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David Susskind: A Televised Life
A rich biography of one of the most important cultural figures of the ‘50s, ‘60s and ‘70s—maverick television producer and talk show host David Susskind A flamboyant impresario who began his career as an agent, David Susskind helped define a fledgling television industry. He was a provocateur who fought to bring high-toned literary works to TV. His series East Side/West Side and N.Y.P.D. broke the color barrier in casting and brought gritty, urban realism to prime time. He indulged his passion for issues and ideas with his long running discussion program, first called Open End and then The David Susskind Show, where guests could come from The White House one week and a whore house the next. The groundbreaking program made news year in and year out. His legendary live interview with Nikita Khrushchev at the height of the Cold War inflamed both the political and media establishments. Susskind was an enfant terrible whose life—both on and off the screen—makes fascinating reading. His rough edges, appetite for women, and scorn for the business side of his profession often left his own career hanging by a thread. Through extensive original reporting and deep access to David Susskind’s personal papers, family members and former associates, Stephen Battaglio creates a vivid portrait of a go-go era in American media. David Susskind is as much a biography of an expansive and glamorous time in the television business as it is the life of one of its most colorful and important players.
400 pages, Hardcover
First published October 12, 2010
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Displaying 1 - 3 of 3 reviews
August 9, 2012
As a wee baby boomer growing up in the '60s, it seemed to me that David Susskind's talk show "Open End"--which had first aired on 10/14/58--was on in our living room every Sunday night. It fascinated me with its seriousness and ofttimes bizarre guests even as a child, and I came to appreciate the show even more as the '70s progressed. Called "The David Susskind Show" starting in 1966, the program was a reassuring, continuing presence for me until it ended its run in 9/86; perhaps the longest run that a host has had on a syndicated talk show in television history. Flash forward to modern times, and I am finding that these old episodes, currently showing on cable TV's Jewish Life Network and on Hulu, are like a time capsule of sorts, providing invaluable glimpses of another age. My Susskind appreciation renewed, and wanting to know more about the man I only knew as a talk-show host, I eagerly perused Stephen Battaglio's 2010 biography "David Susskind: A Televised Life," and am so glad that I did. Astoundingly well researched and clearly written, this first-ever biography of Susskind is the book that fans have been waiting for.
Susskind, of course, far from being "merely" a long-running, groundbreaking talk-show host, was also a renowned TV, Broadway and Hollywood producer. His list of credentials is more than impressive, with television specials such as 1966's "Death of a Salesman," 1973's "The Glass Menagerie" and dozens more; theatrical films such as "A Raisin in the Sun," "Requiem for a Heavyweight," "Alice Doesn't Live Here Anymore" and "Straw Dogs"; and television series such as "Get Smart" and (to his great embarrassment, apparently) the phenomenally popular "Supermarket Sweep." Battaglio takes us back to Susskind's youth, growing up in Brookline, Mass. in the '20s, and details the hundreds of deals that made the man the industry legend that he ultimately became. Hardly a fawning hagiography, Battaglio's book doesn't shirk at revealing Susskind's flaws, such as his incessant infidelities during his two marriages, and the bipolar disorder that went far in wrecking his career in the mid-'80s, toward the end of his life. Susskind's numerous failures as a producer are detailed as well, including the regrettably short runs of the innovative series "East Side/West Side" (starring George C. Scott) and the historic Broadway fiasco "Kelly," which, despite a price tag of over $600K, closed after one show, on 2/6/65. Still, Battaglio obviously holds Susskind in very high esteem, and that admiration does manage to seep through. And really, what is there NOT to admire? As Battaglio reveals, Susskind was the first to actively fight Communist blacklisting on television, and the first to feature a major black character in a prime-time drama (Cicely Tyson, on "East Side/West Side"). His talk show was one of the first television forums for the emerging civil rights movement (Martin Luther King was a guest on 6/6/63), the women's liberation movement, and the nascent gay pride movement, and interviews with Nikita Khrushchev (on 10/9/60), Richard Nixon (on 5/15/60; a 3-hour, 45-minute interview that Battaglio conjectures might very well be the longest in TV history) and Joey the masked hitman (in 1973) have become legendary. The author's writing style is almost clinical in its objectivity at times, never more so than when reporting the facts about Susskind's sad end. In all, it is an expert piece of reporting, shedding light on a most intriguing man and his fascinating life.
