Monkees vs. Macheen: “The Frodis Caper” a.k.a. “Mijacogeo”

“I’m as puzzled as the Oyster.”

Here we are at the last episode of the series and the end of these regularly scheduled recaps. I’m full of conflicting emotions because I don’t want this to end, yet I’m glad the series went out with this bizarre and fun episode. “The Frodis Caper” a.k.a. “Mijacogeo” aired for the first time on March 25, 1968 and was directed by Micky Dolenz, written by Micky along with Jon C. Andersen on the story, and Dave Evans on the teleplay. Evans wrote eight other Monkees episodes, mostly in the first season. Andersen penned four that were filmed in season two. The subtitle, “Mijacogeo,” was made up from the first couple of letters of each of the Dolenz family member names, “mi” for Micky, “ja” for his mother Janelle, “co” for his sister Coco, and “geo” for his father George. It was also the name of the Dolenz family childhood dog.

The episode begins with a montage edit of tight shots on the various parts of a Rube Goldberg-style alarm clock, activated by the heat of the rising sun. This culminates in a record player needle dropping onto “Good Morning Good Morning” by The Beatles. It was unheard of to have songs by popular recording artists on television shows in the United States at the time, let alone a band as big as The Beatles. Of course we know the Monkees had hung out a bit with The Beatles the previous summer and were present for some of the Sgt. Pepper’s Lonely Hearts Club Band sessions.

Mike, Davy, and Micky wake up and notice that Peter is not in his bed. Flash-cuts to the empty bed as the others wander around calling for him. They agree to search the premises and meet back there at 0800 hours (That would be a long time to search because their individual alarm clocks read 6 a.m.) There’s a double edit from two different angles as Mike says “Okay guys, let’s go” and Micky and Davy move to leave but then rewind back to Mike. The editing freezes the action and there are screen captions that read FREEZE FRAME.

In less than one minute of episode, there were already tons of editing tricks drawing attention to the fact that it’s a filmed television show. These flash-cuts, captions, close-up shots, unusual angles, montage edits, and fourth-wall-breaking moments permeate the entire episode. Of course some of these techniques were used by the directors/editors throughout the series; Dolenz threw them in all in at once. He does get credit for one fully original touch. In the DVD commentary for this episode, he mentioned that he chose to use a two-camera setup to shoot “Frodis Caper” and points out that this was never done before on sitcoms. On the commentary, Dolenz indicated that it made the shooting go faster and gave the episode its unique look. Even after this, a two-camera setup wasn’t done very often, if at all, and I can’t think of an example offhand. In other words, after all these years, this episode still really stands out.

My husband, a casual Monkees fan at best, loves this episode and even showed it to his film-making partner to illustrate both the directing/editing techniques as well as the surreal humor. Dolenz made directing into a secondary career. Starting in the late ’70s and early ’80s, he directed for television in the U.K., notably a couple of comedy sci-fi kids shows, Metal Mickey, and Luna. He also directed episodes of Boy Meets World, Television Parts (Michael Nesmith’s Elephant Parts spin-off TV movie), and “The Box,” a short film starring Terry Jones and Michael Palin of Monty Python.

The Monkees look around downstairs for Peter, ignoring the fact that he is sitting there in plain sight. While Mike and Micky screw around, performing a “Lost and Found” sketch with flash-cuts to Peter’s opening title picture, Davy finds a weird “statue.” Mike and Micky quickly figure out that the statue is indeed Peter. He’s been hypnotized by the television, which is showing a crudely animated eye making a pulsing sound. The other three somehow manage to shut off the television before it hypnotizes all of them.

After the opening titles, the Monkees (without Peter) scramble around the neighborhood to see who else was affected. Mike and Micky find the whole Parker family mesmerized by the television screen. This appears to be commentary from Micky Dolenz and the other writers regarding television and its ability to brainwash the masses. (And once again, The Monkees was way ahead of its time. This is frighteningly relevant today.) There’s a great comment from Micky Dolenz in this article, a list of “10 Interesting Facts about The Monkees TV Show.” “Most TV is like dope,” Micky Dolenz told Seventeen magazine in 1967, “It’s just there to put people into a state where they’ll believe anything anybody says— like the announcer of the six o’clock news. Our show gives you the idea of being an individual. That’s what we represent to the kids: an effort to be an individual, an attempt to find your own personality.” [“I’ve always found it fascinating that you can identify the problem while being part of the problem.” – Editor’s Note] Mocking the media/television and its effects on society and culture was an overall theme of The Monkees, such as with “Captain Crocodile,” “Monkees a la Mode,” and “I Was a 99-lb Weakling” (to name a few).

Davy, Mike, and Micky rush over to the television station KXIW (the same television station call letters from “Some Like it Lukewarm”), where they find the stagehand hypnotized by the television eye. Micky wonders, “What kind of a warped, maniacal mind could be plotting such a conspiracy?” Cut to Rip Taylor as Wizard Glick, shrieking, “It’s working!” and laughing evilly. The Monkees apparently saw that scene because they cut back to Micky who tells the audience, “Oh, that kind of a warped mind.”

Our heroes decide that this is a job for Monkeemen (cue the Monkeemen theme). Monkees run to a phone booth to change into their superhero costumes. Bad luck, there’s a sign in the phone booth informing them that Federal law prohibits the use of phone booths for “the purpose of changing into or out of secret identities.” They see a telephone company truck and there’s a hilarious moment of Monkee-panic, “it’s the heat!” They squeeze out of the phone booth, Three Stooges-style. This episode has a nice combo of surreal and physical humor.

