Monkees vs. Macheen: “Art for Monkees’ Sake”

“Monkees Imitate Art” aka “I WANNA LOOK AT LIBERACE!”

“Art for Monkees’ Sake” was directed by Alex Singer and written by Coslough Johnson. It debuted October 9, 1967. The episode title is a play on the French slogan, “Art for Art’s Sake” (l’art pour l’art) which means art for reasons of self-expression and not for any instructional, moral, or other useful purpose. The Monkees are most often comedy for comedy’s sake, and I love it.

Peter is at the Monkees pad, painting a very realistic picture of the bathroom door. Micky walks right into it and hits his head, aided by a little shaky-camera action. Mike suggests that Peter go to the art museum and check out the great painters instead. Peter takes his advice and goes to the museum where he paints copies of museum doors. Of course he does. Monkees guest cast actor Vic Tayback is back for the third time as Chuche, the museum guard. He makes the same mistake that Micky did, walking into Peter’s painting. He wants to thank Peter with a punch in the face but his partner-in-crime and fellow museum guard, Duce (Monte Landis) suggests they use Peter’s talent to help them steal a painting instead.

They set Peter up to copy “The Laughing Cavalier,” painted in 1624 by Dutch Golden Age painter Franz Hals. Chuche and Duce whisper their plan to steal the real painting and put Peter’s in its place. Meanwhile, Mike, Micky, and Davy worry about Peter. Mike considers the idea that he may have insulted Peter, but Micky says, “Well to insult somebody, they have to understand you.” Which is a slight to Peter’s intelligence, but on the other hand going through life never being offended would be a beautiful thing. Maybe not so dumb after all. At the museum, Peter has completed his copy, but he’s dressed the Cavalier in Mike’s green wool hat. Duce chides him, “I know it’s knitted, but it’s not needed.” They move Peter to the basement to fix the painting because the museum’s about to close.

Next morning at the Monkees pad, Mike, Micky, and Davy have breakfast with Mr. Schneider because Peter’s not back yet. (Mr. Schneider wears Peter’s pajamas.) They deduce that he’s in trouble. Peter, meanwhile, is reluctant to finish the painting, declaring, “I just don’t feel it.” Chuche wants to solve the problem with violence. Duce is more diplomatic; he explains, with his over-the-top fake Italian accent, that the Cavalier has lot of class, a lot of style etc.

Micky, Mike, and Davy are in the museum corridor. They decide to split up and check the various studios but head into each other instead of around each other, and there’s physical comedy as they try to get by each other. Silly and childish, but still funny. Also a meta-comment on the episode as the shape they make is a human sculpture. Mike redistributes the studio assignments and the three head away from each other.

Here comes one of my favorite bits. Micky finds a bearded artist at work in one of the studios. Before he can even ask about Peter, the artist interrupts to tell him, “You could never be an artist. You have no beard!” He scoffs at Micky’s suggestion that he use brushes, “A true artist must feel the painting in the canvas! In his soul!” Cut to a shot of the soles of his feet each doing a separate painting on the floor. Micky asks if he’s seen Peter, describing him as blonde, “weird looking.” The artist takes this personally and grabs Micky by the shirt with paint-covered hands. “You come in here to insult me! It’s because I’m a high school dropout.” He throws Micky out. The character beautifully and hilariously ran through all the stereotypes about artists: Egotistical, pretentious, hypersensitive, dramatic, emotional, and vain [Not to mention – under-educated. – Editor]. The artist does a little flamenco dance in front of the canvas. Fabulous scene with a funny actor playing the artist.

And considering how much I enjoyed that, the next scene gets even better. Mike enters another studio and finds formally dressed patrons waiting for a performance. They shush Mike who looks comically embarrassed and then surprised when Liberace walks in with a gold mallet and proceeds to smash the piano. Mike collapses on the ground and makes dismayed and incredulous faces while the rest of Liberace’s audience intensely and seriously watches. Mike tiptoes out and leaves them to it. Funny scene that has no plot purpose and is, dare I say, weird for weird’s sake. Liberace! For crying out loud.

I always figured that scene was a parody of rock-n-roll instrument-smashing. 1950’s rocker Jerry Lee Lewis was rumored to have destroyed and burned pianos. Pete Townshend had smashed his guitar at the Railway Tavern in Harrow and Wealdstone in September of 1964. The film, Blowup, featured The Yardbirds’ guitarist Jeff Beck destroying his guitar (after being told to emulate Townshend by director Michelangelo Antonioni). Jimi Hendrix famously set fire to his guitar at the Monterey Pop Festival in June of 1967. There may be more to this than destruction for destruction’s sake. Pete Townshend was inspired by artist and activist Gustav Metzger. Metzger, who died this past March, was responsible for the Auto-Destructive Art movement, an art form where artists would destroy objects in protest against the capitalist system and the threat of technology. Metzger organized the Destruction in Art Symposium that happened in London from September 9–11, 1966. The Symposium events included several piano destruction concerts, performed by artist Raphael Montañez Ortiz, which could be what these Liberace scenes are satirizing. It’s an interesting idea since these are counterculture ideas, but the audience watching Liberace has a “high society” look in their furs, diamonds, and tuxes.

The museum is about to close, so Duce and Chuche tie up Peter, Duce explaining the most important thing for an artist is “to suffer.” (Another artist stereotype.) On the museum main floor, the Curator chews out the guards, telling them to “be more punctual.” Out in the same museum corridor from the earlier scene, Mike, Micky, and Davy have failed to find Peter. Interesting shot composition, they stand in height order with Davy in the foreground. Davy asks if anyone checked the basement. Mike says “Nobody but a fool would paint in the basement.” You can see his mouth say “idiot” but they overdubbed “fool.” According to the Monkees Tripod site, this was Peter Tork’s request.

The thieving guards hang Peter’s fake in the museum. Micky, Mike, and Davy finally find Peter tied up and gagged in the museum basement. They compliment his “copy” of “The Laughing Cavalier” but Peter explains, “The man who painted that was brilliant.” Monkees in unison say: “That means they’ve switched the paintings.” Cut to a shot of Peter’s copy in the museum with Peter’s rather obvious signature in white paint.

Up on the main floor, the Monkees try to tell the Curator and the guards that the paintings have been switched. The Curator doesn’t believe them and, as Peter points out, the guards are the thieves. The Curator explains it’s impossible to steal the painting. He explains that by day two guards watch it, by night he turns on the alarm, which triggers a cage if anyone disrupts the invisible beams. He goes to demonstrate and springs the mechanism. As Micky says, “Caught like a rat in his own trap.” The Curator’s hysterical performance as he sobs on the floor is delightful insanity. The actor, Arthur Malet has a quirky/manic line delivery, like someone on the verge of a comedic nervous breakdown. He played a role with a similar effect on The Man from U.N.C.L.E. in the infamous episode, “The My Friend the Gorilla Affair.”

The Monkees decide to switch back the paintings themselves. This leads to the “Mission: Ridiculous” sequence. Mike does overdubbed narration to introduce the team members as they each make a physical-comedy-laden entrance: The Manchester Marauder, (Davy) The Connecticut Counterspy (Peter), The Towering Texan (Mike), and the Los Angeles Leopard (Micky). The high point is Mike absent-mindedly electrocuting himself for several seconds on the rooftop antenna. This sequence is clearly meant to parody the Mission: Impossible weekly series, a show about secret agents using elaborate schemes to solve international crimes, which ran from 1966-1973. The Monkees begin their mission and sneak in through the museum roof on a rope ladder, while Chuche sleeps.

Davy wears goggles that allow him to see the invisible beams and nothing else. He stumbles around and knocks over a sculpture. He slips out the painting copy but Peter forgot the real painting up on the roof so he goes to retrieve it. Their noise alerts Chuche who comes out to see what’s happening. The Monkees imitate statues in order to fool him, and Chuche steals their cheese sandwiches. Peter and Micky tiptoe around the museum floor, following Chuche while Mike and Davy finish the switch.

They make their escape up the ladder but not in time, as Duce is now coming down the ladder towards them. I love Mike’s polite but still irritated response, “This is our ladder sir, we were going to escape.” Duce gets to the museum floor and pulls a gun on them. Everyone scrambles around and this launches a romp to “Randy Scouse Git.”

About the song, this was written by Micky Dolenz and inspired by the Monkees trip to England. The verses describe a party Micky attended that was thrown by the Beatles while the chorus “Why don’t you cut your hair, etc.” reflects bigoted remarks aimed at a fictional long-haired youth. The last part relates to the title, “Randy Scouse Git” which is taken from a British television show, Till Death Do Us Part which was the U.K. version of the American television show, All in the Family. The loud, narrow-minded father character, Alf Garnett, would insult his son-in-law calling him a “randy scouse git.” [American translation: “Meathead” – Editor] The Monkees record label in the U.K., RCA records, would not release the song unless Micky gave it an alternate title, so he named it literally “Alternate Title.” It became a #2 hit in the U.K. All four Monkees play on this one, Micky singing and playing drums and timpani, Mike on guitar, Peter on piano and organ, and Davy on backing vocals.

The romp is well edited; mixing Rainbow room footage with the Monkees and bad guys running around the museum. The song’s frantic energy suits the romp nicely. Chuche finally gets to punch someone behind a curtain, unfortunately revealed to be his partner Duce. Best moments include more Liberace piano smashing, a funny shot of Mike, Micky, and Davy holding up a frame around themselves, and Micky and the bearded artist fighting each other. At the end, the cage of crazy falls down on the Monkees and the guards and they fall asleep on top of each other.

In the morning, the curator is giving a tour to museum visitors and sees the cage filled with Monkees and crooks. With confusion and embarrassment, he describes them as “a new exhibit; an assemblage of iron and human beings.” Next is a tag sequence at the Monkees pad. Micky frames his painted shirt and Mike sings a little of “Papa Gene’s Blues.” Peter has given up painting and taken up carpentry. Micky sits on one of Peter’s new projects and collapses onto the ground. This is followed by the “Daydream Believer” (John Stewart) Rainbow Room performance clip. I love Davy dancing in front of the rainbow stripes, doing the “Davy Jones” where he leads his body with his ribs instead of his hips. I also enjoy the Monkees around the piano together, and the finale when they ham it up and step in front of each other. Just for fun, here’s a “literal” version of “Daydream Believer.” After the tune, we’re treated to a little more piano smashing as Liberace happily finishes his performance, and the society audience politely claps.

