‘Enough, said’ the librarian

There are little glimpses into Albert’s view of his job and the skills he utilizes as a television library archivist.

Two friends had recommended Enough Said (2013), starring Julia Louis-Dreyfus and James Gandolfini in his last major role before his untimely death last summer. The film is a quirky slice-of-life glimpse into the budding romance between two middle-aged, single parents. (And if you’ve seen the trailer, then you’ve basically seen the film. Enough said, indeed.) This past weekend, my husband and I decided to rent a movie on-demand through our cable service, fully expecting a relaxing evening on the couch watching a film.

Then 11 minutes into the film, on their first date, this conversation happened:

Eva: What about you? What do you do?

Albert: I work at the American Library of Cultural History.

Eva: The what?

Albert: Exactly. It’s basically a television library.

However delighted I was that James Gandolfini played a librarian in his last major role, I do admit to shouting at the screen, “NO!!!!! Now I have to take notes! This was NOT the relaxing evening we had planned for!” (I do enjoy being overly dramatic sometimes. But it’s all for you, dear readers. All for you.) And neither friend who had recommended the film had bothered to mention that he worked in a library. Do they not know me at all?! 😉

A half-hour into the film, we are also treated to a view of the (fictional) American Library of Cultural History, as Albert takes Eva on a tour of the archives, his office, and the public viewing and reading room. And in a Vulture interview, Julia Louis-Dreyfus revealed that this scene in the library was actually the very first scene that she and James Gandolfini shot together!

Library archives scene in Enough Said
Library archives scene in Enough Said

Eva:  Wow. Amazing. So what do you do with all this?

Albert:  You really want to hear this?

Eva:  Yeah. I do. What?

Albert:  I make sure things are transferred to digital properly, I make sure they’re logged in properly. I write little blurbs, so if anyone under fifty wants to put down their phone and come in here and watch something original and brilliant, they can find what they’re looking for. […]

Eva:  So cool.

Albert:  It is. I kind of love it. You know, on slow days I can sit downstairs in my office and watch a couple episodes of ‘What’s Happening?’

Then the two share a kiss in the library. Awwwwww… ♥

Screenshot from 'Enough Said'
Kissing in the archives!

Side note:  It looks like this was filmed in an actual library, but I have not been able to find out which library these scenes were filmed in. The rest of film utilizes real West L.A. locations, like the Lilly’s restaurant.

Interesting to note that the screenplay differs a bit from the final result. In the script,  we learn a bit more information about the library; this line, “We have the most comprehensive collection of television shows from 1947 to the present,” didn’t make it to the screen.

There are little glimpses into Albert’s view of his job and the skills he utilizes as a television library archivist. For example, as he and Eva talk outside on their second date, he mentions that his wife thought his job was stupid — which might account for the shyness he shows when first telling Eva about his job and his offhand, “I kind of love it” remark and shrug.

Also, right before the library tour, he also gets to show off his encyclopedic knowledge of Saturday morning television. Eva’s reaction? “That’s incredible!”

And I laughed during their first date, when they are talking about their flaws, and Albert mentions ear hair. Eva, in a teasing manner, mentions there are things one can do to care of that. Albert counters with, “Researched. Taken care of.” That does feel true to what a librarian would say! 😉

However, there are some personality traits that do NOT necessarily match up with a librarian or archivist. A major point of the movie — and part of why he ultimately repulsed his ex-wife — is that he is a self-confessed “disorganized slob.” Whaaaaaaat?

think the screenwriter and director Nicole Holofcener was trying to make a point in the movie that what people do doesn’t necessarily match who they are. For example, Eva’s friend, Sarah (played by Toni Colette) is a psychiatrist — one with some big-name, celebrity clients — but does not enjoy a particularly harmonious relationship with her husband or her children. And Eva, a masseuse and Zen-like and confident in her work, is quite insecure in her private life. So it does make a kind of sense in that context that Albert reserves his organizational streak for work.

It’s also telling that in the scene in which Albert describes his job, he doesn’t use any standard terms or phrases, like catalogingarchivingdigital preservation, digitizationetc. Instead, he describes his duties more generically:  “I make sure things are transferred to digital properly, I make sure they’re logged in properly.” What he’s saying is perfectly understandable, but it just doesn’t quite have the ring of what a real librarian or archivist would say.

