A name given unofficially to a sub-genre of TV series, lasting roughly from the debut of Alfred Hitchcock Presents in 1955 to the last B&W season of The Fugitive in 1966, and including shows like The Twilight Zone, The Outer Limits, Thriller, The Untouchables, as well as the various private eyes Peter Gunn, Mike Hammer, Richard Diamond, Philip Marlowe, and our introductory detective. Even westerns were subject Video Noir's influence, as Rawhide has several episodes that were not only photographed in moody shadows but even contain supernatural overtones. In 1959 the 29 year old actor John Cassavetes, needing money to finish his independent film Shadows and hoping to boost his clout in Hollywood, agreed to star in this TV series. Johnny Staccato is a Korean War vet, a Greenwich Village jazz pianist who became a private eye to make ends meet. He uses a Village nightclub as his base where he not only meets clients but even jams with the house band. Although the half-hour format does not allow for terribly deep character development and occasionally forces hurried plot exposition, Johnny Staccato holds up pretty well today. It's an excellent example example of video noir, evocatively shot in moody B&W, with some exteriors filmed (silent) on location in New York (in between shooting Shadows? Or maybe the other way around?). The music is by the great Elmer Bernstein (Magnificent Seven, Great Escape). The theme is reminiscent of his classic score for The Man With The Golden Arm. Cassavetes himself directed five episodes, and perhaps his influence is why the show has a surprisingly beat, bohemian atmosphere -- man, I dig that smoke-filled basement nightclub set with the abstract paintings -- which must have been quite unexpected to viewers accustomed to Perry Mason and Ozzie & Harriet. One episode is on YouTube -- the pilot, about a Confidential-style scandal sheet. The first two minutes are entirely without dialogue, and it climaxes with a well-done, very noir shootout in a deserted parking garage. Features Michael Landon in what may have been his last pre-Bonanza appearance. But my favorite moment from the handful of episodes I've seen is this opening narration, regarding beatniks and the very phenomenon of bohemianism: https://youtu.be/MKXQCgaHXqI The script is co-credited to film critic Hollis Alpert, and perhaps he is responsible for the speech's journalistic, observational tone. If there are any jazz fans out there you may want to give Johnny Staccato a look, as the show features guest appearances by some of the top West Coast musicians of the time. And if you look very closely in some episodes, you can see a young piano player named "Johnny" Williams who, two decades later, would write the score for Star Wars.
A very good overview of Johnny Staccato: http://thrillingdaysofyesteryear.blogspot.com/2014/03/sleuthathon-johnny-staccato.html Here's the combo heard in the opening sequence of the pilot: Pete Candoli (trumpet), Barney Kessel (guitar), Shelly Mann (drums), Red Mitchell (bass) and Red Norvo (vibes). When Johnny leaves to take the phone call, John Williams takes his place at the piano. And that name: the show began as simply Staccato, then after a few episodes NBC added the first name (I'd always assumed it was the other way around). Cassavetes preferred the one-word version; for some reason I like the full name. And I definitely prefer the Johnny Staccato opening, where JS runs through deserted noir streets and ends up pointing a gun at the audience through broken glass: Once you've seen a few Johnny Staccatos, you'll be ready for Vic:
Time Magazine acknowledges the sub-genre/movement: Left to right: Peter Gunn (Craig Stevens), Richard Diamond (David Janssen), Philip Marlowe (Phil Carey), Perry Mason (Raymond Burr), and Stu Bailey from 77 Sunset Strip (Efrem Zimbalist, Jr.)
