The Name of the Game
I had heard about this impossible-to-see episode of The Name of the Game—a cutting edge television show that ran for seventy-six 90-minute episodes from 1968 to 1971 on NBC—but until recently, I’d never seen it. The Name of the Game had the biggest budget of any show of its time and a very interesting concept. First of all each episode was, in effect, it’s own semi-standalone 90-minute movie. The series was one of the first of what was then known as a “wheel series.” A wheel series was mostly known as a time slot on TV that two or three different shows shared, alternating each week. With The Name of the Game‘s high concept though, this wheel was alternating between three different stars who were featured in their own episodes/movies. And what a high concept it was!
The series was based on the 1966 television movie Fame Is the Name of the Game, which was directed by Stuart Rosenberg and stars Tony Franciosa. The Name of the Game rotated among three characters working at Howard Publications, a large magazine publishing company. Jeffrey “Jeff” Dillon (Franciosa), a crusading reporter with People magazine (before there was a real-life People magazine); Glenn Howard (Gene Barry, taking over for George Macready, who had originated the role in the earlier film), the sophisticated, well-connected publisher; and Daniel “Dan” Farrell (Robert Stack), the editor of Crime magazine. Serving as a common connection was then-newcomer Susan Saint James as Peggy Maxwell, the editorial assistant for each.
Which brings us to one of the last episodes of the series, LA 2017 aka Los Angeles: AD 2017. This episode was the first long form directing assignment for 24-year-old Steven Spielberg. Written by well-known offbeat author Phillip Wylie (who wrote Gene Barry’s wild episode Love-In At Ground Zero in the first season). Wylie’s work is known to have inspired the characters of Superman, Doc Savage and even Flash Gordon (from his story that was later made into the film When Worlds Collide). In this episode, Glenn Howard is hunted down in a lethally polluted, frightening and sometimes hilarious Los Angeles of the future, where the fascist government is ruled by psychiatrists and the populace has been driven to live in underground bunkers to survive the pollution. Sounds about right, right? This was the sixteenth episode of the third season, and the cast included Barry Sullivan, Edmond O’Brien, and (in a brief cameo) Spielberg’s friend Joan Crawford.
It starts out with a car crash while character Howard (Gene Barry) is seen driving through the mountains recording a memo to the President to do with an important pollution scandal story that will appear in his magazine, and ends up being a dream, which allowed the science-fiction plot to fit into the modern-day setting of the show, though in the final moments he is still contemplating what happened while driving back in his car (cue close-up shot of his tail pipes chugging out 1971 style car exhaust fumes). In the end, we see a stiff bird hanging in a tree… a close encounter of the (dead) bird kind indeed!
Watching this 1971 pop culture prophecy in the actual Los Angeles of 2017 is a total mindblower. Some of it is insanely far-fetched and yet there are a few humdingers that really freak you out and make you think, the most well known being my favorite scene where we are taken into a truly “underground” club with a demented octogenarian acid rock band totally freaking out (or at least trying to):
More after the jump…