Also, Albert is a digital archivist, yet NEVER uses the word “archives.” Here’s a job description for a digital archivist that I snagged online from the Education Portal site, seen below.

Job description for 'digital archivist'
Job description for ‘digital archivist’

Check, check, and check. (For more background on how a digital archivist is similar to, but distinct, from librarians, click here and here (SAA). But for simplification and the purposes of this website, I am still including this role in this list of reel librarians.)

I did appreciate, however, that the role of Albert is well-rounded and full of realistic flaws. This kind of in-depth characterization is a hallmark of Nicole Holofcener’s films, a few of which I have seen (Walking and Talking, Lovely & Amazing). For example, we learn that Albert doesn’t like onions in his guacamole, preferring to savor the avocados (this turned out to be a big deal for his ex-wife); he’s a bit socially awkward and accidentally flashes his penis on their second date — but cheekily asks, “What did you think?” as he goes off to change pants; he is obviously reluctant to reveal his pet peeve of seeing bare feet; he cannot distinguish between weeds and real grass; and he expresses fatherly pride of his teenage daughter, who’s set to go to design school in the fall.

Also notable is that Eva makes a big deal about how Albert is not able to whisper. He just cannot be that quiet. Is it a coincidence, or was Holofcener giving an inside wink to the audience that a LIBRARIAN does not know how to whisper and BE QUIET? 😉

James Gandolfini plays Albert with sweetness, charm, and empathy. This is tricky, because as we learn more of his bad habits from his ex-wife’s perspective — played with pitch-perfect bitchiness by Catherine Keener, who appears in all of Holofcener’s films — it would be easy to be swayed along with Eva about his flaws. But Gandolfini’s sensitivity in portraying Albert always keeps us on his side.

Albert, then, does not fit into any easily categorized character role. He is truly an atypical portrayal of a reel librarian — a fully rounded, realistic character, one beyond stereotypes. It helps that he is a major character in the film, and we are given time to get to know him and witness more than a few glimpses into his personal life. Therefore, Albert also lands in the Class II category, as he is a major character but his role as an archivist is not necessary to the plot.

And, last but not least, here are a couple of outtakes captured while taking screenshots of the film. I love the expressions that Julia Louis-Dreyfus can come up with!

Screenshots from 'Enough Said'
Expressive faces and gestures

I like to think that her gesture in the second photo reads, “Enough said!”

And so it is. 😉

Sources used:

‘Blackmail’ and the British Museum

The final chase scene takes place in the British Museum, culminating in the Round Reading Room.

My Irish counterpart, Colin @ Libraries at the Movies, posted some thoughts on Alfred Hitchcock’s 1929 film Blackmail a little over a year ago — and I’m just now getting around to rewatching this early Hitchcock film. Admittedly not his best film, it was a big commercial hit and was the first British sound film as well as the first example of sound dubbing. Blackmail also includes quite a few experimental touches and echoes of what would become Hitchcock trademarks, and the film features the Round Reading Room of the British Museum. The Round Reading Room — which, alas, was relocated in 1997 — was also the model for the Library of Congress Reading Room.


The final chase scene takes place in the British Museum, culminating in the Round Reading Room.

British Museum sign in Blackmail
British Museum sign in Blackmail

Although no librarian is featured, landing this film in the Class V category, there are several shots of the library. These shots include a birds-eye view overlooking the famous vista, as well as some behind-the-bookcase chase scenes.

Round reading room in the British Museum Library
Round reading room in the British Museum Library
Chase in the British Museum
Chase in the British Museum

The finale is atop the library dome, and Hitchcock gets to show off his amazing visual style, silhouetting the blackmailer and the policemen scurrying across the dome. Finally, in his panic, the blackmailer falls through the dome. The policemen rush up and look over the shattered glass, where one can make out shapes of the round bookshelves far below.

Chase atop the Round Reading Room dome in Blackmail
Chase atop the Round Reading Room dome in Blackmail

As a librarian, I did gasp out loud and shout at the screen, “No! He’s ruined the library!” Perhaps only a librarian would be so horrified at the thought of a body crashing through a library ceiling. I mean, imagine the gore and mess below with the library resources and furniture!

But that’s the genius of a good director. At his best, Hitchcock created suspense and horror by what he didn’t show.