Next is a montage edit of Glick revealing his “maniacally warped plan” to take over the world with the Frodis. Between close shots of his mouth, there are a series of weird flash-cuts as he talks, such as: “…that’ll release the incredible power of the Frodis (shot of Frodis eye), “…with the aid of my villainous henchmen” (shot of the four henchmen who each have a tiny handheld television), “…I can control the minds of millions!” (shot of Hitler. Sieg heil!).

A henchman alerts Glick to the fact that the “Monkeemen Monitor” is activated for the first time in five years. This gives us an indication of how long Monkeemen have been together, and that this is not Glick’s first time dealing with them. In response, Glick orders the release of the two-headed org.

The Org lumbers after the three panicking Monkees. They look for help from the Monkeeman Manual, which Micky pulls (possibly a copy of the script) out of his pants. First we’ve heard of this manual. They follow the ridiculous instructions: “To dispose of a two-headed org, jump up and down three times, roll a head of cabbage, and giggle.” But where were they keeping the cabbage? When the org falls, the Monkees sing “Ding dong, the wicked org is dead!” Wizard Glick is so very much a parody of the “Wicked Witch of the West” character from The Wizard of Oz. Rip Taylor looked like he was having a fabulous time. (“Could ya die?”)

This episode in particular and The Monkees series in general, frequently had a Sid and Marty Krofft psychedelic kids’ show vibe. The Krofft Supershow, Space Nuts, and Dr. Shrinker are a few of the ones I’m old enough to remember. The Aquabats! Super Show, which I watched with my daughter from 2012-2014, was clearly inspired by Krofft shows and The Monkees.

Next, Glick sends out the TV repairmen. Both the Org and the repairman are released by comically-labeled levers. They rush out with their televisions displaying the eye and try to catch the Monkees off guard. Hilariously, one of the repairmen hypnotizes himself when he checks to make sure his TV is working. It seems Glick would’ve failed again, except that Mike suddenly says “You know what? It’s seven thirty, six thirty central time. It’s time for The Monkees. I wonder if anybody around here’s got a television set.” Fourth-wall-breaking and it moves the plot along. Nice. Repairmen come from everywhere to oblige him.

The Monkees are tied to chairs, but they are not hypnotized, which is inconsistent. Micky decides to use mental telepathy to contact Peter to come get them out. Using a chant he got, not as Mike guesses, “while studying transcendental meditation under an Indian mystic,” but rather that came free with a cereal box top. Hilarious double joke at the expense of their sponsor, Kelloggs, and the Beatles’ Maharishi Mahesh Yogi days. Peter hears the message and leaves the house to go help his friends. (Nam-myoho-renge-kyo apparently means “devotion to the mystic law of the Lotus Sutra.”)

Peter wanders through the town and toward the television station while Glick watches him on his monitor. (The monitor is sort of a witch’s crystal ball.) [Another allusion to The Wizard of Oz – Editor’s Note] He stops to chat with Valerie Kairys, who’s been wandering around the station, also not under the Frodis’ spell it seems. Ultimately, he ends up right in Glick’s clutches when he knocks politely on the station door and Glick is there to greet him.

Next scene, a very miffed Peter is tied up with the other Monkees. Peter notes that there’s a telephone and he hops over to it and calls the police, explaining to the cops that they’re being held captive at Mammoth studios by “these weird people that want to take over the world.” Somehow Mike’s hands have gotten free, so all four Monkees escape and turn the tables on Glick and his men. The cops show up, one played by Bob Michaels, who was also the cop that Micky “directed” in character in “The Picture Frame.” Seeing Glick and his henchmen tied up and the Monkees free, they come to the conclusion that the Monkees are the villains.

They’re not under arrest for long, as the cops suddenly have an urge to watch Dragnet and are easily tricked into looking at a television in the shop window. Unfortunately it also gets Peter. So he’s going to spend much of this episode out of his mind, as he did in the previous episode, “Monkees Blow Their Minds.” They carry Peter back into the TV studio but the ease of their escape ends up being a trick by Glick: now they are in chains and guarded by some guy called Otto.

Mike and Micky con Otto into giving them the keys to the chains by challenging him to a card game. Otto turns out to be a card shark, pulls cards out of his mouth, and shuffles like a pro. They realize they can’t play a real game with him, so Mike and Micky both make up a game on the spot, “Creebage.” (I guess they can read each other’s minds.) They bluff through the rules, declare that they won, and stand up and take the keys. Otto protests “But I have a Creebage.” This scene is reminiscent of the Star Trek episode “A Piece of the Action” when Kirk made up a card game called “Fizzbin” to facilitate escape from gangster-imitating aliens. [“A Piece of the Action” premiered on NBC January 12, 1968 – Editor’s Note]

Creebage or not, the Monkees unlock themselves and carry Peter off to somewhere else in the television studio. Frustrated with carrying him, they hang him on a coat rack. A hilarious screen caption points out that the coat rack is a “Prop.” Poor Peter is a prop himself at this point. The Monkees search in vain for The Frodis room, until Nyles (yeah, he’s still wandering around) comes out and hangs up a sign that identifies the right door (“Yeah, Frodis room”). According to the Imdb, “Frodis” was the Monkees’ code word for marijuana, and they would smoke it in a lounge built for them off the soundstage where the series was filmed (called the “Frodis Room”).

