The Goldbergs premiered on CBS Television in 1948 after twenty successful years on radio in various incarnations. |
On the evening of January 17, 1948 The
Goldbergs premiered on CBS
Television. Most historians of the medium credit it with
being the first true situation comedy
on television. It continued to run in different forms and under different
titles until 1958 on three networks
and in new episode syndication.
It was also a spectacular professional achievement for its creator, Gertrude Berg. In
its dawning years TV was almost
totally dominated by men. But Berg produced,
directed, wrote, and starred in
every episode and had almost complete
control of the program. She dwarfed the power that Lucille Ball had over her landmark program I Love Lucy.
You would think with bona
fides like that The Goldbergs
would get lots of attention from the
burgeoning ranks of television histories and broadcast documentaries. But
it merits hardly a footnote.
You don’t think that it might be
because the series was about the home
life of, you know, Jews do
you? And not the urbane hipster young Jews that show up on modern sitcoms, but second
and first generation off the boat Eastern European Jews with funny ways of talking and odd customs presided over by the meddlesome but well-meaning Jewish mother
to end all Jewish mothers living in near
poverty in a Bronx tenement.
The
Goldbergs was Gertrude Berg’s life’s
work.
She was born Tilly Edelstein in Harlem—then an immigrant
neighborhood—in 1898. He father was
an immigrant who made modestly good and invested in a Catskills
resort hotel. Young Tilly attended public
school and properly married to Lewis Berg at the age of
20. Together they had two children.
But Tilly
had been bitten by the show biz bug. She participated in the lively amateur
Yiddish theater scene. But she found
her niche not only as a performer but as a writer when she began to create
comedy sketches for her father’s hotel based on her childhood. She created a matriarch, Molly
Goldberg based on her own mother.
The Rise of the Goldbergs written by and starring Gertrude Berg moved from a local broadcast to the NBC radio network in 1929. |
In 1928,
now using the professional name Gertrude Berg, she wrangled a spot on radio
with NBC. After appearing as local
programming, The Rise of the
Goldbergs premiered in November 1929 just days after the Stock
Market Crash that sent the nation into the Great Depression. Originally
a 15 minute weekly serial, it gave a Yiddish spin to the popular domestic
comedy genre that included such radio favorites as Fibber McGee and Molly, Vic
and Sade, and Easy Aces. Perhaps the struggles of the
Goldbergs seemed more universal as the Depression settled in. At any rate, the show—and Molly Goldberg—was
a hit. In 1931 it moved to five days
a week.
Each
program began with Molly calling out of the tenement window, “Yoo-hoo! Is anybody...?” Stories centered on the family—Molly’s immigrant
father with stars in his eyes about American opportunity, her hard working if sometimes set upon husband, her two growing children and the neighbors. Molly always was in everybody’s business as
they struggled to adapt to a new way of
life and support themselves.
Whatever foibles she had were
overcome with her good heart.
The program moved to CBS in 1936 and
was renamed simply The Goldbergs. Still a 15 minute program, it was a cross between a comedy and soap opera. Serious
issues and struggles were dealt with as humorously as possible. As tensions rose in Europe, story lines
included the fate of relatives still
in the old country, anti-Semitism here, and harsh economic reality. After America entered World War II, so did the Goldberg family.
The show introduced middle America to Jewish
culture. The High Holy Days were observed
and for many year Metropolitan Opera star
Jan Peerce any sang the prayers of a Cantor. One Jewish historian observed, “This
series has done more to set us Jews right with the goyim than all the sermons ever preached by the Rabbis.”
The program was nearly as popular as
CBS’s number 1 hit Amos and Andy which featured another minority group. But Amos and Andy was written and performed by white men who, although fond of their characters, relied on the
conventions of old minstrel shows to portray them. Although Berg was sometimes later charged with promoting an ethnic stereotype,
the characterizations were infused with
reality.
In 1948 Goldberg took material from
the show and created and stared in a
successful Broadway version, Me and Molly. The success of that show enticed CBS to
bring it to television in a 30 minute
weekly format.
The TV
show reset the clock on the family saga. The Goldberg children had grown up and married in the long
running radio series. On TV they were once again adolescents. But the heart
of the program remained the same.
And despite the fears of the network and sponsor General Foods’ Sanka
coffee that American would not watch
Jews who looked Jewish, the show was a hit. Berg won the very first Emmy Award for Best Actress in
1950.
But the
same year it faced a crisis. Philip
Loeb, who had
played the part of Molly’s husband Jake in the Broadway show, stayed
in the role for the television series.
In 1950 he was charged with being a Communist, which he denied. The charges were never proven, but General
Foods wanted him off the show to avoid controversy. Berg, who owned the show, flatly refused. CBS dropped it from their 1951 line
up.
NBC agreed
to bring it back, but only without Loeb.
In the end Berg reluctantly agreed but continued to secretly
personally pay Loeb his salary.
Loeb, distraught by a virtual blacklisting, committed
suicide in 1955.
NBC aired The Goldbergs in the 1953-54 season as
two 15 minute shows in the early evening alternating with other
programming. It dropped the show
after the end of the season.
The DuMont
TV Network then picked the show up and hoped to re-build its sagging
schedule around the hit, which reverted to a 30 minute format. The DuMont
shows, unlike the filmed segments on the other networks, were aired
live. But the network collapsed before the full scheduled 1955 run
could be completed.
In 1955-56
Berg produced new episodes for syndication. In these shows the Goldbergs reflected the
upward mobility of post war Jews and followed many of their
models by moving from the old Bronx tenement to a Connecticut suburb. The shows focused on the struggle to adapt to
the new environment without all of the familiar support systems of the
old neighborhood.
After the
show finally went off the air, Berg appeared in character for sketches
on variety shows like Washington Square
with Ray Bolger, and a Kate Smith special.
Berg starred on Broadway in A Majority of One opposite Sir Cedric Hardwick but lost the movie roll to Rosalind Russell. |
In 1959 her career revived when she won
a Tony Award for best actress for her staring turn in A Majority of One in
which she played a Jewish widow who falls in love with a Japanese businessman despite having lost a son in World War II. She was deeply disappointed when the decidedly non-Jewish Rosalind Russell was cast as Mrs. Jacoby opposite the equally non-Japanese Alec Guiness in the Warner
Bros. film.
Despite the disappointment, 1961 was
a good year for Berg. Her memoirs Molly and Me became a best seller. And she returned
to series television one more time as a Jewish widow in Mrs.
G. Goes to College with Sir
Cedric Hardwick as her stuffy, perplexed professor. After being
re-named the Gertrude Berg Show in mid-season,
it was canceled in the spring of 1962.
Berg died of heart failure in New
York in 1966 at the age of 67 survived
by her long-time husband and two children.
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