Word: susskind
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...Shame. Gleason's troubles began when he appeared as a participant on a television panel show, David Susskind's Open End, with his World-Telegram partner Fred J. Cook. Teamed with Gleason on numerous expose stories, Cook, 49, a World-Telegram veteran of 15 years and a sometime author (The Unfinished Story of Alger Hiss), did most of the writing. Husky, broad-shouldered Gene Gleason did most of the reportorial digging. They worked together on the 1956 slum-clearance expose, collaborated again this year on an extracurricular writing assignment for the Nation. Titled "The Shame of New York...
...Playwright S. Lee (People Kill People Sometimes) Pogostin was called in, along with Director Bob Mulligan, two other scriptwriters had fumbled the job. After 48 hours packed with pencil work, pep pills and black coffee, Pogostin and Mulligan had built a play that pleased both Olivier and Producer David Susskind. In the process, they lost some of the novel's dark energy; they never adequately explained how a respectable British stockbroker named Charles Strickland (modeled on famed Painter Paul Gauguin) could abandon wife and family for a new career as an artist-or why, after he seduced Blanche Stroeve...
Frenetic & Familiar. Susskind's frenetic pursuit of both the television dollar and television quality has left many a competitor gasping in his wake. "Oh, I like David all right," says a Broadway pal, "but he's a Harvard version of What Makes Sammy Run?." The observation is unfair. Dave Susskind (5 ft. 9 in. by his own measurement) may not only be taller than Sammy, but he dresses more stylishly and talks in round, mellifluous tones. The observation is also chronologically inaccurate. David was running fast before he joined the Ivy League-fast enough to have married pretty...
...first, Susskind did well with original shows-The Rainmaker, Other People's Houses-but soon he found that there was less and less room to gamble. Sponsors wanted every effort to be a success, so the titles became more familiar-The Winslow Boy, The Prince and the Pauper, Pinocchio. Off TV, he sometimes tried the unusual: his movie, Edge of the City, was an artistic success, and his current Broadway hit, Rashomon, though based on a successful Japanese movie, is an occasionally baffling exercise in fantasy. But on TV, clients are cautious, and "you have an inevitable compromise between...
...impressive as the schedule sounds, Susskind worries. Television, he feels, is not alerting the country to the dangers of strontium 90, the political genius of Adlai Stevenson, the awful problems of the upcoming Geneva conference. That is why he organizes high-sounding discussions on his Open End show. Says his wife: "It's his Alexander the Great complex." Although, at 38, Susskind is undoubtedly TV's most successful dramatic producer, the complex keeps him going. "I want to have my own marquee value, like Sam Goldwyn and Cecil B. DeMille," he says. "Then I wouldn't always...