That was one of those episodes that I had thought of as funny but maybe not a standout. The more I look at it, the more I like it though, so I guess it’s a “grower.” The story itself is nothing special; silly to be sure, but no more so than the bulk of the other episodes. Fortunately there are extra touches in this episode that blend well with the comedy. The best two scenes have little to do with the story. Micky with the artist is side-splitting and a rare chance for him to be the straight man, reacting to someone else’s craziness. The surreal bit with Liberace, besides a great bit of stunt-casting, is The Monkees at its off-the-wall and satirical best. I also enjoy all the moments where people become art: The shot composition of the Monkees in the corridor, the tangle of bodies at various times, the “framed” Monkees and the finale with all the characters in the cage. Director Alex Singer has a knack for that. He posed them cleverly in the fashion-oriented “Monkees à la Mode” as well. Once again it seems in these early season 2 episodes the show creators were still invested in making an entertaining show.

by Bronwyn Knox

Every couple of weeks, “Monkees vs. Macheen” examines the crazy, spirited, Ben Franks-type world of the Pre-Fab Four: David Jones, Micky Dolenz, Michael Nesmith, and Peter Tork alias The Monkees.

 

 

Monkees vs. Macheen: “Everywhere a Sheik, Sheik”

“Strangeways, Here We Come”

“Everywhere a Sheik, Sheik,”  was directed by Alex Singer, written by Jack Winter, and aired September 25, 1967. Filming dates were April 25-27, the same week the Monkees began working on their fourth album Pisces, Aquarius, Capricorn & Jones, Ltd. The episode is unfortunately, a recycled plot of a recycled plot. As with “The Prince and the Paupers” the Monkees are helping a young royal who is duty-bound to get married, and as with both that and “Royal Flush,” the Monkees are up against ambitious, evil adults in a fictional kingdom. The title tells us this Kingdom is modeled on a fictional Middle Eastern culture. I assumed the title was meant to rhyme with the line “everywhere a sheep, sheep” from the nursery rhyme “Old Macdonald Had a Farm,” which would mean they are using the obsolete pronunciation of “sheik.”

The story starts out with the Nehoudian King informing his daughter, Colette, that “the stars” say she must marry. His companion, Vidaru, tells her “the stars never fail.” [“The fault lies not in our stars, but in ourselves.” – Editor] The King and Vidaru are both dressed as made-for-television sheiks, complete with the headdress known as the keffiyeh. Vidaru is all in black, telegraphing that he must be the bad guy. Colette rolls her eyes at Viradu and protests to her father. I like Donna Loren as Colette; with her expressive face and playful line delivery, she gives a little spark to an otherwise boring role as another Davy girlfriend. The King is played by Monte Landis (then credited as Monty Landis) and this marks the first of his seven appearances on The Monkees.

The King is afraid he’ll die and no one will inherit the throne and he suggests she marry Vidaru. Colette is visibly repulsed at Vidaru, who turns to reveal he only has a beard on half of his chin. The King points out Colette has already turned down all the most eligible bachelors. She counters by selecting Davy Jones from a picture in a magazine.

Two of the King’s servants, Abdul the Strongman and Shazar, are at the Monkees pad, weighing Davy against bars of gold while the other Monkees make jokes. Abdul puts Davy in a bag and carries him off while Micky, Mike, and Peter passively allow this. Shazar hands Mike an invitation to the wedding of Colette and David Jones. Micky doesn’t have sunglasses on when they read the card in the close-up but for some reason he’s wearing them on the reaction shot when they all look at the camera in shock.

After the credits, Davy has arrived at the Nehoudian hotel. Shazar tells Davy that Colette wants to marry him. Davy wants to know why, and his reaction shots here are the ones used in the opening theme sequence. Shazar gives Davy a non-answer, “Do not question the strange ways of our people.” Because it’s an “exotic culture”, get it? Shazar implies the danger of rejecting Colette; she puts a wreath on the grave of the last boy that did so.

The three non-betrothed Monkees arrive in the classic individually styled gray suits. I like the way they choreographed their entrance: They march in a line in step with each other, and then Mike and Davy lean out from behind Micky as they ask the guard if they can see Davy. Abdul stops them by simply pushing back on Micky’s chest, knocking them all back like dominoes.

Davy is decked out in his own Nehoudian wardrobe when he meets the King and Viradu. Davy and the King do an awkward bumping bow. While the King goes to get his daughter, Viradu puts a dirty smock on Davy, again giving him the “Do not question the strange ways of our people.” He leaves Davy alone. Colette arrives wearing an outfit that resembles a bedlah, which is a belly dance costume, not hanging-around-the-hotel clothing. But unlike the other women in this episode, she has a westernized touch to her costume:

Davy and Colette look at each other and are instantly smitten. Middle Eastern-style string music plays as they begin complimenting each other’s features, cut together with dreamy footage of them dancing and almost kissing. So cheesy it actually becomes campy fun. Davy halts everything to tell her he’s not ready for marriage. She insists that it’s him or Vidaru. Speak of the devil, Vidaru comes in and drags Davy away, “our ancient laws do not permit further contact at the first meeting.” Oh boy, with the strange ways and ancient laws. [That’s a micro-aggression! I need a safe space! – Editor]

Now, for some real comedy. Mike, Micky, and Peter are back in the corridor. Mike and Micky have formal military dress costumes with fancy hats and Peter is dressed as a scientist and carries a Geiger counter. Micky has an over-the-top German accent and keeps knocking Mike’s hat off when he salutes. Their “con” is that they’re looking for a bomb, and they convince Abdul there’s one in the room where Davy is staying.

They do the three stooges gag where they all try to get through the door at once and get stuck. Davy pulls them in and updates them. The King walks in and the Monkees introduce themselves with a Three Stooges “Hello” harmony. Monte Landis gestures to cut them off; he’s good at playing off the Monkees. Davy confesses to the King that the marriage is “a little sudden.” The King tempts Davy with a fabulous mansion and his weight in diamonds. (They’re really into weighing people against precious gems and metals.) Davy confers with the others and they are still opposed to the marriage. The King lures them with the idea that his friends could all become cabinet ministers and each would have his choice of a dozen wives. He claps his hands and summons a group of pretty young women in belly dance outfits. The Monkees eagerly check them out, and naughty Micky makes me laugh with his air-humping gesture. Davy considers all this and decides marriage is better than being killed.

The Monkees are now all in sheik headdress and hanging out with the Harem of Hotties. Davy makes Micky Secretary of Defense. Peter snaps his fingers in disappointment. (This footage is used in the opening.) Mike is to be Secretary of State. Davy wants to make Peter Director of Forests, to which Peter (uncharacteristically) sarcastically, “you would.” Meanwhile, Viradu and his toady Curad plan to kill all the Monkees, but separately so no one will connect the murders. Hmm…I think there’s a hole in his theory. Also, the Curad character seems to have come out of nowhere.

Mike works out the wording for a peace treaty while a girl flirts with him and fondles his hair and his ears. He looks at the camera in disbelief. He decides he needs a paperweight. From above, Curad obliges him by dropping cement block on him. It misses and puts a hole through the apparently very thin table. Mike asks the audience, “What is this number with the concrete block?”

Peter is relaxing with his girl when Shazar brings them some food. Shazar insists he must taste the food first, to make sure it’s not poisoned. He takes a bite and collapses. Peter politely asks, “How is it?” Shazar gasps his last: “It’s poisoned! And a little rare.” Bye-bye Shazar, at least you got to go out on a funny line.

Micky discusses his military plans with his blonde date, going mad with power and a Napoleon impression. Between this and the earlier bomb scare, they are taking an subversive crack at the military and military leaders. They also do so in a way that’s not dated; the military is always a classic target for parody. These jokes aren’t specific to what was going on at the time, the cold war and Vietnam War and so on. Curad is terrible at murder; he throws a knife at Micky and misses.

Colette and Davy nearly kiss some more. Davy frets he’s not cut out to be a prince, just like he did in “Prince and the Paupers.” Colette sweetly gives him a large necklace for luck. Curad sends a blow dart at Davy, and the necklace blocks it. Colette figures out that someone’s trying to kill him.

The Monkees have reunited in the same room and rightly decide they need to split. Mike wants to create an escape plan but Micky thinks they can just walk right out. He hits Abdul on the head with a lamp. Abdul doesn’t feel it so Micky agrees they need a plan. Mike huddles them together for a plan that is never mentioned again. That certainly went nowhere.

Viradu’s new plan is to kill them at the banquet with wine glasses rigged to explode when they toast. He’s overheard by one of the harem girls, who in turn tells it to Colette. Colette’s not allowed to attend the banquet so she asks the girl to tell them, “Golden Grecian goblets guarantee graves,” which is a funnier way to say the glasses are booby-trapped.

At the banquet, the Monkees are seated at the table. There’s humorous stage business in which Micky keeps handing Peter banana peels and Peter hides them. The girl gives Peter the “Grecian Goblets” message before she is pulled off by a guard. Peter passes the message to Micky who thinks it’s a tongue twister: “rubber baby buggy bumpers.” Peter tries the message on Mike and Davy but they don’t pick up on it either. The King stands up to make his toast. Several false starts where the Monkees are about to clink glasses but the King keeps talking and talking. Finally just before they toast, Peter accidentally tosses his at the wall and it explodes. Davy catches on and asks Viradu to clink glasses with him. Viradu refuses. The King figures out that Viradu tried to kill his future son-in-law. In a pretty darn funny reveal, Viradu change his accent to Southwestern American and confesses he’s not a “Nehoudian”; he’s from Oklahoma and came to get their oil.

