Stephen Kandel, the prolific screenwriter whose work over four decades in television spanned Sea Hunt to Star Trek, Batman to Barnaby Jones and Mannix to MacGyver, has died. He was 96.
Kandel died Oct. 21 of natural causes in his Boston apartment, his daughter Elizabeth Englander told The Hollywood Reporter.
Kandel also wrote multiple episodes of such shows as The Millionaire, The Rogues, Gidget, I Spy, Ironside, The Wild Wild West, It Takes a Thief, Dan August, The New Mike Hammer, Mission: Impossible, Room 222, The Magician, Medical Center, Cannon, Hawaii Five-o and Hart to Hart.
Plus, he co-created Iron Horse, a 1966-68 drama from ABC and Screen Gems that starred Dale Robertson, as a gambler turned railroad baron, Gary Collins and Ellen Burstyn.
“His résumé reads like a Baby Boomer’s dream list of must-see TV,” Tom Weaver wrote in his 2005 book, Earth vs. the Sci-Fi Filmmakers.
Kandel had a hand...
Kandel died Oct. 21 of natural causes in his Boston apartment, his daughter Elizabeth Englander told The Hollywood Reporter.
Kandel also wrote multiple episodes of such shows as The Millionaire, The Rogues, Gidget, I Spy, Ironside, The Wild Wild West, It Takes a Thief, Dan August, The New Mike Hammer, Mission: Impossible, Room 222, The Magician, Medical Center, Cannon, Hawaii Five-o and Hart to Hart.
Plus, he co-created Iron Horse, a 1966-68 drama from ABC and Screen Gems that starred Dale Robertson, as a gambler turned railroad baron, Gary Collins and Ellen Burstyn.
“His résumé reads like a Baby Boomer’s dream list of must-see TV,” Tom Weaver wrote in his 2005 book, Earth vs. the Sci-Fi Filmmakers.
Kandel had a hand...
- 11/13/2023
- by Mike Barnes
- The Hollywood Reporter - Movie News
Aw, this was supposed to be a CineSavant Column entry, but it got way out of hand and became an article. We got a looksee at a horror film that’s been just plain unavailable for at least twenty-five years: out of circulation / Mia / a Dead Parrot. And what did we see in the show but an opportunity for an essentially meaningless but fun photo-comparison feature? Is this a proper activity for an adult? I’ll be hiding out in motels for the next few nights, so don’t bother trying to corral me with another forcible lifestyle intervention. The cops didn’t find me last time, or the people that went missing!
Teenage Werewolf Spotted 63 Years Too Late
CineSavant Article
CineSavant self-indulges with a little sub- John Bengtson film location snoopery, which is lots of fun here in Los Angeles. The only problem is that our distinctive neighborhoods and...
Teenage Werewolf Spotted 63 Years Too Late
CineSavant Article
CineSavant self-indulges with a little sub- John Bengtson film location snoopery, which is lots of fun here in Los Angeles. The only problem is that our distinctive neighborhoods and...
- 2/29/2020
- by Glenn Erickson
- Trailers from Hell
Konga
Blu ray
Kino Lorber
1961/ 1:85 / 90 min.
Starring Michael Gough, Margo Johns
Directed by John Lemont
Like any actor worth their salt, Michael Gough contained multitudes. And so did his fans – from the West End to 42nd Street they gathered as one to sing his praises. Born in Kuala Lumpur and educated in England, Gough bolted Wye College for the Old Vic, eventually graduating to roles in films like Richard III and The Horse’s Mouth. Haunting the studio by day, he tread the boards at night showing a special talent for light comedy and, in the words of critic Caryl Brahms, an “extraordinary capacity for pent-up emotion.”
In 1959 Gough’s day job took a turn for the weird – producer Herman Cohen offered him the lead in Horrors of the Black Museum, the grisly tale of a crime enthusiast with a fetish for eccentric torture devices. And absolutely no capacity for pent-up emotion.
Blu ray
Kino Lorber
1961/ 1:85 / 90 min.
Starring Michael Gough, Margo Johns
Directed by John Lemont
Like any actor worth their salt, Michael Gough contained multitudes. And so did his fans – from the West End to 42nd Street they gathered as one to sing his praises. Born in Kuala Lumpur and educated in England, Gough bolted Wye College for the Old Vic, eventually graduating to roles in films like Richard III and The Horse’s Mouth. Haunting the studio by day, he tread the boards at night showing a special talent for light comedy and, in the words of critic Caryl Brahms, an “extraordinary capacity for pent-up emotion.”
In 1959 Gough’s day job took a turn for the weird – producer Herman Cohen offered him the lead in Horrors of the Black Museum, the grisly tale of a crime enthusiast with a fetish for eccentric torture devices. And absolutely no capacity for pent-up emotion.
- 11/16/2019
- by Charlie Largent
- Trailers from Hell
If you were a kid or teenager in the ’50s or ’60s and dug horror and/or sci-fi, the chances were astronomically good that you were watching something from American International Pictures, aka Aip, home to hormonal werewolves, monsters, and other adolescent dilemmas. Add in British comedy makers Anglo-Amalgamated Productions (the Carry On series of films) to the mix, and you probably ended up watching Horrors of the Black Museum (1959), a wry and dry romp highlighted by Michael Gough's (Sleepy Hollow) delightful performance.
Released stateside at the end of April with a rollout in the UK the following month, Horrors of the Black Museum actually made some good coin; Aip added a 13-minute prologue featuring a hypnotist (filmed in Hypno-Vista, ooh) to the American release to draw people in (although completely disconnected from the narrative of the film), and it worked, gimmick and all. Hooray for showbiz! Despite the tacked-on hucksterism,...
Released stateside at the end of April with a rollout in the UK the following month, Horrors of the Black Museum actually made some good coin; Aip added a 13-minute prologue featuring a hypnotist (filmed in Hypno-Vista, ooh) to the American release to draw people in (although completely disconnected from the narrative of the film), and it worked, gimmick and all. Hooray for showbiz! Despite the tacked-on hucksterism,...
- 1/6/2018
- by Scott Drebit
- DailyDead
Part of a series by David Cairns on forgotten pre-Code films.
"Crime must not pay" is one of the most debilitating rules the Hays Code imposed on Hollywood. It's relatively easy for a filmmaker to work around crazy bans on words ("pregnant"), body parts (gone, all those extreme-longshot buttocks) or gestures (Frank McHugh raises a finger in Parachute Jumper), but when a philosophical ideal is given the weight of narrative law, cinema is forced back into the nursery. The filmmakers operating under this draconian blue pencil developed devious skills to bypass rulings and imply rather than say the unsayable, and it arguably helped their craft, but at the same time, certain kinds of stories just become impossible to tell honestly.
And certain kinds of fun were ruled out too, like much of what happens in Sing and Like It, directed by the lightly likable William A. Seiter, who clocked up well over a hundred films,...
"Crime must not pay" is one of the most debilitating rules the Hays Code imposed on Hollywood. It's relatively easy for a filmmaker to work around crazy bans on words ("pregnant"), body parts (gone, all those extreme-longshot buttocks) or gestures (Frank McHugh raises a finger in Parachute Jumper), but when a philosophical ideal is given the weight of narrative law, cinema is forced back into the nursery. The filmmakers operating under this draconian blue pencil developed devious skills to bypass rulings and imply rather than say the unsayable, and it arguably helped their craft, but at the same time, certain kinds of stories just become impossible to tell honestly.
And certain kinds of fun were ruled out too, like much of what happens in Sing and Like It, directed by the lightly likable William A. Seiter, who clocked up well over a hundred films,...
- 12/8/2011
- MUBI
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