Thursday, December 18, 2014

Fernwood Revisited

Contemporary society arrived in the 1970s. Don’t let the big hair, bell bottoms, and disco music fool you into thinking otherwise. While much of the modern consumer tech hadn’t yet spread out of company labs and nerds’ garages, the social revolution of the 1960s had basically succeeded by 1970, and this by far was more significant than the state of consumer electronics. If anything, the 2010s have more in common with the 1970s than with the 1980s & 90s when a socially conservative reaction to the 70s flexed some muscle. You can see it even in 70s TV sitcoms, particularly those of Norman Lear: All in the Family, Good Times, Maude, et al. That is not to say there are no differences between then and now. There are plenty. The revolution was still fresh four decades ago, and many folks were dazed by it. This, too, shows up in film, music, and TV from the era.

One night in 1976 I was channel-surfing, which was a much smaller wave to ride than it is today. I beached upon a new Norman Lear program. Unusually, this one didn’t air on a network in prime time. It was syndicated and in the New York market it played at 11:30 PM on WNEW.  The show was Mary Hartman Mary Hartman. It sported a solid cast including Louise Lasser and Mary Kay Place. To call this show a spoof of soap operas is almost right – yet not quite right. The show didn't really aim for comedy though it often was funny. It had no laugh track. It stuck firmly to the soap opera conventions in its sets, camera shots, delivery, music, and 5 day per week schedule. But the scripts and dialogue were just…off. This confused station managers in some markets enough to air it daytime with the other soaps. Many viewers never really got it and I’m sure many wouldn’t today, but enough did to make the show a surprise hit.

Nowadays we are accustomed to broad comedies with over-the-top characters, bizarre plots, and often raunchy dialogue. Mary Hartman Mary Hartman is much more low-key than that, and never more so than when the plot goes in some weird direction. In the town of Fernwood, Ohio, Mary (Louise Lasser) discovers her grandfather is the Fernwood Flasher; her younger sister Cathy takes promiscuity to a new level; her daughter Heather is a witness in the slaying of five people (plus “two goats and eight chickens”); Mary herself becomes a hostage in a stand-off with police; meanwhile her aspiring country singer friend Loretta (Mary Kay Place) writes songs about the murders and the hostage ordeal. The actors play it completely deadpan. The characters are plainly confused about their places in a changed world. Mary’s husband Tom still wears his high school varsity jacket, since high school was the last time he knew his place and had high hopes. Mary is a housewife aware that the job description is increasingly out of step with the times. She speaks about the murders one moment and about the waxy yellow buildup on her kitchen floor the next. By not playing the situations for easy laughs, the show instills in viewers the creepy sensation that this is not just a soap opera world but our world. It isn’t all so rare to have an errant family member, a murder down the street, a local hostage situation, an identity crisis, or a waxy yellow build-up. We deal with such things with the same alternation of bewilderment and retreat into the mundane as Mary.

Last week, for the first time in decades, I watched a couple dozen episodes of the show which now is available on DVD. Before pressing “play,” I wasn’t sure if, after all these years, the soap would come across solely as a relic of its time or if it yet would be relevant to 2014. It is not just a relic. In oh-so-many ways, today is still 1976. I’m glad to have revisited Fernwood. 


2 comments:

  1. I'm not that familiar with Mary Hartman. In '76 I was working a midnight shift, so I was sleeping in the daytime and awake around 4pm or so. Topsy turvy days for me. It was also a time before VCRs kicked in. That said though I may have seen parts of them. I remember some of the shows you mentioned like All In the Family, etc. better. I remember Louise Lasser went on to star in some of Woody Allen's movies, but dropped out of site afterwards, or I just wasn't aware of her (and the cast from this show). Though you are probably right this lead the way for some of the weirdness that was to come like Twin Peaks, and other modern TV fare. Yes, I can see some relevance too--the more things change, the more they stay the same, eh?

    ReplyDelete
    Replies
    1. That schedule must have given you an unusual perspective in all sorts of ways.

      Twin Peaks is a very apt comparison, though there are no paranormal elements in Mary Hartman.

      Woody was married to Louise before Diane Keaton. She made a couple of his early movies with him. My favorite break-up scene in the movies is between her and Woody in Bananas; break-ups are always awkward for both parties and this movie depicts that mercilessly. https://www.youtube.com/watch?v=ettElmB0pMQ She was busted for cocaine while making Mary Hartman. It’s hard to believe now, but in the early and mid 70s cocaine was widely regarded as a soft drug not much more serious than pot; it hadn’t been a counterculture drug in the previous decade (mellow, not hyper, was the goal of hippiedom – that or psychedelics), so we hadn’t learned better. This misconception led to widespread use in the 70s by the end of which we did learn better. Louise still turns up here and there in TV and movies, but, yeah, nothing high profile.

      Delete