This launches the romp to “Love is Only Sleeping” (Mann/Weil). Scenes of the Monkees and the guards fighting are mixed with Rainbow Room footage. This one features Mike in his Paul Revere and the Raiders sleeves and blue jacket. I love the song. It’s the sexiest Monkees song; the arrangement and the lyrics. There’s also some of the Foreign Legion footage of the Monkees shot in the first season. The high-point of the mayhem is when the Monkees take turns sword fighting and cut in on each other to make out with the same girl. It gives the whole thing a weird orgy vibe, “wrong” but kinda sexy. The Monkees do that switcheroo thing again where Viradu somehow ends up huddling with them instead of his guards. There’s an explosion and the Monkees are sitting on Abdul.

In the aftermath, the King tells the Monkees he’s eternally grateful and he grants freedom for them all. Davy apologizes to Colette that he’s too young to get married, he’s sure she’ll find somebody else, etc. Donna Loren’s facial expressions are adorable as she explains that she already has found someone new: Peter! Abdul puts Peter on the scale. Peter doesn’t look too happy and I don’t blame him; there’s no reason for him to be second choice to Davy.

There’s a final performance to “Cuddly Toy” (Nilsson.) The songwriter, Harry Nilsson, was working at a bank and writing songs at night when he met the Monkees and played this song for them. Because it was a hit, he was able to quit the bank and become a singer. Nilsson’s career peaked in the 1970s, and he died in 1994. The title track of the Monkees newest record, Good Times! was also written by Nilsson, and a 1960s demo of him singing the song was used to create a “duet” with him and Micky Dolenz on the album.

The Monkees are on stage in Vaudeville-style striped jackets, canes and straw hats. Micky has the purple-tinted sunglasses that we see Mike wearing throughout the second season quite a bit. Micky and Davy compete to see who will dance with Anita Mann, but Davy settles it with a fake punch to Micky’s face. Good thing since Davy can really dance. The other three bounce gamely and goof around with their canes off to the side while Davy and Anita perform the dance she choreographed. Mann has many credits as a choreographer; the IMDB lists her as uncredited choreographer for all 58 Monkees episodes, and choreographer for 47 episodes of Solid Gold, as well as some Muppets TV specials and the film Mystery Men.

The episode closes with an interview from the Rainbow Room shoot on August 2. Micky, Peter, and Davy are in their psychedelic clothes while Mike wears the dull but timeless shirt and tie and red pants with the purple sunglasses. The best part of the interview is the mention of a girl who mailed herself to Davy with the punch line, “We shipped her to the Beatles.”

It’s hard for me to criticize this episode as much as I should. It’s a re-hashed and thin plot with yet another fictional kingdom. Compared to the previous two episodes, which were clearly well thought-out and put together, this one is sloppy. It’s in the same territory as “Prince and the Paupers,” but unlike that one, which I found really dull and drab, “Everywhere a Sheik, Sheik” has some entertaining comedy. The Monkees are funny in every scene they’re in, and for the most part they’re working together and playing off each other well. Some of the bits that didn’t feel scripted added some cheeky laughs, especially from Micky. The guest cast seems to have fun with their parts, which always helps the quality of the episode.

by Bronwyn Knox

Every couple of weeks, “Monkees vs. Macheen” examines the crazy, spirited, Ben Franks-type world of the Pre-Fab Four: David Jones, Micky Dolenz, Michael Nesmith, and Peter Tork alias The Monkees.

Monkees vs. Macheen: “The Picture Frame”

“What’s My Motivation?”

“The Picture Frame” starts out with the “Hurray for Hollywood” sound-alike incidental music and the sign for the fictional Mammoth Studios, first used in “I’ve Got a Little Song Here.” Some previous episodes where the Monkees tried to break into show biz were “Captain Crocodile,” “Find the Monkees,” “Monkees at the Movies,” and “Monkees in Manhattan.” Mike, Micky, and Davy wander onto a soundstage and meet Harvey and J.L., who tell the Monkees that they want them to play bank bandits in their picture. Harvey and J.L. are wearing berets, and it amuses me that berets are what crooks think will let them pass for legit Hollywood producers. The film flips over and the three Monkees appear in gangster-wear with guns, cigars, suits and hats, etc. (It’s probably an illness on my part, but I find them rather sexy here.) Previously we’ve seen the boys as gangsters in “Monkees in a Ghost Town,” “Monkees a la Cart,” and Micky in “Alias Micky Dolenz.” In all those cases however, the Monkees were trying to fool crooks into thinking they were of their kind.

J.L. asks the Monkees for a picture to see “how they photograph” and Davy whips out a baby picture. J.L. throws it away and asks for something more recent. Micky grabs a medium format camera to take a picture of the crooks with Mike and Davy, despite J.L.’s protests of “no pictures.” They get an instant picture which J.L. tosses in the same trashcan. J.L. tells them they’re all set up to shoot “the bank stick-up scene” at the 9th National Bank. He tosses scripts at them and explains they use the “hidden camera technique” so they won’t see the film crew. The Monkees, who have perpetuated dozens of cons aren’t suspicious of any of this.

“The Picture Frame,” directed by James Frawley, originally aired on September 18, 1967. The filming dates for the main episode were April 5-7, 1967, not long after they finished Headquarters. Jack Winter wrote “The Picture Frame” as well as “Everywhere a Sheik, Sheik,” “Monkee Mayor,” “”Hitting The High Seas,” and “The Monkees In Texas.” The first three on that list were among the group of leftover first season scripts. Musical numbers in this episode were part of the Rainbow Room performances, shot on August 2, 1967.

Back to the story, the Monkees awkwardly enter the busy bank, guns drawn. Some highlights of this scene include the squeaky voiced bank teller (Joy Harmon) who keeps asking Davy, “Do you have an account here, sir?” Micky’s brief Cagney impression, and Mike’s magic power to speed up time and open a safe by imitating a clock. The bank Vice President was played by Ronald Foster and was also the Rolls Owner in “Success Story” and the Courtier in “Prince and the Paupers.” As they leave, the boys read the scripted lines, telling the bank customers and staff not to move or say anything. The extras put their arms down once the door shuts, but then Micky sticks his head in to say “cut, print that’s a wrap” and they all put their hands back up.

Mike, Micky, and Davy are back on the soundstage. Peter arrived, having gone initially to the wrong stage at the wrong time. J.L. congratulates them, gives them each $100 bucks, and tells them they’ll call tonight about tomorrow’s shoot. Mike offers to take the stuff back but J.L. tells him the “prop people” will handle that, as the Monkees are going to be “big stars.” As they leave, J.L. tells Harvey he’s going to make an anonymous call to the cops.

There’s stock footage of police cars with sirens blazing. Outside the Monkees house is Dort Clark as the Sergeant, previously in the “Monkees à la Cart” episode in a similar role. He’s a funny actor and I wish they’d used him as well for “Alias Micky Dolenz” (though Robert Strauss did a fine job as the Captain.) The Sergeant is with two uniformed policemen. Peter thinks they want his overdue library book, so he crawls to the door and puts the books outside. The Sergeant tells them to stop fooling around. Davy goes up to the lookout window and repeats the gag from “Monkees à la Mode” where he opens it even though he’s too short to see out. Somehow he reports what’s out there: cops, lights, etc. Mike decides it must be tomorrow’s shoot moved up to tonight.

The Sergeant sends one of the uniformed cops in, after some comic uncertainty on the their part. The cop goes into the Monkee pad, stammering and telling them to follow him. Micky says that’s no good and starts directing him how to hold the gun and to be more steely-eyed. Cute, unintentional meta-moment because the cop is played by Robert Michaels, who was also in “The Frodis Caper,” Dolenz’ directorial debut. The cop exits and re-enters, accidentally scaring the Monkees and himself by shooting up the place. The editors cut to stock footage of planes crashing, cars crashing, etc.

At the police station, the Sergeant shows the Monkees the film of themselves robbing the bank. They’re disappointed that it’s black and white but I think it’s actually improbably good for security camera footage. Mike tries to decide what movie star he looks like: Barry Sullivan, Paul Newman, Marlon Brando, while Micky and Davy also admire their own performances. Not getting that they’re in deep trouble, they agree it is them on film. Peter walks in with popcorn and the scene becomes a clever parody of a movie audience, with a lady in a hat, a couple making out, a guy sleeping in sunglasses. The Sergeant tells them he’s booking them for the robbery of the 9th National bank. The Monkees are confused. Davy explains, “We were shooting a movie. Some cat came up and said ‘do you want to shoot a movie?’ We said, ‘yeah, we’ll shoot a movie’ So we shot a movie.” Mike realizes how screwed they are and has a nervous breakdown, with hilarious facial expressions.

Now we have the comic sequence of Taking Everything Literally. The Sarge tells the three busted Monkees to “start talking” and so they mutter lyrics to “Zilch,” the isolated vocal track from Headquarters. Sarge tells them to change their tune, so Mike blows a pitch pipe and talks in a higher pitch (okay, not technically changing their “tune.”) He threatens them with the 3rd degree so Micky passes out three diplomas. The cops bring over the bright light but the Monkees respond by pulling out dark glasses and sun-tan lotion. Sarge asks them if they’re ready to spill the beans, and of course the Monkees pour out cans of beans. The Sarge loses it and says to throw the book at them. The cop tosses a book. In the shot where Mike catches it, he’s not wearing his glasses but back in the closeup he’s wearing them again. I’m thinking this is not an accidental continuity error but a deliberate one so he could see to catch the book. In a callback gag, the book is Peter’s overdue library book.

The Monkees, minus Peter, are now pacing around a jail cell. Peter brings them a file, which turns out to be an emery board instead of the expected metal file. Peter unleashes this nonsensical gem, “I don’t think you’re guilty. I just don’t see how you could possibly be innocent.” He found a lawyer from the classifieds but the lawyer won’t attempt get them off, “With that kind of evidence? No chance.” He points to Davy, “him maybe with the cute face.” The not-so cute faces of Micky and Mike are told to plead guilty. The lawyer wants $40,000 to represent them, which they don’t have. The lawyer states the seemingly obvious, “Of course you do, you just robbed a bank, didn’t you?” The lawyer was portrayed by Art Lewis, who was the missing persons inspector in “Find the Monkees.”

