For a series to take on the subject matter of a platoon of fighting men of the U.S. Army during World War II was certainly a most difficult a setting to plan a run of series TV. And when we think about it, most series so set in this Global Conflict, were basically sitcoms; such as McHALE'S NAVY, BROADSIDE and HOGAN'S HEROES. Other than our COMBAT (Selmar Productions/American Broadcasting Company, 1962-69) and RAT PATROL (Mirisch-Rich/Tom Gries/United Artists TV/ABC TV, 1966-68).
Any other dramatic series of that modern type to enjoy any success were NAVY LOG, CITIZEN SOLDIER and THE SILENT SERVICE. These, however, weren't series with continued and recurring characters; but rather Dramatic Anthologies which presented us with stories that were based on true occurrences from the Great War, often featuring a latter post dramatization on screen introduction and commentary by the real Soldier, Sailor, Marine, Coast Guardsman or Airman featured in the evening's story.
In COMBAT, the foundation was laid for a memorable series with the cast. With Rick Jason as Lt. Hanley, we had a guy who was believable as a high class Leader of Men type. He is by necessity aloof, cold even stern. But we see time and again his gentility and proper upbringing. He is good enough to have been a West Point Grad.
The highly talented and tragically prematurely lost, Vic Morrow gave us his signature portrayal in Sgt. Saunders. The good Sergeant is tough, but fair and most knowledgeable.
His is the type who won the War for the good guys. He has the intelligence that the Lieutenant possesses; but lacks the polish and education.
#The composition of Saunders' platoon is also an integral part of the foundation. In characters such as 'Caje' (Pierre Calbert), Littlejohn (Dick Peabody), Kirby (Jack Hogan), 'Doc' the Medic (Colan Carter) and Billy Joe (Skip Homeier) were regulars along with others; who would change from time to time, as we would expect both in real Warfare, as well in series TV of any appreciable length. (Just look at the evolution of casts in LAW & ORDER (Dick Wolf/Universal/NBC, 1990-2008+) or ER (Constant c Prod./Amblin/Warner Bros./John Wells/Hands Down/NBC TV, 1994-2008+).
An awful powerful amount of excellent outdoor location shooting in the most convincing of natural settings went into giving COMBAT a sort of documentary look. The costuming was accurate right down to the buttons and was fitting to the squad of Combat Soldiers, replete with their 2 weeks growth of beard. The Soldiers of the Series most definitely looked the part.
As for opening and closing credits, the folks at Selmur Productions gave us a smooth and natural a combination of visuals and music as we have ever seen (or heard). In an almost Op-Art look, the credits would move over the screen; propelled by the sight of a moving group of Soldiers; who are marching along. But, we do not actually see the Soldiers. Only their rifles and bayonets are illustrated in the Comic Book dotted print style, which may well have been an invention of someone like an Andy Warhol. IT's very moving and has to be seen to be appreciated.
One favourite story that we recall involves the infiltration of the Allied Lines by a Nazi German spy who is dressed as an American Soldier. The German Espionage Agent-Soldier is portrayed by the ever-smooth, Charles Coburn. He trips himself up just a little when he tries to act a little too American. Sgt. Saunders figures it out, but it takes some time.
So, COMBAT goes to the Head of the Class in a very exclusive school of War Series; yet, some say that COMBAT was in a classification of stories all by itself. We find ourselves hard pressed to disagree.
Any other dramatic series of that modern type to enjoy any success were NAVY LOG, CITIZEN SOLDIER and THE SILENT SERVICE. These, however, weren't series with continued and recurring characters; but rather Dramatic Anthologies which presented us with stories that were based on true occurrences from the Great War, often featuring a latter post dramatization on screen introduction and commentary by the real Soldier, Sailor, Marine, Coast Guardsman or Airman featured in the evening's story.
In COMBAT, the foundation was laid for a memorable series with the cast. With Rick Jason as Lt. Hanley, we had a guy who was believable as a high class Leader of Men type. He is by necessity aloof, cold even stern. But we see time and again his gentility and proper upbringing. He is good enough to have been a West Point Grad.
The highly talented and tragically prematurely lost, Vic Morrow gave us his signature portrayal in Sgt. Saunders. The good Sergeant is tough, but fair and most knowledgeable.
His is the type who won the War for the good guys. He has the intelligence that the Lieutenant possesses; but lacks the polish and education.
#The composition of Saunders' platoon is also an integral part of the foundation. In characters such as 'Caje' (Pierre Calbert), Littlejohn (Dick Peabody), Kirby (Jack Hogan), 'Doc' the Medic (Colan Carter) and Billy Joe (Skip Homeier) were regulars along with others; who would change from time to time, as we would expect both in real Warfare, as well in series TV of any appreciable length. (Just look at the evolution of casts in LAW & ORDER (Dick Wolf/Universal/NBC, 1990-2008+) or ER (Constant c Prod./Amblin/Warner Bros./John Wells/Hands Down/NBC TV, 1994-2008+).
An awful powerful amount of excellent outdoor location shooting in the most convincing of natural settings went into giving COMBAT a sort of documentary look. The costuming was accurate right down to the buttons and was fitting to the squad of Combat Soldiers, replete with their 2 weeks growth of beard. The Soldiers of the Series most definitely looked the part.
As for opening and closing credits, the folks at Selmur Productions gave us a smooth and natural a combination of visuals and music as we have ever seen (or heard). In an almost Op-Art look, the credits would move over the screen; propelled by the sight of a moving group of Soldiers; who are marching along. But, we do not actually see the Soldiers. Only their rifles and bayonets are illustrated in the Comic Book dotted print style, which may well have been an invention of someone like an Andy Warhol. IT's very moving and has to be seen to be appreciated.
One favourite story that we recall involves the infiltration of the Allied Lines by a Nazi German spy who is dressed as an American Soldier. The German Espionage Agent-Soldier is portrayed by the ever-smooth, Charles Coburn. He trips himself up just a little when he tries to act a little too American. Sgt. Saunders figures it out, but it takes some time.
So, COMBAT goes to the Head of the Class in a very exclusive school of War Series; yet, some say that COMBAT was in a classification of stories all by itself. We find ourselves hard pressed to disagree.