The Untouchables 1959-63

The Untouchables is an American crime drama that ran from 1959 to 1963 on the ABC Television Network, produced by Desilu Productions. Based on the memoir of the same name by Eliot Ness and Oscar Fraley, it fictionalized Ness' experiences as a Prohibition agent, fighting crime in Chicago in the 1930s with the help of a special team of agents handpicked for their courage, moral character, and incorruptibility, nicknamed the Untouchables. The book was later made into a film in 1987 (also called The Untouchables) by Brian De Palma, with a script by David Mamet, and a second, less-successful, TV series in 1993.

A powerful, dynamic, hard-hitting action drama, and a landmark crime series, The Untouchables won series star Robert Stack an Emmy Award for Best Actor in a Dramatic Series in 1960.

TV Series Overview

originally focused on the efforts of a real-life squad of Prohibition agents employed by the U.S. Department of the Treasury and led by Eliot Ness (Robert Stack), that helped bring down the bootleg empire of "Scarface" Al Capone, as described in Ness's bestselling 1957 memoir. This squad was nicknamed "The Untouchables", because of their courage and honesty; they could not be bribed or intimidated by the Mob.  Eliot Ness himself had died suddenly in May 1957, shortly before his memoir and the subsequent TV adaptation were to bring him fame beyond any he experienced in his lifetime.

The pilot for the series was a two-part episode entitled "The Untouchables" originally aired on Westinghouse Desilu Playhouse on April 20 and 27, 1959. Later retitled "The Scarface Mob", these episodes, which featured Neville Brand as Al Capone, were the only episodes in the series to be more-or-less directly based on Ness's memoir, and ended with the conviction and imprisonment of Capone. CBS, which had broadcast most of Desilu's television output since 1951 beginning with I Love Lucy, was offered the new series following the success of the pilot film. Chairman William S. Paley rejected it on the advice of network vice president Hubbell Robinson. ABC agreed to air the series, and The Untouchables premiered on October 15, 1959. In the pilot movie, the mobsters generally spoke with unrealistic pseudo-Italian accents, but this idiosyncratic pronunciation was dropped when the series debuted.

The weekly series first followed the premise of a power struggle to establish a new boss in Capone's absence (for the purpose of the TV series, the new boss was Frank Nitti, although this was contrary to fact). As the series continued, there developed a highly fictionalized portrayal of Ness and his crew as all-purpose crime fighters who went up against an array of gangsters and villains of the 1930s, including Ma Barker, Dutch Schultz, Bugs Moran, Vincent "Mad Dog" Coll, Legs Diamond, Lucky Luciano, and in one episode, Nazi agents.

The terse narration by gossip columnist Walter Winchell, in his distinctive New York accent, was a stylistic hallmark of the series, along with its melancholy theme music by Nelson Riddle and its shadowy black-and-white photography, influenced by film noir.

Controversy

The show drew harsh criticism from some Italian-Americans including Frank Sinatra, who felt it promoted negative stereotypes of them as mobsters and gangsters. The Capone family unsuccessfully sued CBS, Desilu Productions, and Westinghouse Electric Corporation for their depiction of the Capone family. Early in the first season, the character of "Agent (Rico) Rossi", a person of Italian extraction, was added to Ness's team.

On March 9, 1961, Anthony Anastasio, chief of the Brooklyn waterfront and its International Longshoremen's Association, marched in line with a picket group who identified themselves as "The Federation of Italian-American Democratic Organizations." In protest formation outside the ABC New York headquarters, they had come together to urge the public boycott of Liggett & Myers Tobacco Company (L&M) products including Chesterfield King cigarettes, the lead sponsor of The Untouchables. They expressed displeasure with the program, which to them vilified Italian-Americans, stereotyping them as the singular criminal element. The boycott and the attendant firestorm of publicity had the effect Anastasio and his confederates wanted. Four days after the picket of ABC, L&M, denying that they had bowed to intimidation, announced it would drop its sponsorship of The Untouchables, maintaining their decision was based on network-scheduling conflicts. The following week, the head of Desilu, Desi Arnaz (who had attended high school with Capone's son Albert), in concert with ABC and the "Italian-American League to Combat Defamation", issued a formal three-point manifesto:

• There will be no more fictional hoodlums with Italian names in future productions.
• There will be more stress on the law-enforcement role of "Rico Rossi", Ness's right-hand man on the show.
• There will be an emphasis on the "formidable influence" of Italian-American officials in reducing crime and an emphasis on the "great contributions" made to American culture by Americans of Italian descent.

The series also incurred the displeasure of the powerful director of the Federal Bureau of Investigation, J. Edgar Hoover, when the fictionalized scripts depicted Ness and his Treasury agents involved in operations that were actually the province of the FBI. The second episode of the series, for example, depicted Ness and his crew involved in the capture of the Ma Barker gang, an incident in which the real-life Ness played no part. The producers agreed to insert a spoken disclaimer on future broadcasts of the episode stating that the FBI had primary responsibility for the Barker case.

The Untouchables was an unusually violent program for its time and its excessive violence and surprisingly frank depictions of drug abuse and prostitution was described by the National Association for Better Radio and Television as "not fit for the television screen".

In an article titled "The New Enemies of 'The Untouchables," Ayn Rand argued that the persistent, superficial attacks received by The Untouchables were due to its appeal and its virtues: its moral conflict and moral purpose.

https://en.wikipedia.org/wiki/The_Untouchables_(1959_TV_series)

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Afterword by the Blog Author

Many critics hated The Untouchables.  It was filmed.  It wasn’t live on stage, an arena greatly favored by the critics of that era.  It was violent.  Ness was given too much credit, although his character didn’t react emotionally in most scenes and was known nationwide as “the great stone face.”  There was too much action, and it happened fast.

The Untouchables had to be filmed.  There were too many outdoor scenes.  Much of the action occurred at night.  It was a show about a crime-fighting team, often shown all in sharp focus in group scenes (requiring both black and white film and the deep focus technique).  The musical accompaniment by Nelson Riddle as well as the narration by Walter Winchell had to be perfectly timed.  The use of film was mandatory and appreciated by the audience.  The Untouchables set a standard for action series on television; its use of music, film noir techniques and a robust participation by dozens of superb character actors carried forward into Quinn Martin’s next series, The Fugitive, itself another blockbuster.