Now, the court scenes. The judge asks the Monkees if they’re represented by council. They say yes, but clearly they don’t have a lawyer. She asks them to bring in the first prospective juror. The DA calls in Philip Jackson. It’s actually Mike playing a similar character to the janitor he played in “Captain Crocodile.” The DA objects on the grounds that Mr. Jackson is one of the defendants. The judge scolds Mike for trying to pull a fast one. Mike starts flirting and pulls out some flowers for her. She melts (as do I) as Davy and Micky look on hopefully.

Meanwhile, Peter is back on the soundstage, snooping for evidence against the actual crooks. He has the Sherlock Holmes hat that Micky used in “Monkee See, Monkee Die” and a sleuth-cliché magnifying glass. Peter runs into Harvey who correctly guesses that Peter is snooping. If this were logical, Harvey could have gotten rid of Peter right there, but instead he watches him snoop. Peter finds a picture in the wastebasket and is happy/excited with this evidence. Harvey calls J.L. and tells him what Peter has found. J.L. assumes it’s the incriminating picture of them with the Monkees and orders Harvey to keep Peter there.

Back at the court, Micky adopts a British Barrister persona and questions the bank VP on whether he can be sure Mike was the one who held him up. The bank manager is sure, so Micky asks him a bunch of irrelevant trivia questions (What is the capital of Nova Scotia?) Micky wants to dismiss on the grounds that it is late and everybody’s hungry. The judge joyfully claps her hands for food and Mike and Davy are suddenly ballpark vendors with hot dogs and popcorn. The prosecutor freaks, “Your honor, this is outrageous!” as the judge obliviously enjoys her hot dog.

Mike argues that the dynamite that they supposedly threatened to blow open the safe with was actually harmless. There was no bit like that in the robbery scene, but just roll with it. He lights it, and it goes out as it burns down the wick. The prosecutor objects and grabs the dynamite. Of course it explodes, leaving him not blown to bits, but covered in soot and smoke, a la Daffy Duck. It is to laugh. The judge overrules his objection because this is all insanity anyway.

Peter tries to leave the studio but J.L. comes in with a gun and tells him to hand over the picture. This launches a romp to “Pleasant Valley Sunday” (Goffin/King) with Peter running all over the soundstage area we saw in “I’ve Got a Little Song Here” and in and out of the “Mammoth Studios” area. This is mixed with Rainbow Room footage of the Monkees performing the song. The gangsters catch Peter in the shower at one point and he pretends to be offended. If this was meant to make sense, they could have shot him a while ago. Outside the soundstage, Peter drives a Monkees logo golf-cart. He seems to have evaded them by climbing the chain-link fence but they simply open the gate.

Somehow he gets to the courthouse with the picture. The music is still playing as Peter runs all over the courtroom with the gangsters chasing him. The Monkees protect Peter while the police grab the gangsters. Romp over, J.L. yells at Harvey for not emptying the wastebasket (or you know, shredding the picture, destroying the negative etc.) Mike, Micky, and Davy crowd around Peter hoping he’s got the picture they need, but naturally it’s the baby picture. They hand it over to the judge anyway who gasps at the cuteness and decides they’re “obviously innocent.” That was certainly in keeping with the ridiculous logic of everything else in this story.

Next up is more Rainbow Room footage of “Randy Scouse Git” (Dolenz). This series of song performance film clips were shot in the summer of 1967, in the middle of the Monkees concert tour. Due to race riots taking place in both Milwaukee and Detroit at that time, a couple of the Monkees performances were cancelled so they ended up with some extra time in Chicago. The Monkees producers booked time in Fred Niles Studios (later Oprah Winfrey’s Harpo Studios was there; sadly it is now torn down). In the Fred Niles Studies room with a robin’s egg blue and rainbow background, the Monkees filmed promo clips for “Daydream Believer,” “She Hangs Out,” “No Time,” “Randy Scouse Git,” “Pleasant Valley Sunday,” “Love Is Only Sleeping,” “What Am I Doin’ Hangin’ ‘Round?,” and “Salesman.” If you look at the recording dates of these songs, some of them were not complete yet so the Monkees were lip-syncing to rough versions. More about this here.

I enjoy all the Rainbow Room performances, they have an iconic look and are the first thing that comes to mind when I think of Monkees performance clips. Last summer I was lucky enough to be invited to discuss the Rainbow Room with a panel of smart Monkees fans on Zilch! A Monkees Podcast. Check it out here.

The Monkees are in great form in this story, working together with crack comic timing to create mischief in the justice system. With the dynamite, the literal sight gags, and the absurd plot points, “The Picture Frame” would certainly get my vote for Most Cartoony. It’s a tightly put-together farce, with it’s own insane sense of logic that builds up to a wacky finish. The solution with the baby picture certainly isn’t any more ridiculous than the Monkees just tying up the bad guys at the end of the romp like they usually do. “The Picture Frame” has one laugh-out-loud scene after another and it’s certainly worth watching for entertainment value.

by Bronwyn Knox

Every couple of weeks, “Monkees vs. Macheen” examines the crazy, spirited, Ben Franks-type world of the Pre-Fab Four: David Jones, Micky Dolenz, Michael Nesmith, and Peter Tork alias The Monkees.

Monkees Vs. Macheen: “Monkees Get Out More Dirt”

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The Monkees Love Catwoman!

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“Monkees Get Out More Dirt” is one of the episodes I’d put into a “most memorable” category. It’s the one with Julie Newmar, and the one where they all compete with each other instead of working together. The episode first aired April 3, 1967, and the writers were Gerald Gardner and Dee Caruso. Gerald Shepard directed this one. He has very few credits as a director, there’s this and another episode, “Monkees On The Wheel” as well as a film called Heroes Die Young (1960). Most of his credits are as an editor, he edited 11 of the 58 episodes Monkees episodes, 21 episodes of my beloved Addams Family and the Bob Rafelson directed film 5 Easy Pieces. One of the things I appreciate about The Monkees is the editing, which consistently adds personality to each episode.

The Monkees arrive at the laundromat to do their laundry. Each of them in turns goes to get some soap, meets the lovely April Conquest (Julie Newmar) and each in turn comes back to the others, stunned by love and muttering “soap…soap.” There are two separate funny POV shots, from her POV. First, diminutive Davy has to look high up to see her. Next, when Micky meets her he takes an awestruck look at her “rack” (which would really be the camera’s “rack”). The writers have created a variation from the usual plot device of Davy getting love struck; here they’re all love struck.

Before the opening theme, there’s a weird bit where an actor named Wally Cox comes over and uses a box of detergent with a question mark on it, and an arm comes out of the washing machine. These are both spoofs of TV commercials from the times, one for Salvo detergent (the real Salvo ad featured Cox) and one for Action bleach packets by Colgate. More details on Monkees Tripod. Also, the name of the episode sounds like a product slogan for the Monkees as a soap.

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The Monkees return home with their laundry bags. They each make an excuse to leave, so they can go see April. They are now scheming against each other, instead of scheming against a common enemy. Davy’s excuse is that he wants to train to be a boxer, something we saw him do already in “Monkees in the Ring.”

Davy arrives first at the laundromat. April explains to Davy she’s doing post-graduate studies in laundry science. Mike gets there next and jokes that he came to see another commercial, referencing the pre-credits gag. She explains she’s working on her doctor’s thesis and Mike repeats the “Why can’t your doctor work on his own thesis” joke from “The Prince and the Pauper.” Micky arrives next and walks right up to her, touching his nose to hers. April goes on about the great reservoir of untapped dirt. She opens the lid of the washing machine and finds Peter inside. The editors play little bird tweeting music.

I occurs to me that April is not that great. She’s not all that fun, intelligent or interesting. I don’t think she’s supposed to be. As her last name “Conquest” telegraphs, she exists to be just that; an object of desire. The joke is the four of them fighting over a dull girl who’s fascinated by laundry. It says more about the Monkees than it does about her that they’re so into her. Julie Newmar, on the other hand, is amazing. Aside from her obvious stellar physical attributes, she hits the flighty and giddy notes of the character just perfectly and is easily a strong enough presence for the four boys to center around.

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Back at home the Monkees pace around the pad and fret. Mike turns on Davy asking “Don’t you think she’s a little tall for you?” That’s mean, and also, if Mike thinks men are required to be taller than their dates, in heels the 5ft. 11 inch Newmar looms over all of them, even 6 ft. 1 inch Mike.

They sit down and watch Dr. Lorreen Sisters, an allusion to Dr. Joyce Brothers, the “face of American psychology.” Sisters is “bringing the cool light of reason into your messy little lives.” The actress wears tortoiseshell, cat-eyed glasses, identical to the ones April wore at the laundromat. This actress is also very funny with her no-nonsense performance; much sterner than I recall the real Dr. Brothers ever coming off.

Sisters is answering the question, “How do you win the girl you love?” I dig the answer: “The fastest way to a woman’s heart is through her mind.” Davy hilariously notes, “You know, I never would have thought of that route.” Sisters advises them to find out what kind of man she likes, and be that man. They all take off to do that, not even bothering with excuses this time.

Next is the series of scenes of TV parodies/disguises. Davy on the payphone introduces himself to April’s mother as David Armstrong Jones of the BBC (Better Be Clean). He finds out from Mom that April’s into pop art. Mike is at the pad, using a Get Smart model shoe phone to call April. He’s happy to learn that she’s interested in men who ride motorcycles. Peter is on a Green Acres style outdoor phone-on-a-pole from which he calls April’s neighbor and finds out she’s into chamber music. Micky is also in the pad (I guess at a different time than Mike) on the red phone pretending to be from radio station M.O.T. He discovers that April wants her future husband to be into ballet. Thing from The Addams Family pulls Micky’s phone into a box and then tries to pull in Micky! That was a neatly structured, well edited sequence. Story-wise, we find out April does have interests other than laundry, but none of them match the Monkee’s interests, other than Mike. Maybe Peter generally as a musician.