Mike, Micky, and Davy rush into the Frodis room and find a ridiculous plant with a football eye socket with the drawing of the hypnotic eye pasted over it. Frodis pleads with them that he’s being used by Glick, who kidnapped him when his spaceship crashed. He asks them for help. The boys are “moved” by the Frodis’ story and start crying. Micky gets off the hilarious line, “I can’t stand to see a grown bush cry!” They pick up the Frodis to carry him back to his ship, but before they get far, Glick and his men block them.

The onscreen caption announces, “Typical Monkees Romp.” This one is a spacy, slow-motion run through the backlot to the song “Zor and Zam” (Bill Chadwick/John Chadwick). The lyrics seem to be a mythological protest song. It’s a weird choice tempo-wise for a chase scene. There are lots of slow-motion shots, low angles, and odd close-ups, not to mention a random shot of show producer Bert Schneider lying on a stretcher.

The Monkees (carrying Peter and the Frodis) somehow reach the flying saucer before Glick gets there. As the song ends, the Frodis pops his head out and blows smoke all over the bad guys. Glick is utterly stoned: “I don’t want to fight anymore. I just want to lay down in the grass and be cool.” Frodis laughs in his demented, squeaky little voice. (Micky Dolenz’ own voice) This reminds me of Mel Brooks’ History of the World Part I (1981) when Gregory Hines blows the giant joint onto the Roman soldiers who are pursuing them. Since it’s a film, they didn’t have to be as subtle as “Frodis Caper” but there is a similarity.

The last segment, and the last scene ever on The Monkees, is Micky’s choice of musical guest, following the precedent set up with Davy/Charlie Smalls and Mike/Frank Zappa. Peter never got to bring his choice of guest on (“Monkees Mind Their Manor” would have been a good spot) but stated he would have wanted to bring on Janis Joplin. Micky introduces Tim Buckley (1947-1975) who sings “Song to the Siren.”

Buckley began his career in folk rock in the mid-1960s but experimented with other music styles, such as jazz and funk. The song he performs here, “Song to the Siren” (Tim Buckley/Larry Becket) was not on an album until Starsailor (1970). A better known version was a 1983 cover by the band This Mortal Coil, which made the UK top 100 and was used in the films Lost Highway and The Lovely Bones (and in a random perfume commercial I recall from the early 2000s). This beautiful song has been covered by many other famous musicians, including Robert Plant, Bryan Ferry, and Pat Boone. Read more about it here.

Sadly, Buckley died in 1975 from a heroin overdose. His estranged son, Jeff Buckley (1966-1997) was also a singer/songwriter. His only studio album, Grace, was a critical, though not commercial, success and Rolling Stone ranks it 303 among the “Greatest 500 Albums of All Time.” Like his father, Jeff Buckley also died young (drowning accident).

This episode didn’t take my breath away for the wittiest dialogue or unusual plot, nor is it one that I have a lot of personal attachment to, but it is still one of best and most memorable. I’m so glad The Monkees went out on a high note. It seems appropriate that this was the perfect way for The Monkees to end: a paranoid, Sci-Fi parody about an evil entity pacifying the world through television. The Monkees were self-aware and never afraid to mock the system that made them or to make fun of themselves. Micky Dolenz and crew took the surreal humor, present in many episodes, up a level, making “Frodis Caper” one-of-a kind. I wonder what would have happened if the four Monkees had spent less of their energy on taking over the music and instead put their creativity into the episodes as Micky did in this instance; they might have found an unexpected way to make a statement.

As it stands, I’m glad the show ended when it did. It’s a drag when shows keep going long after they’re any good, they “jump the shark” etc. The Monkees was already showing signs of wear and tear, which could have been a sophomore slump that might have been corrected by hiring fresh writers. We’ll never know. Fifty-eight episodes are what we got, and I enjoyed the majority of them. As Micky said the show was about individuality, and to me it’s also about rebelling against authority, being young, about going beyond what you think is possible, about music, humor, and friendship. I thank The Monkees, not just the four band members themselves, but everyone who worked on the show and the music. You’ve given me a lifetime of fun, laughs, and inspiration.

Thanks to everyone for reading and sharing! I’ll be back in the summer with another post listing my favorite moments of the series and again in the fall with a post about Head. In the meantime, I’ll see you in The Monkees Facebook groups.

by Bronwyn Knox

Every couple of weeks, “Monkees vs. Macheen” examined the crazy, spirited, Ben Franks-type world of the Pre-Fab Four: David Jones, Micky Dolenz, Michael Nesmith, and Peter Tork alias The Monkees.

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Monkees vs. Macheen: “The Monkees in Paris”

“The summer of love meets the city of love.”

“The Monkees in Paris” was shot in two parts: the main action in June of 1967 in Paris and the wrap-around segments with James Frawley on December 24, 1967. These were the last bits of any Monkees episode filmed. Bob Rafelson wrote and directed this one, which is really more like an extended romp. There’s not a lot for me to recap here, even less than I had to work with for “Monkees on Tour.” The Imdb technical specs state that it was filmed on 35mm like the other episodes but I wonder if that is correct; this one looks like it was shot on 16mm with an outdoor film stock, even the indoor scenes shot later with James Frawley. The episode has a cinema vérité feeling, similar to the extra footage that was shot and used in the first season romps (The Monkees on the beach in the red swimsuits, the Monkees riding the unicycles). It is also similar in feel to the Mardi Gras/New Orleans/Acid trip sequences in Easy Rider (1969), which was produced by Bert Schneider and Bob Rafelson.