Bird's-eye view of the Round Reading Room in Blackmail
Bird’s-eye view of the Round Reading Room in Blackmail

So why did Hitchcock feature the British Museum and the Round Reading Room? Colin makes a good case that:

“The library is significant because of where it is — the only way out is up, and up is where Hitchcock characters go to fall or jump off things. The director cares nothing for the library qua library.”

I agree, Hitchcock chose the library because of its visual impact — but what an impact! It’s a pretty powerful statement that the British audience watching this film would have felt immediately connected to the Round Reading Room — and even those American audience members who would have recognized the design behind the Library of Congress. It’s also a study in contrasts; the library’s history of tradition and conservatism is emphasized even more by being tainted by the blackmailer and the indignity of a police chase.

Although based on a play of the same title by Charles Bennett — who also penned some of Hitchcock’s best British films, including 1934’s The Man Who Knew Too Much, 1935’s The 39 Steps, and 1936’s Secret Agent — I have not been able to locate a full-text version of the original play to doublecheck the setting of the final act. The play, which apparently was based on real life events, was a commercial flop in 1928 and starred Tallulah Bankhead. If you’re able to locate a copy of the original play, please let me know!

Sources used:

  • Blackmail. Dir. Alfred Hitchcock. Perf. Anny Ondra, John Longden, Cyril Ritchard. British International Pictures, 1929.
  • British Library” via Wikipedia is licensed under a CC BY SA 3.0 license
  • Higgins, Colin. “Blackmail (1929).” Libraries at the Movies, 14 March 2012.

‘Quatermass’ and the librarian

A key archives scene in the Westminster Abbey

The 1967 sci-fi cult classic Quatermass and the Pit is one I’ve been trying to track down for awhile. It’s a Hammer film production, and follows two Quatermass feature films (The Quatermass Xperiment, 1955; and Quatermass II: Enemy from Space, 1957) and a 1958 TV series of the same name (and plot). The film is also known as Five Million Years to Earth, the title of choice when released in the U.S. in 1968. Admittedly, the biggest question in my mind was how to pronounce Quatermass! (I kept wanting to insert an extra “r” to make it like Quarter-mass. But it turns out his name rhymes with Crater-mass.)

The plot is an interesting take on religious myths and science fiction, and starts off with a discovery of ape-like human skeletons when a construction crew is digging a subway extension near Hobbs Lane, London. When scientists further discover a missile-like metal shape, the armed forces are called in, who jump to the conclusion that it’s an unexploded German bomb from World War II. Only Professor Bernard Quatermass (intelligently played by Andrew Keir) thinks they’re mistaken, so he and an assistant scientist, Barbara (Barbara Shelley), do some digging of their own — but this time in the research archives. Good plan.

Almost a half-hour in, Barbara has made copies of old newspaper files from the 1920s — which look suspiciously like blank pieces of paper onscreen — that reveal a history of disturbing stories and incidents around “Hob’s Lane” (the old spelling of the street, “Hob” being an old term for the Devil). Several stories mention small dwarf-like figures, like goblins. After a disturbing incident in the subway station involving an hysterical workman, Quatermass then insists on following up on the stories.

Research in Quatermass and the Pit
~ What does this say? ~ I don’t know, it’s just a blank piece of paper. And I forgot my lines. I’ll just wing it.

This cuts to a closeup of a file cabinet in an unidentified private library, seen above. Quatermass and Barbara read aloud snippets from more reports — including one from 1763! — mentioning alarming noises, spectral appearances, grievous sounds, and “weird happenings.”

Finally, Barbara asks the $10 million question:  Where next?

Quatermass:  The archives at Westminster Abbey, I think.

Next shot is a closeup on an old text and the hands of an archivist librarian, seen below. It’s important to note that the focus is on the information, not the librarian. Therefore, from the first moment, the librarian’s primary role is identified as that of Information Provider. The Abbey Librarian (Noel Howlett) is an older white male, bald, with thick black glasses, and dressed quite conservatively in a dark suit and tie, pocket square, and cuff links.

The setting looks to be the basement or catacombs of an old abbey, with stone walls; wood furniture, including what looks to be an old card’s catalog or apothecary cabinet; tables with stacked-up books; and sconces along the wall.