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Each Monkee returns to the laundromat to win April over. First up is Davy, who paints a Pop Art mural on the wall. It’s a red x with a blue arrow. April is comically, adorably turned on by this and the editors help with the stars in the eyes and birds sound effect. Here comes Peter with a harpsichord and three other musicians for a chamber music quartet. Now she has stars for him until Micky comes in and starts pirouetting all over the laundromat as a ballet dancer. He does an impossible leap through the air. Davy wants to know how he did that. Micky’s answer, “A man in love has the strength of thousands” echoes Davy’s own line from “Too Many Girls.” Last, but not least, Mike rolls in on his bike and impresses her with some wheelies. She fantasizes each one in the appropriate costume for the persona they adopted for her. There’s chaos as they all compete for her attention with The Monkees theme playing, ending when Mike crashes into Micky with the bike and they hit the wall.

Of course she loves them all. Me too–how could you not? They way they’re portrayed on the show, Davy is charming, cool, and a great dancer, Peter is handsome, sensitive, and innocent. Micky is funny, quick-witted, and an amazing singer, Mike is thoughtful, intelligent, and resourceful. Between the four of them, they would make the perfect boyfriend.

Back at the pad, Mike points out the obvious: It’s stupid for all four of them to moon over the same girl. They talk about how great she is and leads into the romp to “The Girl I Knew Somewhere” (Nesmith). They all fantasize about hanging out with her at the laundromat. For her bits with Davy, she wears an artist’s smock and no pants, which seems racy for the times! She dances with Micky, listens to Peter play, and rides with Mike.

Back to reality, the Monkees agree not to let April ruin their friendship, but then they end up dividing the pad into four equal pieces of territory. Now only one of them has the bathroom, one has the front door, one has the fridge and one has the TV. Peter turns on the television and Dr. Sisters is on again. Peter has written a letter to her as “Tormented” describing their situation with April and asking how he “can cut the others out?” The letter she reads notes that April is now fond of each of them. Davy says, “That’s right, what of it?” Sisters, “I’ll tell you what of it.” Cute fourth wall within the fourth wall gag. She continues to respond to them like they can hear each other through the television. She also has a letter from Miss Laundromat who is so nervous from being in love with four different men, she’s close to collapse.

The Monkees all rush for the laundromat to check on her and find it closed due to illness. Working together again to help someone out, they realize they should resolve her confusion of being in love with all four of them. The boys choose for it, and Peter wins. The other three go to break up with her while Peter stays to run the mat.

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Bewitched fans may notice that the brief shot of the exterior of April’s mother’s house is actually the exterior of the Bewitched house. Aside from the Screen Gems connection, Newmar later appeared in a 1971 episode of Bewitched called “The Eight Year Itch Witch.” The 1969 episode “Going Ape” used a redecorated Monkees pad set, and featured Lou Antonio of “Hillbilly Honeymoon.” Monkees songwriters Tommy Boyce and Bobby Hart appeared in the 1970 episode “Serena Stops the Show.”

Mike, Micky, and Davy enter April’s room where she’s posed dramatically on the bed. (I should look so great while having a nervous breakdown.) They each tell her they’ve given up the thing that made her love them and she’s better off with Peter. Cute bit where Mike almost screws up by saying he’s taken up skydiving. She likes that, so he backpedals that he’s afraid of airplanes. She feels instantly better and breaks the fourth wall to ask the viewer, “Where is Peter?”

Pete’s busy destroying her business, as a bunch of angry customers attack him with damaged clothing. The man who had been reading the newspaper (Digby Wolfe, co-creator of Laugh-in) in all the laundry scenes gets up and is shirtless. He takes his shrunken shirt out of the laundry. With the “Monkeemen” theme playing, he joins in the fray. The Monkees come in and rescue Peter. April comes up, embraces him and asks, “How can I ever thank you?” Peter answers, in a manly baritone, “That’ll do for a start.”

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And now, the kicker. At the pad, Peter prepares a romantic dinner for April while the others mope. April comes to the door and introduces Peter to her new fiancé, Freddy Fox III, clearly the 1960’s version of a douche-bag. The couple canoodles and April says she’s never met a singer before. The irony … it hurts. As they leave, April skips. A nearly 6 foot woman skipping in heels is true comedy to behold. Davy lays T.S. Eliot on us, “April is the cruelest month” from “The Waste Land.” Especially cute since this episode debuted in April. Mike starts in with the Shakespeare “To thine ownself be true…” Micky cuts him off with “please, no morals.” Micky baby, I couldn’t agree more. I hate morals. Peter starts to cry that none of them will find any happiness. There’s a knock on the door and four cute girls are there, asking the way to the laundromat. The Monkees do a quick head count and each walks off with his arm around a girl. Speaking of Shakespeare…

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My dear husband and Blissville editor doesn’t like this episode much because the Monkees are working against, rather than with each other. I can see where that could be a deficit, I do think they work better together. As I said, April is not worth fighting over, but that is actually the punch line of the episodes’ main joke. Also, I must admit it’s nice to see a change from the usual structure of them making fools of other people. Like the previous, “Monkees on the Line,” this one is so well put together. (Worth noting that this and “Monkees on the Line” were the last two episodes shot for season one, “Line” being the very last.) There’s a tight structure of the four of them falling for her, finding out her interests, and winning her love. The episode is packed with funny lines and sight gags, and two very funny women in the guest cast. I can’t find anything not to like. It’s a strong episode and it seems that the director, editors, writers, producers and performers really cared about doing a good job. sweet-young-thing

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by Bronwyn Knox

Every couple of weeks, “Monkees vs. Macheen” examines the crazy, spirited, Ben Franks-type world of the Pre-Fab Four: David Jones, Micky Dolenz, Michael Nesmith, and Peter Tork alias The Monkees.

Monkees Vs. Macheen: “Monkees on the Line”

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“Live, Live, Live! Love, Love, Love!”

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The Monkees are hanging out in their pad and not answering the ringing phone. Mike gets to it too late. He calls the boys together to point out they haven’t had any jobs and might be missing a few calls. Always a man with a plan, Mike wants to hire an answering service. He calls the service to set this up, going on about the doors that will open up for them when someone is always there to answer the phone, etc. Ironically, no one answers.

This fast-paced, physical comedy-filled episode was directed by James Frawley and aired on March 27, 1967. The plot was borrowed from a 1960 film called Bells Are Ringing (screenplay by Betty Comden, Adolph Green based on their popular stage musical), starring Judy Holliday, about an answering service operator who gets a little too involved with her customers (also with Dort Clark, who was in “Monkees on the Wheel,” “The Picture Frame,” and “Monkees à la Cart.”). Gardner/Caruso and Coslough Johnson were the writers. Johnson went solo on other episodes produced in the second season: “Art For Monkee’s Sake,” “The Monkees On The Wheel,” “The Monkees Watch Their Feet,” “The Monkee’s Paw,” and “The Monkees Mind Their Manor.” He also wrote an unproduced teleplay: “The Monkees Toy Around.” Coslough Johnson is the brother of Arte Johnson from Rowan and Martin’s Laugh-In.

At the Urgent Answering Service, the Monkees meet Mrs. Drehdal, played by Helene Winston, who appeared in “Monkees à la Carte” as Big Flora. Mrs. D offers them a job and free service if they’ll answer the phones. In a brief fantasy sequence, she becomes the Statue of Liberty and her impassioned speech compels them to be a “warm heart of this cruel world” and that the city will “be in your fingers.” The boys get all choked up and agree. After all the warmth talk, she points to the sign that says “Don’t Get Involved With The Clients.”

Mike cheats at choosing fingers to win the first shift. Micky explains that Mike always wins because he has six fingers on that hand. The connection of fingers and phones reminds me of the old “Let your fingers do the walking” slogan from The Yellow Pages, which originated in 1962.

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After the others leave, Mike skips over to the switchboard in excitement. Funny to see a tall, lanky man skip. “Monkees on the Line” does a good job of utilizing Mike’s established character traits. He needs to be useful, to take care of people and advise them, etc. For their part, the other Monkees treat him as a protector and big brother. Mike’s ready for the chance to be helpful to the entire city this time.

At the switchboard area, there are a bunch of phones that connect into the wall with their own lines, instead of one big multi-line phone. Looks like there should be about 10 people working there at once, not just the one person. Mrs. Drehdal announces she’s off to Jamaica and gives Mike a quick tutorial: plug in the ringing phone, answer and take the message, and give it to the client when they call in. Duh.

Mike finds a big red button, which she explains is for when you get tired. He breaks the fourth wall to tell us that, since monkeys are notoriously curious, he’ll push the jolly, candy-like button. [“Push the button, Frank!” 10 points to anybody who gets that reference. – Editor] When he does, a bed comes out of the wall. I’ve seen this type of gag used in many comedies, where a bed falls down or out of the wall. But I still enjoy it in this episode; they put it to good use.

A phone rings and Mike performs some physical comedy trying to figure out which phone is ringing. Ellen, the caller, declares, “I had to speak to someone. I just can’t go on, I’m so terribly alone.” Ellen goes on about being alone while all the other phones start ringing. Flustered, Mike delivers this nonsensical gem to one of the callers, “No, I’m sorry, you must have the wrong number. We don’t have a telephone.” Both the phone Mike uses when he talks to Ellen, and Ellen’s phone are yellow. Helpful to the viewer for keeping track, though not for Mike who can’t see her phone. Ellen continues her suicide threats while phones keep ringing. Frantic, Mike picks up all the phones and shouts, “Don’t do it!” He’s amazingly polite the entire time.

Later, Mike’s passed out on the phone table. Peter, Micky, and Davy, dressed as surgeons, revive him with a seltzer squirt. Mike shouts about getting to the girl on the phone before it’s too late. The Monkees use her line number to find her info in the file cabinet. Mike finds it right away; hilariously, the others are still searching in the background. Mike and Micky rush off to prevent Ellen’s suicide. Peter and Davy caution that they’re not supposed to get involved with the clients. Peter’s right again, what do you know? Fourth-wall breaking gag where Mike asks off screen for someone to give him his hat and they toss it to him. Micky: “Where’d you get that?” Mike: “From the wardrobe.”