Still, a close reading of Battaglio's work reveals some minor problems, quibbles though they may be. First of all, there are numerous instances of misspellings. "Playboy" centerfold Dorothy Stratten did not spell her name "Stratton"; the owner of Plato's Retreat was Larry Levenson, not "Levinson"; NOW president Jacqueline Ceballos did not spell her name "Jaqueline"; "Deeley Plaza" in Dallas should of course be "Dealey"; an "East Side/West Side" character is called Frieda Hechlinger on pg. 107 and Freida Hechlinger on pg. 132 (don't ask ME which is correct!); columnist Jack "O'Brien" should be "O'Brian"; the name of Sidney Poitier's character in "A Raisin in the Sun" should be Walter Younger (I always thought), not "Langer"; "Claire" Booth Luce should of course be "Clare"; and the feminist group Redstockings should be one word, not two. More serious are the occasional errors of fact: On pg. 58, we are told that Susskind attended a reception at the Soviet embassy on 10/4/60; on pg. 119, it is said to have been on 10/5/60. On pg. 88, we are told that Truman was in office for six years, whereas it was actually closer to eight. A conversation with Lee Shubert is reported to have gone down in 1956, whereas the theatre owner, by all accounts, passed away in 1953! There was no "Fred Katz" in the band Blood, Sweat & Tears; perhaps Battaglio meant Steve Katz, or maybe Fred Lipsius? "A Very Special Baby," according to the Internet Broadway Database, ran for five performances, not the 34 that Battaglio tells us (again, don't ask me!). And speaking of Broadway runs, wouldn't "Rashomon"'s run from 1/27-6/13 in 1959 mean that it lasted 4 1/2 months, not the "six" that the author reports? Too, the author tells us that Susskind sold "The Glass Menagerie" to CBS in 1967, whereas it was actually SHOWN on 12/8/66. And then there is this unfortunate sentence: "Yeah, a few of us," said Bob Costello, a producer on "Circle Theatre," told him.
But enough nitpicking. You get the idea. Despite these minor gaffes, Battaglio's work remains a significant achievement. His book is never dull and is indeed consistently gripping. I have read it twice already and expect to be referring to it for many years to come. At the tail end of his book, Battaglio reveals that Susskind once said to his son, Andrew, "Mediocrity is an embarrassment." Well, I have a feeling that Susskind himself would have found great favor with his first-ever biography. This is FAR from a mediocre piece of work!
Susskind, of course, far from being "merely" a long-running, groundbreaking talk-show host, was also a renowned TV, Broadway and Hollywood producer. His list of credentials is more than impressive, with television specials such as 1966's "Death of a Salesman," 1973's "The Glass Menagerie" and dozens more; theatrical films such as "A Raisin in the Sun," "Requiem for a Heavyweight," "Alice Doesn't Live Here Anymore" and "Straw Dogs"; and television series such as "Get Smart" and (to his great embarrassment, apparently) the phenomenally popular "Supermarket Sweep." Battaglio takes us back to Susskind's youth, growing up in Brookline, Mass. in the '20s, and details the hundreds of deals that made the man the industry legend that he ultimately became. Hardly a fawning hagiography, Battaglio's book doesn't shirk at revealing Susskind's flaws, such as his incessant infidelities during his two marriages, and the bipolar disorder that went far in wrecking his career in the mid-'80s, toward the end of his life. Susskind's numerous failures as a producer are detailed as well, including the regrettably short runs of the innovative series "East Side/West Side" (starring George C. Scott) and the historic Broadway fiasco "Kelly," which, despite a price tag of over $600K, closed after one show, on 2/6/65. Still, Battaglio obviously holds Susskind in very high esteem, and that admiration does manage to seep through. And really, what is there NOT to admire? As Battaglio reveals, Susskind was the first to actively fight Communist blacklisting on television, and the first to feature a major black character in a prime-time drama (Cicely Tyson, on "East Side/West Side"). His talk show was one of the first television forums for the emerging civil rights movement (Martin Luther King was a guest on 6/6/63), the women's liberation movement, and the nascent gay pride movement, and interviews with Nikita Khrushchev (on 10/9/60), Richard Nixon (on 5/15/60; a 3-hour, 45-minute interview that Battaglio conjectures might very well be the longest in TV history) and Joey the masked hitman (in 1973) have become legendary. The author's writing style is almost clinical in its objectivity at times, never more so than when reporting the facts about Susskind's sad end. In all, it is an expert piece of reporting, shedding light on a most intriguing man and his fascinating life.
