Creators: Mark Frost and David
Lynch
Directors: David Lynch, Jack Fisk,
Lesli Linka Glatter, Jonathan Sanger and Betty Thomas
Screenplay: Mark Frost, David
Lynch, Robert Engels and Scott Frost
Cast: Ian Buchanan as Lester Guy;
Marla Rubinoff as Betty Hudson; Nancye Ferguson as Ruth Trueworthy; Miguel
Ferrer as Bud Budwaller; Gary Grossman
as Bert Schein; Mel Johnson Jr. as Mickey; Marvin Kaplan as Dwight McGonigle; David
L. Lander as Valdja Gochktch; Kim as
Nicole Thorne; Tracey Walter
as 'Blinky' Watts; Irwin Keyes a Shorty the Stagehand; Buddy Douglas as Buddy
Morris; Raleigh Friend as Hurry Up Twin; Raymond Friend as Hurry Up Twin; Everett
Greenbaum as the Announcer; Sydney Lassick as Mr. Zoblotnick
It is amazing to think that David Lynch, whilst someone is even
known in the mainstream, also had a hot period where he was also king of the
world. Well, when the first season of Twin
Peaks started in 1990, that happened, as was the moment he won the Palme
d'Or at that year's Cannes Film Festival. Lightning had been caught in a
bottle...only for Season Two of Twin
Peaks to falter, although that was when David
Lynch was not directly involved for most of the season, whilst Twin Peaks: Fire Walk with Me (1992)
was not a highly regarded film in the slightest, only growing in reputation
over the decades after.
Just by this time too, we also get
a show from Lynch which only lasted
seven episodes, a David Lynch comedy
about a live variety show in 1957. Born in 1946, and having explicitly
referenced the fifties throughout his career, On the Air is drawing on real television of the period of live
variety shows such as The Ed Sullivan
Show, starting in 1948 to 1971, among other such examples you can read up
on from the era. That show famously had The
Beatles, but throughout the decades had anything from vaudevillians and
plates spinners to ballet dancers and Broadway show tunes, to which the show in
the centre of On the Air, "The
Lester Guy Show", is a live variety and sketch show lead by Hollywood
actor Lester Guy (Ian Buchanan) in
which everything goes horribly wrong every show but gets the ratings.
Of note, David Lynch only directed the first episode and penned the last.
What this is in truth is David Lynch
directing the pilot, among one of his most gleefully weird works I have seen,
and his collaborators from the Twin
Peaks era having to figure out how to follow on from his example. Episode One is legitimately weird, which is
surprising as One The Air manages to
find a way to top this onwards. Set in the late fifties, The Lester Guy Show is
run by eccentrics, complete botches in every worst slapstick related form
possible transpiring rather than anything rehearsed, from a missed cue to Guy
being flung in the air repeatedly. Who steals the show from under him is Betty
(Marla Rubinoff), a legitimate holy
fool as she is built on the surface as the problematic stereotype of the dumb
blonde, the extreme version, only to be revealed as the heart of the show in
spite of this. She represents a trend in David
Lynch's work, a person at times that can come off as sweetly naive himself,
of optimism and kindness even in the bleakest of circumstances. Usually such
optimism is crushed under darkness or stilted bird performances in Blue Velvet (1986), but here Betty's
improvisation during a disastrous broadcast wins the viewing public over, much
to the concern of Lester Guy.
Whilst David Lynch is known for his dark material, when comedy is found in
his career he reveals himself to have a very silly sense of humour. The opening
credits perfectly set up the premise - in an era in the fifties where Hollywood
had to introduce widescreen and gimmicks to combat the encroaching success of
television, his regular composer Angelo
Badalamenti created a beautiful jazzy track over scenes of streets and a
broadcast antenna standing out on the Planet Earth like a colossus, only for
fart-like noises to be heard, audibly someone making a raspberry and possibly
like a failed blow on an instrument. Running gags that continue through the
series are very broad - like the Hurry Up twins, two male twins in a jumper big
enough for both of them to wear whose only purpose is to appear and for the
narrator to always introduce them, or the sound effects guy having a sight
issue which means, as also introduced by the narrator every episode, he sees
everyone in duplication and objects to be superimposed over shots. Episode One
is, in the right mood, hilarious and utterly baffling in how it plays out,
working by itself even if had been a single pilot.