Archives in Quatermass and the Pit
Archives in Quatermass and the Pit

The Abbey Librarian is busy reciting text and translating, quite impressively, from Latin:

Abbey Librarian: In the winter of the year 1341, the religious of that region did strive against an outbreak of evil at Hob’s Lane. [He looks up at Quatermass]

Quatermass:  Oh please go on, my Latin’s not up to it.

Abbey Librarian: Imps and demons did appear. Foul noises sent by the devil did solely afflict the charcoal burners that had lately come there.

Quatermass:  Charcoal burners?

Abbey Librarian:  Yes, yes, that’s right.

Quatermass [to Barbara]:  They’d been felling trees, big heavy ones. In 1763 a well was being dug. In 1927 the underground station. And now the extension.

Barbara:  All disturbances of the ground.

Abbey Librarian [continuing]:  This has well been known as a troubled place. It is said that in the time of the Romans…

Quatermass:  I had better go.

Abbey Librarian [looking a bit startled]:  I beg your pardon?

Quatermass:  I have to leave now. But Miss Judd will stay on. [to Barbara] Find out everything you can and collect Dr. Roney. I think he should be in on this.

Quatermass [to Abbey Librarian]:  Many thanks.

Quatermass is ultimately quite dismissive of the Abbey Librarian; once the librarian has served his purpose, there’s no more need for him. That’s the way it goes for Information Providers. Miss Judd does pause to give the librarian a sympathetic smile.

Archives librarian in Quatermass and the Pit
Archives librarian in Quatermass and the Pit

Although this archives scene is short — only about a minute long — it is a key scene, giving credence to the timeline of the stories connected to disturbances of the earth. This Class III librarian appears an expert at this job, translating quite rapidly, and seems only a little put off by Quatermass’s interruptions and abrupt departure. At his age, he’s probably used to this kind of reaction!

Also, about a half-hour after this library scene, the cast returns to what looks to be the same abbey set, to talk to a worker affected by another incident at the excavation site. Barbara and Quatermass talk to a priest, but there’s no further sign of the Abbey Librarian.

It’s interesting to realize that I’ve been featuring quite a few monastery/abbey librarians lately — all males, of course — including those in Necronomicon (another sci-fi title, hmmm) and Ever After. And you’ll probably want to catch back up with the monk librarians in The Name of the Rose (click here and here), just for good measure. 😉

Sources used:

  • Quatermass and the Pit (aka Five Million Years to Earth). Dir. Roy Ward Baker. Perf. Andrew Keir, Barbara Shelley, James Donald, Julian Glover. Hammer Film Productions, 1967.

‘Ever After,’ my library

“I could no sooner choose a favorite star in the heavens.”

The 1998 romance Ever After, starring Drew Barrymore, Anjelica Huston, and Dougray Scott and set during the French Renaissance, is one of my personal favorites. There’s something so charming and earnest about this film (despite Drew’s shaky accent). And it highlights the intelligence of Drew Barrymore’s Cinderella role (called Danielle in the film, or Nicole when she takes her mother’s name as a disguise), as she loves reading and views books as treasures not to be taken for granted. Attagirl! 🙂

About halfway through the film, Prince Henry (Scott) takes Danielle/Nicole (Barrymore) on a “first date” of sorts. This is how he makes his (smart) move:

Prince Henry: The Franciscans have an astonishing library. Since you are so fond of reading, I thought you might join me?

Danielle/Nicole:  It is not fair, Sire. You have found my weakness… but I have yet to learn yours.

The monastery library in Ever After, as seen from above, with a quick glimpse of the monastery librarians
The monastery library in Ever After, as seen from above, with a quick glimpse of the monastery librarians

They walk down the stairs of the monastery library and look over a railing at the monks in the library. Although we see the monks for a few seconds only, I am categorizing them as monastery librarians. These Information Providers can carry on with their work in the Class IV section of librarian films.

As they lean over the railing and drink in the sight of all those books, Henry challenges Danielle/Nicole on her love of reading.

Prince Henry:  Pick one. [a book]

Danielle/Nicole:  I could no sooner choose a favorite star in the heavens.

Prince Henry:  What is it that touches you so?

Danielle/Nicole:  I guess it’s because… when I was young, my father would stay up late and read to me. He was addicted to the written word. I would fall asleep listening to the sound of his voice.

Prince Henry:  What sort of books?

Danielle/Nicole:  Science, philosophy. I suppose they remind me of him. He died when I was eight. Utopia was the last book he brought home.