To start things off, Mike, Micky, and Davy have a friendly game of checkers. Peter rushes in with a threatening letter. Something about getting off the ranch and returning the microfilm, in other words a mishmash of old episode plots. The Monkees ignore the “bad guy” who sneaks up behind them. He has a mustache, a foreign accent, and the usual television clichés.

James Frawley enters the scene and breaks the fourth wall to direct them to do the “Monkees scare.” He’s playing himself as the director even though he didn’t direct this episode. The Monkees are bored and complain they’ve been doing the same thing over and over, which is a valid argument. Davy mentions that there’s always a tall heavy and a small heavy. He doesn’t mention a smart and a dumb one but that would also be accurate. Frawley tries to convince them that it’s all great and to keep going. They rebel; they’re going on vacation while he works out the show’s problems. They head for Paris and leave him in the lurch.

This does reflect the behind the scenes feelings the Monkees had about the repetitive nature of the show’s plots. In the Micky Dolenz autobiography, I’m a Believer, he wrote “Quite frankly, we were getting a little jaded with the show as it existed, Every week Davy [Jones] would fall in love with some girl or Peter [Tork] would be kidnapped by some bad guy, or some guy spy would hide microfilm in somebody’s something or other.” That is a fair statement, after looking at over 50 of these episodes, I can relate.

They were more interested in getting on with their first and only feature film, Head, which began shooting the same day this episode aired, February 19, 1968. The next day, February 20, NBC announced their fall line-up and The Monkees was notably absent. The Monkees didn’t want to continue the show in the same way; they wanted a variety show with musical guests every week, an idea that was sort of tested by the episodes towards the end of the run where Davy, Micky, and Mike got to have musical guests of their choice included. The network wanted them to continue on with the sitcom format, so there was disagreement on how the show would have continued.

After the titles, the Monkees arrive in Paris and drive scooters around until some young women catch sight of them and start chasing them. There’s no dialogue, just action and music. The very 1960’s score gives way to “Love is Only Sleeping” (Chip Douglas, Bill Martin). The streets are wet and rainy and the Monkees run through an outdoor market on foot. The young ladies chasing after them were hired models, and the Imdb doesn’t list their names. The website monkees.coolcherrycream.com however has screen captures that identify them as Carine (Davy’s girl), Véronique Duval (Micky’s girl), Françoise Dorléac (Peter’s girl), and Carole André (Mike’s girl).

In reality, the Monkees were not famous in Paris, so they were able to film scenes without any fans bothering them. They hired the girls to pretend to be crazed fans. This contrasts with their popularity in Great Britain. According to The Monkees Day-by-Day by Andrew Sandoval, they had to cancel shooting part of the series in Manchester because, according to Rafelson, “They are just too well known here.” In Paris, the Monkees were even able to take a day off and do some sight-seeing.

Back at the pad, James Frawley is on the phone with Bob (Rafelson), complaining that the Monkees left. It’s cute that they’re pretending that red phone is connected to a real phone line. Frawley suggests they put on half an hour of commercials like The Johnny Carson Show. Burn.

I wish I knew Paris but I’ve never had the good fortune to go, so there’s not a lot of meaning for most of these locations for me. The four models corner the Monkees at a drawbridge. Then suddenly, they’re at an amusement park where they ride some little tricycles. There’s no attempt at continuity or a story. They go on some more rides and now each Monkee is paired up with a girl. They ride different styles of toy cars around. The Monkees are at a flower garden, walking around holding hands canoodling with their girls. “Don’t Call on Me” (Michael Nesmith, John London) is the music.

This entire episode has a very 1960’s vibe. I mean yes, I know this was all from the 1960s but I’d give this episode the prize for most dated feeling. I don’t have objective facts for this, it’s just the atmosphere created by the way this was put together with the music and the ’60s fashions are the only element to focus on. In the episodes with plot and dialog there’s a more timeless feel because they rarely got topical. They were youthful and rebelled against authority and the status quo, and those are timeless concepts, not restricted to a particular decade. In Monkeemania by Glen A. Baker, Mike Nesmith talks about Raybert and their progressive-for-the-time ideas about how to make The Monkees innovative. “What they really wanted was a show that mirrored the times without actually being part of it.” It’s funny that Rafelson directed this one because it’s very much part of the times. [He probably did it for the free trip to Paris – Editor’s Note] Most of the time the show made fun of hippies, if anything. But in “Monkees in Paris” all these lovely shots of them walking around in nature, arm-in-arm, seem like manufactured “love and peace.” They don’t seem organic, nor does it seem that they were intended to be humorous or ironic.

“Star Collector” (Goffin/King) plays as the Monkees do some clowning around, falling face forward out of a truck trailer. They’re back on the scooters at some kind of street fair. The girls chase them around again. Davy fools around at a clothing stand. Micky gropes his girl on a stack of mattresses. Peter tries to impress his girl with his violin playing. My only real laugh-out-loud at this episode comes from his facial expressions as he strives to get her attention. Next, they’re all at typewriters. Whatever they typed and show to the girls gets them slapped. They try again and get hugs. How many Monkees would it take to accidentally type Hamlet?

