XPost: rec.arts.tv, rec.arts.comics.other-media

Jessica Walter and others involved in the failed 1978 TV pilot look
back: "I don't think the public was ready for that kind of
otherworldliness."

Decades before Marvel ruled the big screen, it had its eye on taking
over the small one. Within a period of months, Marvel used TV movies to
launch ongoing CBS series for The Incredible Hulk and The Amazing
Spider-Man, but it's third attempt didn't quite have the magic touch.

When Dr. Strange aired on Sept. 6, 1978, those behind the production
believed it would be a golden ticket to entering the CBS kingdom. But
The movie tanked in the ratings — in part because it aired opposite a
rerun of ABC's Roots, and in part because audiences didn't know what to
make of the cerebral, slow-moving tale about a psychiatrist who finds
himself caught in a centuries-old battle between good and evil.

The project was the brainchild of writer, director and producer Philip
DeGuere, who was given an ample budget for the TV movie, which shot on elaborate sets on the Universal lot in Los Angeles doubling for New
York.

"He wanted everything to be really perfect. You could see from the TV
film that it really was done in quite a spectacular manner," says
Jessica Walter, who played the villain Morgan Le Fay.

https://youtu.be/qzKA2J6NIrg

in a bit of prestige casting, DeGuere enlisted John Mills — an Oscar
winner (and father to Hailey Mills) to play the part of the Sorcerer
Supreme, an ancient being who would mentor Dr. Stephen Strange (Peter
Hooten) with help from his assistant Wong (Clyde Kusatsu) — a character
with a problematic portrayal in the comics of the 1960s, but who in
this adaptation enjoyed a surprisingly progressive treatment.

"I didn't have to run around with exotic robes anything representing
the mysterious east," says Kusatsu of his character, who sported
three-piece suits and spoke in an American accent.

In another change from the comics, DeGuere envisioned Dr. Strange's
mentor being Merlin, from Arthurian legend, which explains why he's
battling Morgan Le Fay.

"Philip DeGuere had great hopes for it," recalls composer Paul Chihara.
"He encouraged me to do an electronic score, which in 1978 was quite
forward."

In the story, Morgan Le Fay must kill the Sorcerer Supreme or win his
successor (Strange) over to her evil master's side. To that end, she
takes over the body of a college student named Clea, played by Anne-
Marie Martin (who would go on to be married to Michael Crichton for
years). Clea becomes Strange's patient, and later, romantic interest.
In an odd turn, even Morgan le Fay ends up having the hots for the
mustachioed Dr. Strange.

"Because he was both the writer and director, he knew specifically what
he was looking for in creating that content," says Frank Catalano, who
had a small role as an orderly in Strange's hospital.

STRANGE BEGINS

The result of the ambitious shoot are campy by today's standards, but
at the time it felt like something grand was being made — with special
effects being improvised on the spot and the actors delivering some
wonderfully committed performances.

"We went over schedule by several days because of the special effects.
And of course the producers there were wringing their hands," says
Walter.

One of the scenes that caused the most strife on set is now a fan
favorite (because of its extreme-cheese factor). It shows Morgan Le Fay speaking to her master — a disembodied head in another dimension.

"They were trying to figure out how it could work," says Kusatsu, who
played Wong. "There was a lot of downtime because what they tried to
capture couldn't be captured. Enzo Martinelli, a real classic veteran cinematographer, was trying to make it work. The clock is ticking as
the account register is going. It's costing money."

In another scene, Morgan le Fay and Wong are engaged in a magic battle,
with Wong eventually losing and being surrounded by flames. It's
something that looks easy by today's standards, but it was a real pain
in 1978.

"He put a ring of rubber cement, which was flammable and he would
ignite it," Kusatsu says of the special effects technician. "Then you'd
run in there and pretend you are knocked out. We could feel the heat.
Jessica Walter was saying, 'You don't have to do it if you deem it to
be unsafe for you. You have every right to refuse to do it!' And [the
director] Phil was going, 'No, no, no! He's one of our stars, we can't
do that.' But of course the old, grizzled special effects guy is going,
'What the f--- is going on? Is this guy a wimp or what? It's just a
little fire.' "

The shoot was all back in the days when fans would drive by on studio
tours, the interruption halting production as the stars would wave to
the tram. Some stars of other Universal productions are said to have
hated the tradition, but the Strange cast cheerfully obliged.

"The cast of Dr. Strange had a rare kind of cohesion. Phil was able to
pull some very interesting people with in the television milieu," says Catalano.

The cast and crew labored on for weeks that way, and in the end Stephen
Strange was victorious — defeating Morgan le Fey ("I had to have an old
age cast made of my face, which was claustrophobic," recalls Walter of
a scene in which she loses her youth) and assuming the role of Sorcerer Supreme.

It seemed like a no-brainer that it'd be a role star Hooten would be
playing for some time. Then Dr. Strange aired.

'IF YOU DIDN'T MAKE THE OVERNIGHTS, YOU WERE DEAD'

"It was one of those things where CBS welcomes you to the family, until
you get aired and you get over Berlin without fighter support and then
you are going down in flames," says Kusatsu.

These were the days of just three networks (a Roots rerun dominated the
night) and overnight ratings were everything.

"If you didn't make the overnights, you were dead," says Kusatsu. "I'm
sure if I looked back at the numbers to see what we had back in '78,
those were the kind of numbers that could be sustainable on the CW or
something like that."

It was a huge blow for DeGuere, who had lobbied for Hooten to star as
Strange against concerns a bigger star would have been better for the
project.

"He was thrilled with the movie. He walked around on a cloud for
awhile," says composer Chihara, who was a friend of the director's. "He
was crushed when it didn't get picked up."

DeGuere, who died of cancer in 2005, went on to have a successful
career, most notably creating Simon & Simon. In the years since, Dr.
Strange has gained a cult following — and now is enjoying a renewed
interest with the release of Marvel Studios' big budget Doctor Strange.
Kusatsu was able to speak with star Benedict Cumberbatch about their
1978 project several years ago ("He was a wonderful gentleman," the
original Wong actor says), while Chihara's former assistant now works
with Doctor Strange composer Michael Giachino.

"When he was in London recording it, he was telling me that they
already knew the score that I did for Dr. Strange and Michael was kind
enough to say he appreciated my score," says Chihar.

Looking back, Dr. Strange is slow-moving, but it also was ahead of its
time, daring to make a comic book adaptation work at a time when few in
the general public cared about Marvel or DC.

"I don't think the public was ready for that kind of otherworldliness.
If you looked around that time, if you look at the old Hulk thing it
was pretty primitive," says Kusatsu. "But we did the best we could
without a lot of green screen, CGI and all of that stuff. It was a
great experience."

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