Once Davy and Peter are on their own, all the phones start ringing at once. Crazy, fast motion business of them answering all the phones and taking tons of messages. Once it’s quiet again, Davy finds something that grabs his attention: “Mr. Smith call Zelda Baby, love, love, love, urgent.” Davy decides to deliver the message by hand as it says “urgent.” He’s now involved in a mini-plot.

Davy knocks on the door of the Smith apartment. Mr. Smith answers still in shaving cream and an undershirt. His wife is played by Lea Marmer, last seen as Madame Roselle in “Monkee See, Monkee Die.” Davy reads the message and angers Mrs. Smith, who hits her husband in the head. They both chase Davy down the hall and into farce territory. They all run into another apartment. A pretty girl in a towel runs out, and Davy chases her enthusiastically. He’s followed out by the Smiths; Mr. Smith suddenly fully dressed in his cop uniform.

At Ellen’s apartment, Micky and Mike walk right in and find all her suicide props. They search the apartment for her in ridiculous places where she couldn’t fit: under a throw pillow, in a small cupboard, under an end table, and behind a framed painting. Micky and Mike look in her day planner, which tells them she’s supposed to be at the theater today.

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At the theater, Ellen rehearses the same lines she said to Mike on the phone. The pretentious director encourages her to suffer, live the part etc. He says “live, live, live!” which echoes the “love, love, love” message from Zelda Baby. The audience now knows she’s preparing for a part and using an unwitting Mike as her scene partner.

Peter now gets his own plot. He takes a call from Manny Spink who pretends to be a theatrical booking agent, booking a job for the Popsicles. Manny and partner are actually placing bets on horses, using the answering service as bookies.

Mike and Micky arrive at the theater and ask about Ellen. The director hams it up; she’s nervous, depressed, and ready to end it all. Mike wants to go back to her apartment. Micky says he should relieve Peter, but Mike says Peter will be fine. Cut to Peter pressing the red button and falling into that famous bed. The bed slides back into the wall and traps him.

Back at the chase scene, Davy runs through the halls with an Olympic torchbearer, a football player and a gorilla (the one from “Monkees Chow Mein”), in addition to the Smiths [“I know, I know … it’s serious …” -Editor] and the girl with the towel. They all enter the Smith apartment. Davy comes out alone with the towel and the torch. Subversively suggesting that there’s a naked girl left in the apartment. These chase scenes remind me a lot of The Benny Hill Show (1955-1991). I’m not alone in thinking it may have been an influence.

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Ellen answers the door to Mike with a noose around her neck and dramatically poses, calling him “Jeffrey.” Mike says he’s from Urgent Answering Service, checking on her phone since she hasn’t called in for her messages. Still acting, she says she doesn’t have any messages because no one cares if she lives or dies. Mike reads little pieces of paper from his shirt and pocket, “Dear Ellen, We need you, we love you. The city wants you. Don’t be depressed, don’t be unhappy.”

In his comically awkward way, Mike blocks her every attempt to “kill herself.” Mike chases Ellen around the table, like he did Miss Buntwell in “Dance Monkee, Dance.” It amuses me that his scenes with women end up this way, even if the contexts are different. She asks him to help her with the noose she has around her neck. Mike wants to talk instead. In a funny visual, he picks up the rope and walks her off camera, like she was a dog on a leash.

The actress playing Ellen is fun when she drops the “acting” with him here and there. This is all very sweet, and would be more so if she wasn’t just using him for rehearsal. Not that I’m saying it would be better if she really was suicidal. All the talk of suicide, Mike’s emotional commitment to being her hero, and the irony that she’s just using him give this episode an dark quality that I enjoy.

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At Urgent Answering Service, Micky and Davy search for Peter. They push the red button, ejecting the bed with a sleeping Peter on it. Peter wakes up and explains that he pushed this red button… So they push it again and Peter goes back into the wall. Micky and Davy start looking for him again. Sometimes they’re not a lot smarter than he is.

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Mike reasons with Ellen, “Now look, I know things get kinda bleak sometimes, and It looks like the whole world’s just running around in circles.” Cleverly the editors cut back to the chase scene, still progressing wildly without Davy. Ellen promises Mike she won’t kill herself until tomorrow.

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At the answering service office, the gangsters are holding up the Monkees. Manny Spink calls them “bright boy” several times, an expression used in “Monkees in a Ghost Town.” Turns out Peter changed the bet from the Popsicles to the Pelicans, since he thought it was a real gig and the Pelicans needed the work [“Come on pelican!” -Editor]. Why didn’t he give it to the Monkees? Spink has lost money, and wants them to cough up 90K. The boys start pulling stuff out of their shirts and pockets and between them, they come up with $8.12 and two buttons that “ought to be worth a nickel.”

Mike walks in and ignores the tense scene, heading for the ringing phones. There’s physical comedy as he tries to squeeze between the two gunmen, who don’t yield. He misses the call and tries to leave the office, not really taking in what’s happening.

The two smaller stories now converge tidily. Mr. Smith and Mrs. Smith walk into the scene; Mr. Smith is still angry at Davy for giving him the “wrong message.” While they argue, the crooks try to escape, but Davy stops them. Davy tells Officer Smith that Manny and his partner are gamblers, and they’ve been using the answering service to place bets.

Entertaining romp to “Look Out, Here Comes Tomorrow” (Neil Diamond). Highlights include Mrs. Smith joyfully hitting her husband and the gangsters with her purse, the Monkees and gangsters riding the hidden bed, and Peter pointing out the “Be Courteous” sign on the wall. After, as Mr. Smith is handcuffing his prisoners, Davy says he thinks the message was for another Mr. Smith, and the Smiths seem to make up.

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Micky wants to know about Ellen. Mike uses his faux-manly persona and assures them that “with my masculinity and my persuasiveness” he made her promise not to do anything until tomorrow. Davy points out Mike was hung up on her. Mike agrees, “she was so sad, and weak and depressed and pathetic and poor.” Weird to think this is what attracts him to a woman, but it goes with the need to be needed. As an actor, Michael Nesmith was charming, likeable and funny throughout this episode.

The not-poor Ellen comes in with a fur coat and lots of jewelry to thank Mike for helping her rehearse. She promises to send him a free picture when her name is in lights and she leaves. I feel for Mike. Ellen emotionally screwed him over. He gets in one of my favorite cynical lines from the entire series, “Behind every dark cloud, there’s usually rain.”

This is another episode that’s very close to my heart (no, it’s not my lungs). I admit it’s partly because it’s a Mike episode, but I also appreciate the episode structure and that each Monkee gets a piece of the plot. The writers and director constructed the story carefully with the three separate plots that tie together via the answering service. So much happens, and the points are punctuated with well-executed sight gags. “Monkees on the Line” is a hilarious and satisfying episode, with an added dark edge that makes it a classic.

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by Bronwyn Knox

Every couple of weeks, “Monkees vs. Macheen” examines the crazy, spirited, Ben Franks-type world of the Pre-Fab Four: David Jones, Micky Dolenz, Michael Nesmith, and Peter Tork alias The Monkees.

Monkees Vs. Macheen: “Alias Micky Dolenz”

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“They laugh alike, they walk alike, at times they even talk alike”

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David Jones was absent for “Alias Micky Dolenz” and the balance of the episode falls squarely on Micky, who really put his skills to the test in this episode, playing Micky, Baby Face, and Micky as Baby Face. He spends more time pretending to be “Baby Face” than he does as himself. Similar to “The Prince and the Paupers,” Micky takes on the identity of his doppelganger to help someone else (in this case, the police.) This is the first episode where Micky’s actions really drive the plot. He’s been the one to save the day a couple of times (“The Chaperone”, “I’ve Got a Little Song Here”), but up to this point, Davy Jones has been the focus of the series, with occasional nods to Peter and Mike. “Alias Micky Dolenz” was directed by Bruce Kessler and written by Gerald Gardner & Dee Caruso and Dave Evans.

The storylines launches right in with a case of mistaken identity. Micky parks his car in a lot (over the line, I might add) when he’s approached by a man in sunglasses who declares with awe, “It’s you!” He wants to know when Micky got out. This is the gangster we find out later is “Tony.” Micky touches him in a friendly way, Tony freaks out and starts beating him with the newspaper.

After the credits, Mike takes Micky to the police station, insisting he report the assault. When they enter, the police all freak out and duck. Micky and Mike have no idea what’s going on. Micky tries to report the beating to the Police Captain who asks, “Did you kill him?” Mike straightens it out by introducing Micky. The Captain pulls out a picture of Micky Dolenz in “gangster-wear” and explains that it’s Baby Face Morales, “the most vicious killer in America,” who is currently serving time. They arrested him but did not arrest his gang, nor did they recover the stolen property. The Captain, out of nowhere, says the police want Micky to help them get the “goods and the hoods.” There’s a long, rambling joke where Micky and Mike pretend to misunderstand what the Captain wants and “goods and hoods” is repeated many times. What the Captain needs of course is for Micky to impersonate Baby Face. Micky says he can’t impersonate a gangster. To which I say, “You must be joking!” What about “Monkees in a Ghost Town?” “Monkees a la Carte?” etc.? But Micky and Mike don’t want to get involved.

Two great sight gags follow. As Micky leaves, we see a cop hand-cuffing a man with a “Peace” sign to the bench. They only occasionally did topical or political jokes during the first season. This is a subversive jab at treatment of war protesters. Also, a meta-comment considering the level of violence is higher in this episode compared to others.

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The second joke is goofier but still funny. Believing that Micky and Mike are in a gang, the police duck every time Mike turns around with his guitar case (which they assume contains weapons). It’s even funnier because Mike is just trying to politely say goodbye, and he’s clueless about their terror. This doesn’t give me much confidence in the police in this town.

Also, it looks like the clip of Mike on the front steps of the police station happily clapping his hands that was used in the opening theme sequence for season two might have been shot and not used from this episode. The costume and set-up look like they’re from these scenes.

As soon as Micky steps outside, he’s the target of a drive-by shooting. He dashes back into the station. Accompanied by a frantic version of the theme song, Micky scrambles all over the office, jumping on the file cabinet and mimes the shooters. Once he stops running around, he agrees to help the cops. The Captain sends him to learn all Baby Face’s mannerisms.