Next song is “Goin’ Down” (Dolenz, Jones, Tork, Nesmith, Hildebrand). A bigger group of fans chases the Monkees through cobblestone streets with cops–or gedarmes following behind. Mike looks like he’s having a great time. The fans catch Micky at some point and try to tear his shirt off until the gedarmes break it up, two of whom are David Pearl and Ric Klein. There’s an abrupt tone change where they walk around a cemetery with organ music in the background. The music goes back to “Goin Down” and groups of females continue to chase them through the streets. Mike drives some kind of three-wheeled truck type vehicle and the other three ride in the back. Micky, Peter, and Davy scare the girls and the police by taking their shirts off. Sure, that makes sense. The four girls from before join them on the little truck. The Monkees take a boat ride with their girls and the soundtrack plays a banjo instrumental of that often-used “The Old Folks at Home” (Foster) tune. There’s a sequence with Peter and Davy in old-timey swimsuits with their girls by a pool. It would have been clever if they’d switched to black and white film for that.

The Monkees and the girls ride through the city in a jeep as the music switches back to “Don’t Call on Me.” They manage to break the hood off their vehicle and cause a traffic jam. The French must have loved them. About the song, Michael Nesmith wrote it with his friend John London in their folk singing days, before the Monkees. The version of the song on Pisces, Aquarius, Capricorn & Jones, Ltd. has an intro and fadeout that invokes a performance in a piano lounge somewhere. Micky Dolenz, Peter Tork, Davy Jones, and Bob Rafelson all participated in the ambiance recording. Mike’s vocal performance is different than usual on this song; instead of having his customary country-rock sound; he sounds like a smooth ballad singer. When I first heard the song I didn’t even recognize it as him. The four models chase the boys around and up the Eiffel tower while an instrumental “Alouette” plays. They climb all over it, making me dizzy. They all squeeze into a tiny box at one point. Cozy!

Back at the pad, the Monkees play checkers again. The scene begins the same way with Peter and the threatening letter. The Monkees aren’t having it. Mike complains to “Jim.” Frawley justifies that the actor has no mustache or accent and is asking for “the secret apple.” Mike and Micky promise to see us next week with something better.

Back to Paris, there’s a final montage of shots of the Monkees kissing and hugging the models. Micky puts a fur hood on two girls heads and pushes them together, then grins as though they were kissing. If I’m interpreting that correctly, I can’t believe that got past the censors. He also affectionately hugs an old lady, which is very sweet. There you have it, naughty Micky and nice Micky. There’s a random shot of Micky with Samantha Juste, his future wife [You are tearing me apart, Lisa! – Editor’s Note], holding him as he sleeps on a bus.

I have to admit when I used to catch the run of episodes on MTV and Nickelodeon back in the mid-eighties, I wasn’t too excited when this one came up in the rotation. I tuned into The Monkees for the funny dialogue and weird plots, to see the Monkees talk to me by breaking the fourth wall, etc. This episode is cute but it’s never going to be a favorite. As a teen I admit I did enjoy seeing them run around with the pretty girls. There is a fun romance element to it. Unfortunately the film stock they used was awfully washed out so any beautiful or interesting scenery is not getting the appreciation it deserves. My DVD’s are no improvement on how it looked on television. They did restore it on the Blu Ray box set apparently, according to the Monkees YT channel. Here’s a sample of the restoration. As I said in my intro, “Monkees in Paris” is an extended romp; it’s pretty and fun but ultimately pointless.

by Bronwyn Knox

Every couple of weeks, “Monkees vs. Macheen” examines the crazy, spirited, Ben Franks-type world of the Pre-Fab Four: David Jones, Micky Dolenz, Michael Nesmith, and Peter Tork alias The Monkees.

 

Monkees vs. Macheen: “Everywhere a Sheik, Sheik”

“Strangeways, Here We Come”

“Everywhere a Sheik, Sheik,”  was directed by Alex Singer, written by Jack Winter, and aired September 25, 1967. Filming dates were April 25-27, the same week the Monkees began working on their fourth album Pisces, Aquarius, Capricorn & Jones, Ltd. The episode is unfortunately, a recycled plot of a recycled plot. As with “The Prince and the Paupers” the Monkees are helping a young royal who is duty-bound to get married, and as with both that and “Royal Flush,” the Monkees are up against ambitious, evil adults in a fictional kingdom. The title tells us this Kingdom is modeled on a fictional Middle Eastern culture. I assumed the title was meant to rhyme with the line “everywhere a sheep, sheep” from the nursery rhyme “Old Macdonald Had a Farm,” which would mean they are using the obsolete pronunciation of “sheik.”

The story starts out with the Nehoudian King informing his daughter, Colette, that “the stars” say she must marry. His companion, Vidaru, tells her “the stars never fail.” [“The fault lies not in our stars, but in ourselves.” – Editor] The King and Vidaru are both dressed as made-for-television sheiks, complete with the headdress known as the keffiyeh. Vidaru is all in black, telegraphing that he must be the bad guy. Colette rolls her eyes at Viradu and protests to her father. I like Donna Loren as Colette; with her expressive face and playful line delivery, she gives a little spark to an otherwise boring role as another Davy girlfriend. The King is played by Monte Landis (then credited as Monty Landis) and this marks the first of his seven appearances on The Monkees.

The King is afraid he’ll die and no one will inherit the throne. His solution is that she should marry Vidaru. Colette is visibly repulsed at Vidaru, who turns to reveal he only has a beard on half of his chin. The King points out Colette has already turned down all the most eligible bachelors. She counters by selecting Davy Jones from a picture in a magazine.