Prince Henry:  Which explains why you quote it.

Danielle/Nicole:  I would rather hear his voice again than any sound in the world.

Henry turns away and walks down the stairs, as seen below.

An open book — a Bible, perchance? — in the monastery library in Ever After
An open book — a Bible, perchance? — in the monastery library in Ever After

Danielle/Nicole:  Is something wrong?

Prince Henry:  In all my years of study, not one tutor ever demonstrated the passion you have shown me in the last two days. You have more conviction in one memory… than I have in my entire being.

And in the film, she inspires him to found a university! ♥ Later, he reveals his master plan to his parents, King Francis and Queen Marie (in real life, King Francis I and Claude, Queen Consort of France):

I want to build a university, with the largest library in Europe, where people of any station can study, no matter their station.

Library fade in Ever After
I was able to capture this cool transition shot of the library juxtaposed with Dougray Scott’s face. Two handsome shots in one!

And did he? Hmmm… not so much. In real life, it was Henry’s father, Francis I (who ruled France from 1515-1547) who was well-known as dedicated patron of the arts and libraries. He greatly improved the royal library by expanding its collection and opening up the library to scholars around the world (meaning Europe, I’m sure). In 1537, Francis I also signed the Ordonnance de Montpellier into law, decreeing that a copy of every book to be sold in France also had to have a copy deposited into the royal library. Although apparently this decree was not widely followed (and abolished during the French Revolution in the late 1700s), it does provide a precedent, hundreds of years later, for the Library of Congress!

What was Henry II known for in real life? Although apparently not a great supporter of libraries — or perhaps overshadowed by his father’s love of libraries? — Henry II did introduce the concept of patents to document personal inventions.

For libraries and archives, this father-and-son duo had it covered! 🙂

Sources used:

‘The Night Strangler’ and the underground librarian

“I called on the services of one Titus Berry… guardian of the secrets of Seattle, buried in the morgue of the Daily Chronicle.”

Strap yourselves in, folks, because we’re in for a surprisingly detailed reel librarian portrayal in the 1973 TV movie The Night Strangler (1973), sequel to the 1972 cult classic The Night Stalker.

*Possible spoilers ahead*

The telefilm starts out basically the same way as its predecessor, with Kolchak (Darren McGavin) and a tape recorder, narrating another story kept out of the papers, this time in Seattle. Once again, the conspiracy theory revolves around the undead.

About 15 minutes in, we meet the librarian, Mr. Berry (Wally Cox), a short male with a greasy combover, scraggly ‘stache, and wisps of a goatee. He looks more like an accountant or an old-time newspaper man. Which makes sense, because he works in the newspaper archives.

Titus Berry character in Night Strangler
The name’s Berry. Titus Berry.

Kolchak’s narration introduces Mr. Berry’s character:

Although research was never one of my favorite pastimes, I called on the services of one Titus Berry… guardian of the secrets of Seattle, buried in the morgue of the Daily Chronicle.

Based on this intro, he has made friends with the archives librarian, using him for information. In this way, Mr. Berry definitely serves as an Information Provider. The reference to the archives as a morgue is a clever link to the morgue assistant who helped Kolchak earlier in this telefilm, as well as the parallel underbelly of tunnels underneath Seattle that play an integral role in the plot.

We are cinematically introduced to the back of the librarian walking in-between two rows of bookcases. The archive room itself is quite dark, with dim light, covered-up windows, and grey painted walls. It looks disorganized with its stacks of books piled on every available surface — but the librarian probably knows where everything is!

Newspaper archives in The Night Strangler
Newspaper archives in The Night Strangler

Mr. Berry, bringing in a large volume, walks over to Kolchak, seated on a ladder. This shot also visually de-emphasizes the librarian, as Kolchak is on a higher level, literally. The stack of books in the foreground creates a visual barrier and serves to make the librarian seem even smaller.

Mr. Berry:  Here we go.

Kolchak:  Thanks.

Mr. Berry: You’re most welcome. I envy you.

Kolchak: You do?

Mr. Berry:  Research. That’s where the joy lies.

Kolchak:  Joy?

Mr. Berry: And the fascination. Let the others scurry about, gathering their contemporary bits of gossip. THIS is where the meat is found [pointing to archives volume]

Kolchak: Meat?

