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Timeless Media Group, in association with NBC Universal, has released Wagon Train: The Complete Color Season, a massive special limited edition box set of the beloved TV western, featuring all 32 episodes of the series' only color season (it's 7th, from 1963-1964), gathered together on 11 discs. Extras include 4 additional discs containing 16 classic black and white episodes from the series, as well as interviews with stars Robert Fuller and Denny Scott Miller. Vintage TV fans will no doubt be dismayed to discover that these episodes are the syndicated versions (and thus, edited for time - more about that below), but considering the inherent value of the title, and the fact that this is probably the only way we're going to see Wagon Train on DVD, the pros outweigh the cons for this important entry in the American TV western genre.
Wagon Train was canceled before I was born, and I don't remember it being syndicated in my region back in the 70s (prior to receiving this boxed set, I had never seen an episode of Wagon Train), so I can't claim any special nostalgic connection with the series. Certainly hour-long black and white series were less likely to make it to syndication in smaller TV markets, while the 90 minute color episodes from season seven must have presented even more of a challenge for markets looking for easily scheduled 30 and 60 minute programming blocks. Therefore, it's difficult for me to evaluate the entire series here in this review, when I only have a handful of the earlier black and white episodes from the first six seasons.
The hour-long Wagon Train premiered on NBC in the fall of 1957, when the western genre really started to take off in the network ratings (that year, five of the Nielsen's Top were oaters). NBC already had huge hits with Tales of Wells Fargo (3rd for the year) and The Restless Gun (8th), so the addition of Wagon Train to their schedule seemed a natural. And indeed, it came out of the gate an immediate ratings' contender. Running opposite the first season of I Love Lucy re-runs (after the previously number one-rated show had ceased production of original weekly episodes) and ABC's Disneyland (a regular Nielsen Top Ten and Twenty hit), Wagon Train proved to be a formidable opponent on Wednesday nights at 7:30pm, knocking both the I Love Lucy re-runs and Disneyland out of the Nielsen Top Thirty, while scoring an entirely respectable 23rd for the year. Remaining in its family-friendly Wednesday 7:30pm time slot for the next four years on NBC, Wagon Train would climb spectacularly to the number two spot in the Nielsen's the very next year, and remain there for three seasons (right behind CBS's Gunsmoke), until the 1961-1962 season, when it entered one of the most exclusive clubs in the world: the number one rated network show, according to the Nielsen ratings, on American TV.
What's particularly interesting about that last statistic is the fact the show finally cracked the number one spot after the series suffered a potentially crippling setback: the death of its lead actor, Ward Bond. Wagon Train the series was loosely based on John Ford's classic 1950 feature film, Wagon Master, which also co-starred Bond as Elder Wiggs, the hard-driving wagon master who doggedly pushed on his group of Mormon settlers across the harsh West to California. NBC and the other networks, seeing that filmed dramatic anthologies were just as effective, ratings-wise, as live productions (as well as being more profitable, inevitably, because the shows could be repeated and thus, sold in syndication), quickly realized that American TV audiences would welcome the same kinds of diverse, mature, thought-provoking playlets they found on Studio One, Robert Montgomery Presents, and the Philco TV Playhouse, if they were "contained" within the framework of a weekly filmed, episodic drama - and Wagon Master's construction (action blanketing character-driven individual stories) offered the potential for Wagon Train's anthology conversion. Wagon Train would "look" like a set, weekly series involving the same characters pursuing one goal (pulling a wagon train from St. Joseph, Missouri to the California coast), but it would "operate" like one of the classic live drama anthologies (separate, individual dramas, highlighted by guest stars, would take up the majority of screen time, with the series' lead actors rotating their time, letting the stories take precedence).
With this type of construction, even though Ward Bond was nominally the lead actor in Wagon Train, and his character, the gruff, wise, hardened-yet-kindly Major Seth Adams, a seeming natural to take the spotlight each week as the rough-hewn, iconic "American Western loner/leader," his absence would not cripple Wagon Train. Others among the set cast shared screen time or "starred" in their own episodes, with Bond perhaps seen only at the beginning and ending of a particular episode: Robert Horton, as the young, educated scout Flint McCullough; Terry Wilson, the quintessential American westerner (quiet, taciturn, steady, skilled), another scout and then assistant wagon master; and Frank McGrath, as "comedy relief" cook Charlie Wooster, all had their turns at "starring" in Wagon Train episodes. And while the writers of Wagon Train kept the emphasis not on the strict continuity of the weekly trek across the West, but on the separate, individual playlets that made up each week's show, the policy of bringing in big named stars to guest each week, further dampened the notion that Wagon Train's "star" was Ward Bond, and that the show was resolutely about getting that damned wagon train to California. Indeed, Wagon Train meandered all over the place (and most agreeably so), achieving a fluid sense of time and place not rooted to one star and one central story arc. And thus the unexpected death of Ward Bond during the shooting of the 1960-1961 season didn't destroy the series' viability in the ratings - or its credibility as an anthology with the viewers. Seasoned pro John McIntire, as Christopher Hale, quietly stepped into the role of chief wagon master (with no explanation given as to where Seth Adams went), and the series not only continued, but flourished the next full season, reaching the number one spot in the Nielsen's during the show's fifth season.
Electing to watch the bonus black and white episodes first (to get a feel for the show before reviewing the complete season of color episodes that makes up the bulk of this DVD release), I was struck by the series' big-screen feel, both in design and in execution. The majority of series on American network TV at that time were half-hour programs, so Wagon Train's hour-long running time seems big scale, which, when coupled with the epic, sprawling narrative created by the wide-ranging subjects of its scripts (one week a flat-out adventure tale; the next, a small chamber piece about human emotions), gives the series a heft that's notable for the time period. Each of these black and white episodes has the look and feel of a competent, lean, concise (and frequently exciting) B-western programmer. There's no fat here, even though often the emphasis is on character-driven dialogue (after all, the budgets couldn't afford constant action and location work). When the emphasis is on action, such as The Cliff Grundy Story from season one (with the always brilliant Dan Duryea), Wagon Train is always careful to keep the adventure rooted in character development - this isn't the equivalent of a Western kiddie comic book. Wagon Train, sticking to its dramatic anthology roots, understood that despite running at 7:30pm (what used to be the classic "kiddie hour" for network TV shows), it was a family drama, and parents had to be drawn in (and encouraged to come back each week) with credible, adult stories framing the gunplay and the high adventure. Certainly the kids - and perhaps the moms, too - tuning in wanted to see handsome scout Flint McCullough fighting his way out of the desert without shoes or a shirt (season two's excellent actioner, The Old Man Charvanaugh Story), but parents and even grandparents could chew over the relatively complex issues that wormed their way through the episodes, as well, providing an interesting contrast with all the horseplay.
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