Two of the King’s servants, Abdul the Strongman and Shazar, are at the Monkees pad, weighing Davy against bars of gold while the other Monkees make jokes. Abdul puts Davy in a bag and carries him off while Micky, Mike, and Peter passively allow this. Shazar hands Mike an invitation to the wedding of Colette and David Jones. Micky doesn’t have sunglasses on when they read the card in the close-up, but for some reason he’s wearing them on the reaction shot when they all look at the camera in shock.

After the credits, Davy has arrived at the Nehoudian hotel. Shazar tells Davy that Colette wants to marry him. Davy wants to know why, and his reaction shots here are the ones used in the opening theme sequence. Shazar gives Davy a non-answer, “Do not question the strange ways of our people.” Because it’s an “exotic culture”, get it? Shazar implies the danger of rejecting Colette; she puts a wreath on the grave of the last boy that did so.

The three non-betrothed Monkees arrive in the classic individually styled gray suits. I like the way they choreographed their entrance: They march in a line in step with each other, and then Mike and Davy lean out from behind Micky as they ask the guard if they can see Davy. Abdul stops them by simply pushing back on Micky’s chest, knocking them all back like dominoes.

Davy is decked out in his own Nehoudian wardrobe when he meets the King and Viradu. Davy and the King do an awkward bumping bow. While the King goes to get his daughter, Viradu puts a dirty smock on Davy, again giving him the “Do not question the strange ways of our people.” He leaves Davy alone. Colette arrives wearing an outfit that resembles a bedlah, which is a belly dance costume, not exactly hanging-around-the-hotel clothing. But unlike the other women in this episode, she has a westernized touch to her costume:

Davy and Colette look at each other and are instantly smitten. Middle Eastern-style string music plays as they begin complimenting each other’s features, cut together with dreamy footage of them dancing and almost kissing. So cheesy it actually becomes campy fun. Davy halts everything to tell her he’s not ready for marriage. She insists that it’s him or Vidaru. Speak of the devil, Vidaru comes in and drags Davy away, “our ancient laws do not permit further contact at the first meeting.” Oh boy, with the strange ways and ancient laws. [That’s a micro-aggression! I need a safe space! – Editor]

Now, for some real comedy. Mike, Micky, and Peter are back in the corridor. Mike and Micky have formal military dress costumes with fancy hats and Peter is dressed as a scientist and carries a Geiger counter. Micky has an over-the-top German accent and keeps knocking Mike’s hat off when he salutes. Their “con” is that they’re looking for a bomb, and they convince Abdul there’s one in the room where Davy is staying.

They do the Three Stooges gag where they all try to get through the door at once and get stuck. Davy updates them on his situation. The King walks in and the Monkees introduce themselves with a Three Stooges “Hello” harmony. Monte Landis gestures to cut them off; he’s good at playing off the Monkees. Davy confesses to the King that the marriage is “a little sudden.” The King tempts Davy with a fabulous mansion and his weight in diamonds. (They’re really into weighing people against precious gems and metals.) Then he lures them all in with the idea that his friends could all become cabinet ministers and each would have his choice of a dozen wives. He claps his hands and summons a group of pretty young women in belly dance outfits. The Monkees eagerly check them out, and naughty Micky makes me laugh with his air-humping gesture. Davy considers all this and decides marriage is better than being killed.

The Monkees are now all in sheik headdress and hanging out with the Harem of Hotties. Davy makes Micky Secretary of Defense. Peter snaps his fingers in disappointment. (This footage is used in the opening.) Mike is to be Secretary of State. Davy wants to make Peter Director of Forests, to which Peter (uncharacteristically) sarcastically, “You would.” Meanwhile, Viradu and his toady Curad plan to kill all the Monkees, but separately so no one will connect the murders. Hmm…I think there’s a hole in his theory. Also, the Curad character seems to have come out of nowhere.

Mike works out the wording for a peace treaty while a girl flirts with him and fondles his hair and his ears. He looks at the camera in disbelief. He decides he needs a paperweight. From above, Curad obliges him by dropping cement block on him. It misses and puts a hole through the apparently very thin table. Meanwhile, Peter is relaxing with his girl when Shazar brings them some food. Shazar insists he must taste the food first, to make sure it’s not poisoned. He takes a bite and collapses. Peter politely asks, “How is it?” Shazar gasps his last: “It’s poisoned! And a little rare.” Bye-bye Shazar, at least you got to go out on a funny line.

Micky discusses his military plans with his blonde date, going mad with power and a Napoleon impression. Between this and the earlier bomb scare, they are taking an subversive crack at the military and military leaders. They also do so in a way that’s not dated; the military is always a classic target for parody. These jokes aren’t specific to what was going on at the time, the Cold War and Vietnam War and so on. Curad is terrible at murder; he throws a knife at Micky and misses.

Colette and Davy nearly kiss some more. Davy frets he’s not cut out to be a prince, just like he did in “Prince and the Paupers.” Colette sweetly gives him a large necklace for luck. Curad sends a blow dart at Davy, and the necklace blocks it. Colette, who is clearly smarter than her intended husband, figures out that someone’s trying to kill him.

The Monkees regroup and rightly decide they need to split. Mike wants to create an escape plan but Micky thinks they can just walk right out. He hits Abdul on the head with a lamp. Abdul doesn’t feel it so Micky agrees they need a plan. Mike huddles them together for a plan that is never mentioned again. That certainly went nowhere.

