There was a time not too far in the distant past, when made-for-television films were every bit on par with their theatrically released counterparts; normally formatted to fill a two-hour time slot, they would present themselves on the top three commercial networks, CBS, NBC and ABC respectively. In an early incarnation of the made-for-television movie was the striking Startime anthology TV series, which was sometimes referred to as Ford Startime, it debuted in October of 1959 and these were normally hour long specials that were directed by highly laudable directors in the likes of John Frankenheimer and Alfred Hitchcock to name a few. Television movies were originally created for the viewers' convenience, to allow them top drawer entertainment and all from the comfort of their own reclining chairs (a novelty that appears to have not run its course thanks to couch friendly entertainment from Netflix and other digital haunts). Television was also beginning to broadcast cinematic releases as early as a year after their silver screen premieres.
The NBC network holds the honors of being the first to air major releases on their station during a segment entitled NBC Saturday Night at the Movies which commenced in 1961; subsequently, NBC would partner with Universal and the joined force attempted to release a made for television version of the 1946 noir film The Killers that originally starred Burt Lancaster. An exceptional retelling was made in 1964 and only by the dynamo Don Siegel, it featured both John Cassavetes and Angie Dickinson but unfortunately the content was deemed too violent to air on terrestrial television at the time and as irony would have it - could only be released in cinemas.
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| An early 1970's incarnation of ABC's Movie of the Week intro |
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| CBS' title card from the year 1972. |
At the time ABC was faltering in their ratings and decided to adopt NBC's concept in the need to berth new programming segments, and born was The ABC Sunday Night Movie, which like it's competition consisted of box office draws, heavyweights such as 1956's The Ten Commandments and The Bridge Over the River Kwai. In 1969 ABC had another cunning plan, to specifically and solely air made for television films on Tuesday Nights, or better known as the ABC Movie of the Week. These were arguably best in show, one such example was Paul Wendkos The Brotherhood of the Bell (1970), which actually would garner a nod from the mighty Director's Guild for its refined directorial methods. The film which starred Glenn Ford, centers on a man who was once a member of an exclusive fraternity, whose mission was far more malevolent than he could have ever imagined in his dreams wildest. From a technical perspective, it isn't immediately discernible that The Brotherhood is merely made for television fare.
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| Cheryl Ladd as the mother of the year 1979 - When She Was Bad a tele-movie that dealt frankly with the subject of child abuse |
And also in the same year and station, George McGowan using the obligatory Smithee cover-up would churn The Challenge, a precursor to future political science-fiction, an intelligent yarn with the unique premise of a space satellite's landing that sparks a death match between two unlucky contestants representing their countries; a Vietnam veteran slash mercenary played with a gusto by Darren McGavin and an Asian chap from a country unnamed played by prolific character actor Mako (also known as Mako Iwamatsu). What unearths in it's elaboration makes for quite compelling television and film all the same.
And just one year later, came a movie of the week that would leave its prints on the collective memory, Duel (1971). Historically marking Stephen Spielberg's very first feature film release. And we all knew the director was going places, why one look at the episode he directed for the formidable Universal series, (yes the same series that spawned the series that left an indelible impression on me and others of my generation - NBC's Mystery Movies 1971-77) Name of the Game - Los Angeles,2017 and only two months before Duel's release In fact, I,myself have argued that these two offerings were among Spielberg's finest hours. And with television like this, I ask you - who needs to go to the pictureshow,eh?