Mr. Berry:  Yes. For instance, no one has yet mentioned the distinct resemblance between this current series of strangulations and another series in the year 1951. Or was it ’52?

Kolchak:  Yeah? How similar?

Mr. Berry: Oh, extremely similar [licks his finger to begin paging through archives]

The librarian at first seems kind of creepy, especially in how he keeps gazing at Kolchak and passing out awkward compliments (“I envy you” and “That’s very observant of you”). I thought at first he would turn out to be an Anti-Social Librarian. He does slightly resemble a mole rat! (In fact, while watching the TV movie, my husband commented, “I’m shocked his name isn’t Renfield.” 😉 )

Exchanging glances in Night Strangler
Exchanging glances

In contrast, Kolchak seems amused by all this adoration and humors him, stringing Mr. Berry along because he’s useful. And he sure is useful, basically cracking the case, and propelling the plot forward, by gathering clues through old newspaper articles. A follow-up scene five minutes later reveals that Mr. Berry has delved even deeper into the archives — uncovering a series of murders all the way back to 1889! — and promising to check out the state archives the next day.

After Kolchak gets fired (again), and the plot threatens to come to a standstill, who breaks the mystery open one more time? Mr. Berry, the librarian, of course! He discovers yet another news clipping, this one revealing the name of the perpetrator, a physician who helped found a local hospital… in 1882. When Kolchak goes off to explore the clinic, he calls Mr. Berry to come over, luring the rat out of his laboratory!

Dressed in a black suit and tie, as seen below, it is clear that Mr. Berry has definitely made an effort.

More gazing in Night Strangler
More gazing…

The next scene is a turning point. After defacing the portrait of the physician in the clinic’s lobby, Kolchak is led away in handcuffs and forced to present his evidence to the police and the news publisher. It’s also a turning point for Mr. Berry. He once again supplies the info that Kolchak needs, rushing in with the evidence.

Librarian likes to point in Night Strangler
I like to point!

Kolchak: There he is! Mr. Berry, come in, come in! I’ve been waiting for you, come in! Do you — did you get it?

Mr. Berry:  Yes, I thought perhaps —

Kolchak:  You thought right, Mr. Berry.

Tony Vincenzo (news publisher):  Who is this man?

Kolchak:  Don’t you know him? He works for you.

Mr. Berry:  Down in Research, sir, for 35 years.

Vincenzo:  Good God.

Kolchak:  And research, of course, being the meat of it [sharing an inside joke with Berry and grinning]

Throughout this exposition scene, Kolchak refers to Mr. Berry’s research, while Mr. Berry is content for Kolchak to take the lead in interpreting and connecting all the dots for the police. Once Kolchak exhausts all his evidence with a final, “Well?,” Mr. Berry finally speaks up with an excited echo, “Yes, well?”

More evidence in Night Strangler
More evidence

And just for a moment, we get a glimpse of the pride on Mr. Berry’s face — pride for himself, not just Kolchak, and for his own role in the solving of this mystery. He seems poised for a hero moment.

Until, that is, the police captain snaps back with, “You shut up!” Mr. Berry immediately slides back into his shell, stuttering out, “I mean, uh, well…”

So close to a Liberated Librarian, so close!

And although he and Kolchak leave together to await the decision of the ad hoc tribunal, only Kolchak is left in the hallway when Tony comes out to deliver the verdict. And in fact, we never see Mr. Berry again. He is no longer useful to Kolchak; therefore, he is no longer useful to the film. He ends up a Class III character, safe in his Information Provider role.

In the DVD featurette, “Directing The Night Strangler,” director Dan Curtis highlights the librarian’s role:

And Wally Cox, I remember him from Mister Peepers [a TV show from 1952-1953]. I used to watch Mister Peepers all the time. There’s the little librarian, which he’s so perfect at, Wally Cox. Wouldn’t he be wonderful in that part? And of course he did it, and he was great.

Wally Cox’s title card in The Night Strangler
Wally Cox’s title card in The Night Strangler

Here’s to you, Mr. Berry. Here’s to you.

P.S. If they ever do a remake of this TV movie, I nominate John Hodgman for the role of Mr. Berry. 😉

Sources used:

  • The Night Strangler (TV movie). Dir. Dan Curtis. Perf. Darren McGavin, Jo Ann Pflug, Simon Oakland, Wally Cox. ABC/MGM Home Entertainment, 1973.