JL: Second greatest comedy duo, next to Laurel &
Hardy:
Jackie Gleason and Art Carney (even though Gleason hated it when the
two were referred to as a team). Norton is always the character
who makes you laugh out loud the first time you see each episode, but
Gleason's Kramden is the one who keeps you coming back. The depth
of his Everyman characterization was the soul of The Honeymooners -
every bit as effective a common man tragic hero as Willy Loman. Gleason
was, of course, hilarious (what a marvelous comic face!), but
that ever-present, just-below-the-surface air of desperation contrasted
beautifully with Carney's sublime and effortless silliness in the same
magical, somehow-better-than-perfect way that John Lennon contrasted
with Paul McCartney. And, of course, Gleason and Audrey Meadows
were a damn fine team as well.
JB: The line that sums up the friendship for Ralph is "What I say about
Norton is one thing. How I feel about him is another." And
of course, for Norton, he summed it up when he wrote out Ralph's one
good point: "Sweetest guy in the world." Would that we could find
such friendships in real life, and when we do, would that we could keep
them forever.
JACKIE
GLEASON AS RALPH KRAMDEN
JB: There are some roles that can be played
by several actors, but nobody
should dare attempt Archie Bunker or Ralph Kramden again.
~~~~~~~~
JB: Jackie's life reminded me of
Groucho's. He had the same problem
Groucho did, which is the old Grock story. If you don't recall
it, I'll relate it quickly. A man goes to his doctor, says he is
very sad and depressed. His doctor says to go see Grock, the
funniest clown in the world. The man replies "I AM Grock."
JL: I sense in the cases of both men a
frustration at not being taken
seriously during the periods in which they did their most important
work. Save for Chaplin, most of the great comics had to wait many
years to get the accolades from critics. The astounding fact that
Gleason never won an Emmy shows how he was regarded at the time.
Minnesota Fats is a character that projects
fun and danger in equal
proportion, and Gleason pulls this off beautifully. Yesterday on
AMC, I watched one I haven't seen since I was a kid -- GIGOT. I
have to agree with the criticisms in William A. Henry's book
The Great One: The Life and Legend of Jackie Gleason:
relentless, hardcore pathos
in search of a plot, or a point. Gigot is dumb, mute and poor
(but, apparently, quite well-fed) and we get to see him abused,
humiliated, beat up, and shat on by life in general. He never
overcomes any obstacles, doesn't come out ahead in the end, he's just a
sweet soul who don't get no respect. The film has one saving
grace: Gleason's performance. I've never before seen him so
immersed in a character that there's not a hint of the standard takes
and eyeball-rolling that make you laugh automatically. Just a
blank sincerity, maintained throughout.
Of course, as Henry points out, it must have been his dream role as he
didn't have to memorize any lines.
ART CARNEY AS ED NORTON
JL: One thing I've noticed about the shows
is that you tend to laugh the
most at Carney the first time you see them… but it's Gleason who
provides the depth and keeps the show fresh after 289 viewings.
I probably learned more about how to move
on a stage by watching
Gleason and Carney than I did from any acting class… I slam a
table like Gleason and pick things up from the floor like Carney.
If I slapped dames around, I’d do it like Bogey.
JB: I thought about it and tell me if I
have any insight. From
Art Carney as Ed Norton on the Honeymooners, an actor can learn:
How to make an entrance
How to make an exit
Where to stand on stage
How to use you body
How to use your voice
How to react
How not to upstage another actor
How to upstage another actor
How to be funny by doing almost nothing at all
How to lose yourself and "be" a character
JL: And you think you don't belong on
stage! That's a perfect
summary.
Just about any young actor, including myself, goes through a learning
stage during which they pick up such basic skills as what to do with
your hands, how to hold for a laugh, how to use your body to define the
character, that sort of stuff. Nobody looked so at ease, so
natural on
stage as Art Carney. There's a moment during the hospital
scene in
"Pal O' Mine" when Carney drops his cigarette on the floor and picks it
up with a grand sweep of his arm and a bit of a leg kick in the
air. I
realized tonight that that's the way I pick up something on the
stage. If something falls, don't crouch and fumble for it -- make a moment out
of it and stay in character. I learned both the basics and little
things like that from watching him. I learned a lot from Gleason
as
well, but I suppose you could say I learned how to act from Carney, and
I learned how to react from Gleason.
AUDREY
MEADOWS AS ALICE KRAMDEN
JB: I’m always amazed at Audrey Meadows
whenever I revisit The
Honeymooners. She was working with two of the greatest TV
comedians in history, and yet, she could stand there for a full minute
while Ralph rants and raves, wait for the perfect moment, and then
unleash a single killer line that would just make you realize she was
as good as her co-stars. I have a theory that every great TV show
has a “heart”, and I think Audrey/Alice was the heart of that show. Alice was the heart because
most of Ralph’s schemes, which usually included Norton, revolved around
proving to Alice that he was a better man than he was, or they were
about improving life for Alice (“Can you imagine what this furniture
would look like on Park Avenue?”)
JL: I agree with your point. The most
successful sitcoms tend to have
a sensible character who lives in the real world. Makes the
absurd characters seem all the more absurd when you have a grounded,
well-adjusted character as counterpoint. Often, such characters
are the leads (Mary Tyler Moore, Bob Newhart), sometimes the second
lead (Audrey Meadows, Desi Arnaz), but they’re the characters that
ensure everyone else doesn’t spin too far out of control. And
because they’re in a position to see how ridiculous everyone else is,
they’re the ones best-suited to wisecracks.
She also adds an interesting layer to the
Ralph - Alice relationship. Here’s this beautiful, smart woman
who could have
probably had her pick of men, and she chose Ralph Kramden.
I like to think it was because she realized no one could ever love her
so much as Ralph.
JB: Audrey
Meadows always let Jackie have his
moments of genius without
interruption, and then, when he was finished, she would deliver a
classic put down in a way that said “Jackie, you may be the funniest
man
in the
world, but I ain’t bad either.”
JOYCE
RANDOLPH AS TRIXIE NORTON
JB: What an uphill battle Joyce Randolph
had. You've got Jackie and Art, two great comic geniuses, and Audrey
Meadows, a woman with excellent comic delivery who also got the best
lines. Trixie was only occasionally central to the plot ("The
Peacemaker", for example), but her usual function was to get Alice out
of the apartment so that Ralph and Ed could scheme, or come down and
recite some exposition. Her acting style, when compared to the three
"Great Ones" she had to work with, is pretty shallow - hand on hip, a
turn of the head and that's about it. But, as a part of the
classic cast, she deserves our respect, if not our voluminous praise.
JL: I'll say this in as nice a way as I
can, but I think one reason Trixie
is used mainly as a plot device (about her only function in the Classic
39's) is that they were stuck with Joyce. Her addition to the
cast was a random, momentary decision by Gleason after Elaine Stritch
had done the role once or twice on the DuMont series. I get the feeling that Trixie
was relegated to exposition-provider since they daren't give Joyce real
comedy to deal with and when you already have three great comic
talents, why bother?
JB: But I must admit a certain fondness for
her.
JL: You know I agree, despite my
comments.
JB: I remember when seeing those late
Honeymooners Valentine and Christmas specials, I was thrilled to see
Audrey Meadows back, but I was pretty disappointed that Jane Kean was
playing Trixie. Deep down inside, I wanted Joyce Randolph there,
especially since I knew she was alive and available, having hosted a
night of uncut episodes on Channel 11 at nearly the same time as one of
the Honeymooner's Reunion shows.