Viradu’s new plan is to kill them at the banquet with wine glasses rigged to explode when they toast. He’s overheard by one of the harem girls, who in turn tells it to Colette. Colette’s not allowed to attend the banquet so she asks the girl to tell them, “Golden Grecian goblets guarantee graves,” which is a funnier way to say the glasses are booby-trapped.

At the banquet, the Monkees are seated at the table. There’s humorous stage business in which Micky keeps handing Peter banana peels and Peter hides them. The girl gives Peter the “Grecian Goblets” message before she is pulled off by a guard. Peter passes the message to Micky who thinks it’s a tongue twister: “rubber baby buggy bumpers.” Peter tries the message on Mike and Davy but they don’t pick up on it either. The King stands up to make his toast. Several false starts where the Monkees are about to clink glasses but the King keeps talking and talking. Finally just before they toast, Peter accidentally tosses his at the wall and it explodes. Davy catches on and asks Viradu to clink glasses with him. Viradu refuses. The King figures out that Viradu tried to kill his future son-in-law. In a pretty darn funny reveal, Viradu change his accent to Southwestern American and confesses he’s not a “Nehoudian”; he’s from Oklahoma and came to get their oil.

This launches the romp to “Love is Only Sleeping” (Mann/Weil). Scenes of the Monkees and the guards fighting are mixed with Rainbow Room footage. This one features Mike in his Paul Revere and the Raiders sleeves and blue jacket. I love the song. It’s the sexiest Monkees song; the arrangement and the lyrics. There’s also some of the Foreign Legion footage of the Monkees shot in the first season. The high-point of the mayhem is when the Monkees take turns sword fighting and cut in on each other to make out with the same girl. It gives the whole thing a weird orgy vibe, “wrong” but kinda sexy. The Monkees do that switcheroo thing again where Viradu somehow ends up huddling with them instead of his guards. There’s an explosion and the Monkees are sitting on Abdul.

In the aftermath, the King tells the Monkees he’s eternally grateful and he grants freedom for them all. Davy apologizes to Colette that he’s too young to get married, he’s sure she’ll find somebody else, etc. Donna Loren’s facial expressions are adorable as she explains that she already has found someone new: Peter! Abdul puts Peter on the scale. Peter doesn’t look too happy and I don’t blame him; there’s no reason for him to be second choice to Davy.

There’s a final performance to “Cuddly Toy” (Nilsson.) The songwriter, Harry Nilsson, was working at a bank and writing songs at night when he met the Monkees and played this song for them. Because it was a hit, he was able to quit the bank and become a singer. Nilsson’s career peaked in the 1970s, and he died in 1994. The title track of the Monkees newest record, Good Times! was also written by Nilsson, and a 1960’s demo of him singing the song was used to create a “duet” with him and Micky Dolenz on the album.

For the performance clip, the Monkees are on stage in Vaudeville-style striped jackets, canes and straw hats. Micky has the purple-tinted sunglasses that we see Mike wearing throughout the second season quite a bit. Micky and Davy compete to see who will dance with Anita Mann, but Davy settles it with a fake punch to Micky’s face. Good thing since Davy can really dance. The other three bounce gamely and goof around with their canes off to the side while Davy and Anita perform the dance she choreographed. Mann has many credits as a choreographer; the IMDB lists her as uncredited choreographer for all 58 Monkees episodes, and choreographer for 47 episodes of Solid Gold, as well as some Muppet’s TV specials and the film Mystery Men.

The episode closes with an interview from the Rainbow Room shoot on August 2. Micky, Peter, and Davy are in their psychedelic clothes while Mike wears the dull but timeless shirt and tie and red pants with the purple sunglasses. The best part of the interview is the mention of a girl who mailed herself to Davy with the punch line, “We shipped her to the Beatles.”

It’s hard for me to criticize this episode as much as I should. It’s a re-hashed and thin plot with yet another fictional kingdom. Compared to the previous two episodes, which were clearly well thought-out and put together, this one is sloppy. It’s in the same territory as “Prince and the Paupers,” but unlike that one, which I found really dull and drab, “Everywhere a Sheik, Sheik” has some entertaining comedy. The Monkees are funny in every scene they’re in, and for the most part they’re working together and playing off each other well. Some of the bits that didn’t feel scripted added some cheeky laughs, especially from Micky. The guest cast seems to have fun with their parts, which always helps the quality of the episode.

by Bronwyn Knox

Every couple of weeks, “Monkees vs. Macheen” examines the crazy, spirited, Ben Franks-type world of the Pre-Fab Four: David Jones, Micky Dolenz, Michael Nesmith, and Peter Tork alias The Monkees.

Monkees Vs. Macheen: “Too Many Girls” aka “Davy and Fern”

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“Talent Show, My…(Whistle)!” 

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I wasn’t super excited to write about this one, I admit. The storyline for “Too Many Girls” revolves around an often used plot device: Davy is in “love.” On the plus side, writers were obviously aware of it and making fun of it themselves; using a well-established trait of Davy’s to drive the story. Similar to “Success Story,” the conflict is about the possible loss of Davy as a band member. The best part is the talent show – that’s the centerpiece and most memorable sequence. The teleplay was written by Dave Evans, Gerald Gardner, Dee Caruso, from a story by Dave Evans. The episode aired on December 19, 1966, and James Frawley directed.