But it was not the last one, with
the additional context that people other than Lynch himself now had to continue the narrative. Alongside Lester
Guy and Betty are quite a few characters: Nicole Thorne, played by Kim McGuire who is most well known for
Hatchet Face in Cry Baby (1990), as
Guy's romantic interest and Head of Comedy, helping to try and sabotage Betty's
career for her lover; the great, late Miguel
Ferrer as the hardnosed producer Bud Budwaller who tries to keep this all together
each broadcast; a European director, clearly based on German directors who fled
to the United States from Nazi Germany, who is however incompetent and has to
be translated by production assistant Ruth
Trueworthy (Nancye Ferguson), a
confidant and friend to Betty; and a variety of other misfits. Episode 2 is the
only episode which breaks from the main structure drastically. Betty is invited
by the studio boss to dinner, which also breaks from the trend that he is never
seen or heard for the most part baring being able to get so angry over the
phone to Bud flame goes through the receiver like in a Looney Tunes cartoon. Following on with Guy, Bud and Nicole trying
to sabotage Betty's meeting, the episode thankfully is helped by the cast being
great and the comedy still working because of how exaggerated it was.
After this, On the Air manages to
find its groove, all entirely set within the set of The Lester Guy Show where a
new guest is hired for each show - a legendary actor, a puppet star of a kid's
show, even Betty's more famous older sister - and yet everything still goes
wrong. The show manages to get stranger, as if everyone needed to make Lynch proud, in how between the reoccurring
ducks, which grow in number and are never explained, to the gadgets clearly
designed by Acme, On the Air finds
ways to top itself.
Arguably, the show was too
idiosyncratic to survive. Even if Twin
Peaks was a huge hit, I would presume an incredibly weird comedy which has many
Dad jokes and weirdness would not appeal as easily as a mystery. It does however
leave so many memorable moments entirely based on repeating the same ideas that
I have to admire the production. There is even a legitimately heart-warming
sequence in the episode about Betty's sister, when after the puppet is insulted
Betty and everyone brings his spirits up on live television, so charming even Bud
is softened by the event. There is also even more of a high bar of strangeness,
where the cuts to the TV audience includes dogs in clothes, where the magician
hired for an episode (when his magical powers come back) causes vegetables to
float and transformations to take place in a deeply weird finale to that story.
This is all in mind they are meant to have followed David Lynch's episode, having to figure out his style but decided
wisely to just be as odd in its own way as they could. Helping the show is the
strength of its cast. Ian Buchanan caught
my attention especially, managing to play Lester Guy as utterly egotistic but
still compelling, as a former Hollywood star reduced to television, but the cast
in general were perfectly cast in every role too.
On the Air tragically, or for the best depending on your viewpoint,
only lasted seven episodes. The final episode, whilst not directed by David Lynch, is written by him and
bookmarks the story by delving further into madness. Throughout the show it
drew and exaggerated on culture from the period and earlier - all the episodes
of the programme start with Lester Guy in a noir dark lit scene doing
choreographed movements of mystery; there is a spy drama being rehearsed in
episode two; the children's puppet show character draws from entertainment from
that era of television. The shows climaxes on beatniks, specifically the Woman
with No Name, who does interpretative dance against avant-garde jazz. Between
Betty forgetting her mother's name, and that the European director hears
"beatnik" and starts giving the Woman with No Name dozens of shoes to
dance around, because it possibly means "shoemaker" in his language, this
becomes a memorable moment in his career what is not necessarily the deepest
moment of Lynch's.
It definitely has one of the most
legitimately strangest moments in his career, which is a considerable
achievement considering what he has created in his filmography, in the last
episode's climax. Building, in its last line of the series, to what is a cheesy
pun, On the Air concludes with the
entire cast waving shoes in the air on mass as The Woman with No Name dances to
droning atonal music and Lester Guy, after a machine to try to rob Betty's
voice backfires, with a robotic noise for his own instead. It is appropriately
the best way to have ended. It shows Lynch's
collaborators were distinct, as they managed to make a show this is still
compelling and legitimately hilarious in my weird sense of humour. Honestly, I
think the show never getting a full season is not a bad thing, perfect as it
is. The issue is that, barring rare releases such as on Japanese VHS, On the Air has never had a major
rediscovery. There are a couple of titles in David Lynch's filmography inexplicably difficult to find, some like
the original 1999 TV pilot of Mulholland
Dr. not available because he finds it embarrassing, but On the Air could legitimately be seen
as something to be proud of. It is glorious when experienced.
Abstract Spectrum: Surreal/Wacky/Weird
Abstract Rating (High/Medium/Low/None): Medium
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