.