Still, a close reading of Battaglio's work reveals some minor problems, quibbles though they may be. First of all, there are numerous instances of misspellings. "Playboy" centerfold Dorothy Stratten did not spell her name "Stratton"; the owner of Plato's Retreat was Larry Levenson, not "Levinson"; NOW president Jacqueline Ceballos did not spell her name "Jaqueline"; "Deeley Plaza" in Dallas should of course be "Dealey"; an "East Side/West Side" character is called Frieda Hechlinger on pg. 107 and Freida Hechlinger on pg. 132 (don't ask ME which is correct!); columnist Jack "O'Brien" should be "O'Brian"; the name of Sidney Poitier's character in "A Raisin in the Sun" should be Walter Younger (I always thought), not "Langer"; "Claire" Booth Luce should of course be "Clare"; and the feminist group Redstockings should be one word, not two. More serious are the occasional errors of fact: On pg. 58, we are told that Susskind attended a reception at the Soviet embassy on 10/4/60; on pg. 119, it is said to have been on 10/5/60. On pg. 88, we are told that Truman was in office for six years, whereas it was actually closer to eight. A conversation with Lee Shubert is reported to have gone down in 1956, whereas the theatre owner, by all accounts, passed away in 1953! There was no "Fred Katz" in the band Blood, Sweat & Tears; perhaps Battaglio meant Steve Katz, or maybe Fred Lipsius? "A Very Special Baby," according to the Internet Broadway Database, ran for five performances, not the 34 that Battaglio tells us (again, don't ask me!). And speaking of Broadway runs, wouldn't "Rashomon"'s run from 1/27-6/13 in 1959 mean that it lasted 4 1/2 months, not the "six" that the author reports? Too, the author tells us that Susskind sold "The Glass Menagerie" to CBS in 1967, whereas it was actually SHOWN on 12/8/66. And then there is this unfortunate sentence: "Yeah, a few of us," said Bob Costello, a producer on "Circle Theatre," told him.
But enough nitpicking. You get the idea. Despite these minor gaffes, Battaglio's work remains a significant achievement. His book is never dull and is indeed consistently gripping. I have read it twice already and expect to be referring to it for many years to come. At the tail end of his book, Battaglio reveals that Susskind once said to his son, Andrew, "Mediocrity is an embarrassment." Well, I have a feeling that Susskind himself would have found great favor with his first-ever biography. This is FAR from a mediocre piece of work!
November 12, 2011
I read this bio as am old enuf to remember the earliest days of TV when Susskind was a pioneer producer. I best remember his talk show Open Mind (AKA "Open Mouth") where he assembled panels of ppl to discuss "controversial" topics of the 60s and 70s such as homosexuality. Mr Susskind is the person who taught me through a panel of lesbians that gay ppl are just people, like any other group. I am embarrassed to say that this was quite a revelation at the time. I will always be grateful to him for enlightening me.
Familiarity with David Susskind thru this bio cannot help but lead to a considerable amt of contempt for this arrogant, womanizing egomaniac. Still his important contributions of high quality drama and in-depth discussion to TV in its infancy cannot be denied and in fact earned Mr. Susskind a front-page obituary in the NYT when he died.
Familiarity with David Susskind thru this bio cannot help but lead to a considerable amt of contempt for this arrogant, womanizing egomaniac. Still his important contributions of high quality drama and in-depth discussion to TV in its infancy cannot be denied and in fact earned Mr. Susskind a front-page obituary in the NYT when he died.
keep-in-mind
March 27, 2011_David Susskind: A Televised Life_ (2010) by Stephen Battaglio
See NY Times review (pub. 10/15/10) at:
http://www.nytimes.com/2010/10/17/boo...
See NY Times review (pub. 10/15/10) at:
http://www.nytimes.com/2010/10/17/boo...
Displaying 1 - 3 of 3 reviews