Micky goes to Baby Face’s cell. Dolenz does a fine job giving Baby Face a different voice, walk, and demeanor. He adopts a very cool, slow way of talking. I keep reading these little bits online lately about how Micky auditioned to be the Fonz on Happy Days. After watching these scenes, I can picture that, Micky as the Fonz.

Micky tells Baby Face that he’s his cousin from Ohio. I actually believed him the first time I saw this episode. I thought maybe the writers were suggesting they’re look-alike cousins like The Patty Duke Show. At least there would be some genetic explanation of why they look alike. Then I realized Micky was just lying to Baby Face to justify his visit. Baby Face teaches him how to talk and walk like him [“I have a great walk.”  Fifty points to whoever gets that reference. – Editor], and what he says when he’s about to rough a guy up. Micky gets carried away and smacks the gangster, resulting in Baby Face trying to strangle him.

I guess the guard rescued him because in the next scene, the Captain shows Micky pictures of Baby Face’s gang and their rap sheets. (One of the gang has the surname of Fingerhead, reusing that from “Monkees à la Mode”). Micky goes to The Purple Pelican bar, now looking handsome disguised as Baby Face in a glorious gangster suit and hat. “Baby Face” is hoping to connect with the hoods. The first one to recognize him is a woman named Ruby who asks, “Aren’t you going to give your Ruby a great big kiss?”…and he kisses his ring. She tries to kiss him but he warns her to be careful of his porcelain crowns. “Baby Face” tells her he needs to find the boys and get his cut. Ruby updates him that Tony is in charge now, and he may not want to give it up. Tony and the boys come up from behind.

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Tony breaks a bottle to threaten Micky and launches a romp to “The Kind of Girl I Could Love” (Nesmith). Ruby kisses Micky and he falls down in front of the bar. The other gang members start fighting Tony. Everybody’s fighting, drinking, and breaking glass except Micky, so there’s really no Monkees in this romp at all. We see Ruby slumped down by the bar next to Micky. There’s this weird continuity error when Ruby stands next to a woman with the same exact hair and dress that she has. The other woman hits Ruby with a bottle and causes her to fall down next to Micky. But we’ve already seen her lying in that shot next to Micky several times. Ruby’s look-alike stays in the fight scene and smacks around several of the men. No damsels in distress in this episode, baby! Given the energy of the romp, I think they should have picked a more up-tempo song.

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At the end, Tony and his gang are beaten. Micky stands up and takes credit for it, even though he did zero fighting. The gang agree that “Baby Face” is the boss. Micky accidentally opens the ladies’ room on his way to the backroom, and girls run out screaming.

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In the back room, “Baby Face” tells the gang the plan for tomorrow night: They’ll pick up the diamonds, split up, and go under cover. He tells them he’ll bring a few “specialists” to help with the pick-up. Micky is hilarious in the scene because he seems very cool and in control while pretending to be Baby Face, but then he does things like fumble his gun or sputter and gag when he takes a drink of whisky. Because of these gaffs, Tony gets suspicious enough to tail him.

At the pad, Micky’s on the phone with the cops, confirming the specialists will meet him at the hideout. I thought the “specialists” were always meant to be Mike and Peter, but apparently there were cop-specialists that were supposed to go along. Mike and Peter are listening to Micky on the phone, and Peter offers to go with him. Peter! So nice to see you in this episode. Micky describes Tony as a sadistic killer, full of hate and malice as he wanders right into Tony and the gang, who’ve gotten in without knocking. Tony tells “Baby Face” they’re going tonight instead of tomorrow. Mike and Peter quickly go with them as the “specialists.” They miss the call from the Captain who wanted to tell Micky that the real Baby Face has busted out.

Here’s a fun fact about Robert Strauss, who plays the Captain. He guest starred in an episode of The Man from U.N.C.L.E. called “The Dippy Blonde Affair” along with frequent Monkees director, James Frawley. Check it out if you get the chance. Frawley’s a pretty good actor.

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Baby Face goes to the Purple Pelican and finds Ruby, giving her the same line about the porcelain crowns when she tries to kiss him. I’m only mentioning this because I’m wondering if it’s suggestive in some way, like her kiss would suck the crowns out of his head? Someone must have thought it was funny, because both “Baby Face” and Baby Face mention it. Anyway, Ruby inadvertently lets him know that the gang is off picking up the diamonds.

Micky, Peter, Mike, Tony, and his gang enter the house where the diamonds are hidden, which is the same place they were stolen from. “Baby Face” can’t “remember” where in the fireplace they hid the diamonds. Mike and Peter prepare to blow it up so all the stones will fall out. This involves a long sequence of Mike going into the fireplace to set up while talking on and on. Peter stands outside mutely with the plunger and equipment. Mike looks at the camera and says “This is for you, Dale” when he gets ready to set off the explosion. For Dale Evans of The Roy Rogers Show maybe? Of course Mike blows up the wrong thing, this time a piano in the back. The real crooks start chipping away at the stones. A policeman comes to the door, noting that the owners are on vacation and no one should be there. Instead of being suspicious of crime, he wants to sell tickets to the policeman’s ball. The policeman, by the way is played by Don Sherman who is in the season two Monkees episode, “Monkees Marooned.”

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They find the diamonds just as the real Baby Face pops up in the doorway. Tony says there’s only one Baby Face, so one must be an imposter. Each tries to prove he’s the real Baby Face by answering questions about former crime jobs. Who drove the getaway car in the Seamen’s Bank job? Baby Face and “Baby Face” answer “Steve Blauner.” (This is a reference to series consultant Steve Blauner, who went on to executive produce The New Monkees.) Peter accidentally reveals Micky, calling him by name. Someone hits the lights and the Monkees scramble around and subdue the crooks with sheets, as the cops arrive. Apparently, the patrolman figured out something was wrong from earlier. They reward The Monkees with jewelry, which seems unorthodox. In a joke that wouldn’t work during or after the 1980s, Micky makes a sad face and asks, “What am I going to do with an earring?”

Tag sequence in the police station as the Captain explains to Mike that there is one loose end. Now, we get two jabbering, hyperactive men claiming to be Micky, instead of two swaggering hoods claiming to be Baby Face. Mike and the Captain look at each other as if they’d rather lock up both “Mickys” than figure this out. [Kill us both, Spock!  I know I used that one before. – Editor]

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Tag sequence is performance footage of all the Monkees playing “Mary, Mary” (Nesmith) at their pad. I wanted to add this story about “Mary, Mary” with the “I’ve Got a Little Song Here” recap, but I ran out of room, so I’ll do it now. The first band to record “Mary Mary” was actually the Paul Butterfield Blues Band on their album East-West from 1966. The Monkees version was released in 1967. According to Glenn Baker’s Monkeemania book, Paul Butterfield’s record label used to get letters from fans who wouldn’t believe Mike Nesmith wrote the song and accused him of stealing credit. Elektra records created a form letter in response, clarifying that Mike did indeed write the song. The Paul Butterfield Blues version sure is different than the one I’m used to.

If you were really missing Davy, there’s an interview with him at the end. He explains he wasn’t in the episode because went to England for his sister’s wedding, which he missed anyway. He says he visits England frequently and never gets homesick even though he’s been travelling for six and half years. He also jokes with Bob that at the end of the day, everyone is tired and angry and they want to go home.

Interesting episode with more drinking and violence than usual, and very little of that action involved the title characters. The episode is solid and funny with some good acting. If you’re a Micky fan, this may be one of your favorites. I love his quick way with a line and knack for physical comedy. I prefer seeing them play off of each other, that’s one of the best things about the show. There isn’t much chance for them to do that here. And I’m always a bit bummed out when one of the Monkees is missing. But I have to admit, “Alias Micky Dolenz” is still entertaining and memorable.

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by Bronwyn Knox

Every couple of weeks, “Monkees vs. Macheen” examines the crazy, spirited, Ben Franks-type world of the Pre-Fab Four: David Jones, Micky Dolenz, Michael Nesmith, and Peter Tork alias The Monkees.

Monkees Vs. Macheen: “Son Of A Gypsy”

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“Everybody Wants to be in Showbiz!”

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“Son of a Gypsy” was written by the team of Gerald Gardner & Dee Caruso and Treva Silverman. I really do enjoy the ones that Silverman wrote. The story is about a gig gone wrong, but it is also a wildly improbable, high adventure territory as their opponents in this episode are a group of larger than life gypsies who really like to murder and steal. The story isn’t about any of the Monkees in particular and they work together in funny and entertaining ways to get out of trouble. “Son of a Gypsy” was directed by James Frawley and aired the day after Christmas, December 26, 1966. Weird huh? I guess back then TV didn’t go into reruns on the holidays.

To start, the Monkees are waiting in the hallway where they’ve just auditioned to play a party. Their competition is a gypsy music band: a mother and her four sons. Both groups fervently hope to get the job, but Madame Rantha comes out and announces The Monkees have it. The gypsies are furious, but not just about the loss of the gig. Maria and her sons were hoping to get the job so they could steal the Maltese Vulture, which is the episode’s MacGuffin and a clever homage to the 1941 film, The Maltese Falcon. I remember taking film studies class in college and watching this Humphrey Bogart film. This is when I learned what a MacGuffin was – a plot device that the characters pursue that’s not important to the overall story.

Maria and Co. have invited the Monkees out to their camp to show them there are “no hard feelings” for the Monkees taking their would-be gig. Against their better judgment (except Peter), the Monkees accept their offer. Maria welcomes the Monkees and gives them gypsy clothes and boar’s tooth necklaces for “luck.” She has each son take a Monkee separately on a tour of the camp, so it’s a nice parallel that there are four sons and four Monkees. I wanted to mention the son’s names: Marco, Rocco, Zeppo, and Kiko. Zeppo was the name of a member of the comedy act The Marx Brothers and the other three names certainly sound like they could be Marx Brother’s names; that’s a nice homage.

Rocco, played by Vic Tayback who was also in “Your Friendly Neighborhood Kidnappers” and “Art, For Monkees Sake” takes Micky to read his tea leaves. Micky, maybe learning from the plot of “Too Many Girls,” says he doesn’t believe in it. Rocco tells Micky his leaves say he is soon to be unconscious and Micky passes out from the drugged tea. Like I said about “Too Many Girls”, it’s easy to predict the future, if you create it. Marco, played by Vincent Beck, who played very similar characters in “Royal Flush,” and “The Card Carrying Red Shoes,” is paired with Davy. He terrifies Davy with a knife-throwing bit. Peter gets tied up by Kiko and a female who dance around him and wrap him up with scarves. Meanwhile, Zeppo wants to use Phrenology to read the bumps on Mike’s head. No bumps on his head? No problem! Zeppo hits him with a mallet and he collapses. It’s so polite the way Mike apologizes for not having bumps.  

The Monkees are now Maria’s prisoners, and she wants them to steal the Maltese Vulture for her. Micky insists they are not thieves. Maria is actually pretty scary. She threatens to let her sons, especially the very keen Marco, torture the Monkees. Watching this as a five-year-old kid, I believed she would kill the Monkees. To emphasize this point, the camera keeps showing a hot poker on the fire. The Monkees go into a fantasy about being tortured which involves stretching Davy on the rack. It leads to a great site gag and a spin on their favorite “I am standing up” joke about the diminutive Davy.

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Marco gets out the poker to use on them until Mike, giving a deep, faux-macho line-reading, agrees to steal the vulture. He asks the others how his performance was, and they say he was good. Sort of breaking the fourth wall, but not necessarily; it could work in character. The gypsies joyfully leap up and embrace and untie the Monkees; Maria kissing Davy’s face. Hilariously, Vic Tayback picks up and carries Micky. The only one not happy is Marco, who’s bummed he won’t be torturing anyone with a hot poker [Somewhat disturbing – Editor].

Maria shows them the map of the location of the Maltese Vulture in the house where they’ll be playing the party. Maria inquires about how they will steal the Maltese Vulture. As they do in “Monkees a La Carte,” the Monkees start drawing all over her map, each with their own “plan.”

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See, because Charlton Heston played Michelangelo in the 1965 film, The Agony and the Ecstasy. That joke sounds funny, even when I didn’t know that. Maria tells them she’ll be keeping Peter as a hostage and they’ll take Marco, dressed in one of their matching blue Monkees shirts, to help with the robbery. Seems like a fair trade.

The Monkees play “Let’s Dance On” (Boyce/Hart) at the party while daffy Madame Rantha scurries happily around her guests. Marco goes off to check on the guards outside the room where the Vulture is kept, so the Monkees take the chance to find some help. They try Madame Rantha, but she’s clueless. Micky goes out into the crowd and tries to enlist the help of a party guest, played by episode director James Frawley. Frawley’s slightly confused facial expressions are terrific as he listens to Micky. He almost looks like he understands, until he suddenly starts speaking Yugoslavian (or faux Yugoslavian, I’m not sure.) Similar to “Monkee See, Monkee Die,” Micky has once again tried to get aid from someone who doesn’t speak English.

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By the way, I notice Micky drinking the champagne. There’s always some vague notion about the ages of The Monkees. The actors were old enough to drink (except Davy) but in “The Monkees Watch Their Feet” for instance, the writers refer to The Monkees as teenagers.

Mike and Davy meanwhile, have gone the absurdist route. They decide to throw a message in a bottle out the window. An unseen hand gives them back two cents deposit. Thank you, Thing.

Marco marks (pun!) the two guards stationed outside the room with the Vulture. This sets off the funniest sequence in this episode: The bits where they try to steal the Vulture. While Marco stays on stage to “play,” The Monkees sneak off into the hallway and peek around the corner.

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Davy will break into the safe, if Mike and Micky distract the guards. First, Micky pretends to rob Mike. Mike plays scared in the flattest delivery possible: “Help, help. Robbery. Who is this masked man, anyway? Help, help gun. Oh, terror, terror burglar. Burglar, help. Help, help. Wallet, mine, His now.” The guards? Unimpressed. On attempt two, the boys execute an obviously fake fight with boxing gloves. Last, they light matches and shout, “Fire! Fire!” and then drop them on the ground. THAT gets the guards to move, pointing out the hallway trashcan that says “Keep Our City Clean.” The Guard asks, “Can’t you guys read?” Micky explains, “Uh, no. We’re musicians.” With that, Davy has managed to sneak into the room.

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Davy has a big black bag from somewhere. The score accompanying Davy’s actions is this cool, James Bond style riff. I love the incidental music in this entire episode, this and the Romani-style strings used for the scene’s at Maria’s camp. The music is credited to Stu Phillips.

Back to Davy, who goes to the picture where the safe is and under it is…a painting of a safe. With this, and all the other surreal gags from this segment, Davy breaks the fourth wall and looks at us in disbelief. When he gets to the real safe, he pulls an impossible assortment of items out of his bag: bolt cutters, a sledge hammer, a live rabbit, and the little dynamite plunger. He blows up the wrong thing in the room, just like “Monkees a la Carte.” It’s less funny when they just repeat the gag, as opposed to the cool variation in the earlier scene. The explosion draws the attention of the guard, who only takes a cursory look and says it’s okay. Davy gets a stethoscope to listen to the safe and  hears “Last Train to Clarksville,” then puts on a pair of gloves and finds he has another set of hands!

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He doesn’t get too far before Madame Rantha comes in to show her friend the Vulture. Micky and Mike follow behind them. Micky uses that sputtering voice from  “One Man Shy” and tries to create a distraction. More importantly, what is Mike doing to the women? He’s behind them, touching and sniffing both Rantha and her friend’s hair while they ignore him completely. Micky’s acting is so entertaining; I missed this weird Mike business in past viewings.

Micky tells Rantha she can see a flaw in the Vulture if she holds it up to “the midnight.” Midnight brings panic as that’s when Peter will be killed, so Davy steps out, grabs the Vulture and tosses it down to Maria. The gang all have their knives on Peter, so he looks up and says “thank you” when he catches it. His relieved expression and tone of voice are priceless. Madame Rantha thinks they’re the thieves of course, so she has Peter brought in and arrested. The gypsies and The Monkees are now all in the ballroom. Maria says, you can tell Peter’s a thief, it’s written all over him.

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Madame is grateful to Maria and asks what she can do in return? Maria wants the Vulture, so she grabs it and runs. This leads to a romp set to “I’m a Believer” (Neil Diamond). Monkees and gypsies run around, fight and play football. It’s a lot like the “Dance, Monkees Dance” romp with The Smoothies. The gypsies stand in line while the Monkees launch various attacks, and the guards and party guests do nothing. The gypsies pick-pocket the guests. The guards finally pull guns on the gypsies.

The Monkees performance footage edited into this romp is the “Too Many Girls” footage of the same song, with the four of them in the ivory Monkees shirts. That makes a trio of colors for Monkees shirts in “Son of a Gypsy”; red at the beginning, blue at the party, and ivory here. Also, I really dig “I’m a Believer,” but after hearing it for four episodes in a row, I’m glad to be done with it for the next one coming up. (The producers never envisioned some nut obsessively writing about these shows and watching them over and over fifty years later, I’m sure.)

Maria and sons have decided that showbiz is easier than thievery and will go the route of Bessy and her boys from “Monkees in a Ghost Town.” Maria: “Yes, you boys have showed us that my boys can make a faster dollar in show business.” Marco adds, “And with as little talent, too.” I don’t know why they’re allowed to just leave, but when they do, they’ve taken Mike’s watch, Micky’s wallet and Peter. Peter is just a more sweet-natured version of Marco, does she really need two of those?

A note about the ballroom where this party takes place, this was an often used set on The Monkees. The same space was used in: “Royal Flush” as The Ritz Swank Hotel ballroom, “Monkee See, Monkee Die” as the parlor, the discotheque in “The Spy Who Came In From The Cool,” Pop’s restaurant in “Monkees a la Carte,” Renaldo’s Dance Au Go-Go school in “Dance, Monkee, Dance”, a banquet hall in “The Case Of The Missing Monkee”, a bandstand in Dr. Mendoza’s castle for “I Was A Teenage Monster,” the throne room in “The Prince And The Paupers”, a TV show set in “Captain Crocodile,” the banquet room for “Monkees A La Mode,” a hotel suite in “Everywhere A Sheik Sheik,” an art museum in “Art For Monkee’s Sake,” a gambling casino in “The Monkees On The Wheel,” a department store in “The Monkees Christmas Show,” the setting for The Secretary’s narration in “The Monkees Watch Their Feet,” a nightclub in “The Monkees Paw,” and “The Monkees Blow Their Minds,” and the stage in the KXIW-TV studio for a Rock-a-thon Contest in “Some Like It Lukewarm.” Shout out to The Monkees Film and TV Vault for help with that list.

And a note about the gypsies: I’m well aware that The Monkees writers frequently dealt in cultural stereotypes. Romani (or Gypsy) people were characterized in fiction as associated with occult powers, such as fortune telling, and thievery and cunning as well as having passionate temperaments. Obviously not realistic depictions of Romani people. However, The Monkees were satirizing old movies and TV shows, not real people. Throughout the series, cultural stereotypes are used in “Monkees Chow Mein,” “It’s a Nice Place to Visit,” “Everywhere a Sheik, Sheik” and others. If these were being written today, my guess is that it would be done with more awareness and sensitivity [If written today, these examples would only be used to ridicule the culturally “insensitive” – Editor]. Even if they still chose to use the broadest characterizations, there would be a knowing, meta-nod to it, I imagine. However, all comedy somewhere is offending someone. If comedy isn’t risking offense, it’s probably not very funny. “Cultural Appropriation” wasn’t something on people’s minds at the time.

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And finally, I guess everyone is really loving the new Monkees album as much as I am? I really like the title track and “Me and Magdalena.” Who would have thought 50 years later we’d be enjoying such a cool new album?

Dedicated to the memory of Muhammad Ali (1942-2016)

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by Bronwyn Knox

Every couple of weeks, “Monkees vs. Macheen” examines the crazy, spirited, Ben Franks-type world of the Pre-Fab Four: David Jones, Micky Dolenz, Michael Nesmith, and Peter Tork alias The Monkees.