The opening scene is the Monkees rehearsing, and I do love it when they have story elements about them as a band. The actors are actually playing this bit of “Stepping Stone” that you hear. They had just returned from a two-week promotional tour of the series, in September of 1966, when they started production on this episode, so the four of them were probably very used to playing together by now. Davy spaces out during the rehearsal when he sees a girl. The object of his affection is Valerie Kairys; it’s always fun to spot her in an episode.

The Monkees that are not love-struck get rid of Valerie, and Davy snaps out of it and starts playing the maracas solo. He realizes what’s happened and makes a vow to the others: “no more girls.” Mike, who dominates in this episode with his efforts to keep control of things, wants to hold Davy to his word. Davy doesn’t even get through the vow before he’s locked eyes with yet another girl. Micky, Peter, and Mike find young women stashed all over the apartment and they escort them all out. They think they’ve found them all and collapse against the door, but when they look up, there’s Davy, surrounded by all the girls.

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The Monkeemobile screeches to a halt on the street. Our villains of the episode, Mrs. Badderly and her teenage/young adult daughter Fern, watch the Monkees from outside the tea room. Mrs. Badderly, says “the little one is Davy. He’s English. He likes tea.” But how did she know they were pulling up just then? Holy cow, maybe she really is psychic.

These women plan to swindle Davy, but not for money this time. Mrs. Badderly insists Fern needs Davy as a partner for a show business career. Davy’s such a sweet guy. I’m sure if Fern had just asked him to be her partner for the talent show, he would have said yes. No need to trick him. But that’s not enough, as Mrs. Badderly wants Fern to have a career with Davy. She’s on the phone with Mr. Hack, assuring him that Fern has an act for his TV amateur show. Mrs. Badderly has pepper and a nail and tells Fern to do as she says, laughing manically for good measure.

The Monkees conveniently decide to patronize the tearoom. Ms. Badderly goes to their table to read their tea leaves. She “sees” that Mike’s a musician, composer, and raconteur. Micky does a W.C. Fields impression to add that Mike “also contains lanolin and won’t upset your stomach.” (I enjoy noting Micky’s various impressions. Unlike Locksley, he is a master.) Mrs. Badderly also sees that Mike’s about to have a flat and Peter will come down with a 24-hour virus. Fern sprinkles pepper on Peter’s coat and presumably off-screen she stuck that nail in Mike’s tire. It’s easy to predict the future when you create it. I’ll have to give that a try.

Now the hook: Mrs. Badderly tells them that Davy will fall in love within 24 hours and he’ll leave his friends and home over it. Davy denies the possibility, but she says the tea leaves “never lie.” There’s a stand-up sit-down gag as the Monkees stand politely when she leaves the table. The score of violins crescendos whenever they stand. I suspect they used some of this music again in “Son of a Gypsy.”

Practical Mike’s not buying any of this. He goes on about the silliness of believing tea leaves as they approach their car, which indeed has a flat. When Peter starts sneezing, Davy reasons that’s two predictions and asks big brother Mike if his will come true too. Mike stuffs Davy into the back of the car and starts blowing up the tire with his mouth. In addition to being a “musician, composer, and raconteur,” his spit patches nail holes.

At home, Mike forgets he doesn’t believe Ms. Badderly’s predictions. He wants to keep Davy isolated from women for 24 hours. Davy says, “that’s half the world.” The other Monkees ignore Peter’s obsessive freak-out about “half the world” with half a globe. Mrs. Badderly and Fern have stalked the Monkees back to their home, and Mom pressures Fern into continuing with their nasty plan to break up the Monkees.

Now begins the series of scenes where Fern becomes a worthy opponent for the Monkees, borrowing their tactics of changing voices and disguises to get Davy alone. She is a bunch of different girls, trying to figure out which one can ensnare Davy. I wish there were more characters like her. The Monkees rarely came up against anyone their own age. Most of the baddies are older, established authority figure types. It would have been fun to see them in conflict with more girls like Fern, or competing with other bands that were their equal in antics. That said, Fern is acting on her Mother’s instructions.

First, Fern shows up at the Monkees door as a curvy and mature looking Girl Scout. With a squeaky voice, she pretends to sell cookies, hoping to get to Davy, but they quickly shut her out. Micky says, “Girl Scout my…” and the soundtrack helpfully fills in the implied “ass” with a whistle. Micky’s mouth didn’t say it, he just stopped at “my.” (Different than “The Devil and Peter Tork” when they’re all clearly mouthing the word “hell” that gets bleeped out.)

The next day, I assume, since they’re all wearing different shirts, they send Davy upstairs when they hear a knock at the door. It’s Fern posing as a passport photographer. Micky foolishly says yes to her, and she takes a picture of the three of them with a turn-of-the century camera, which magically gives them turn-of the century costumes for a second. The flash blinds them and she rushes upstairs to find Davy. Mike quickly stops her, trying hard to keep control of this situation. The boys show her the door.

Davy is tired of being confined and he starts to lose it, but Mike is firm with him. Davy argues they’ll have to tie him down if they want to keep him inside. Mike and Micky exchange glances and Mike makes a comical face, ridiculously pleased with the idea.

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Mike, you da man in this episode. They chain Davy to a chair and give him the TV to keep him occupied. When the others leave, Davy gets a “special delivery” note under the door. He makes an excited “whoop” and leaves, dragging the chair outside. The other Monkees find the note and tell us that it’s an invitation to judge a beauty contest, the ideal lure for Davy. Off they go to try and catch up.

Two funny sight gags as the Monkees search. The first is on the street when they ask a group of strangers which way he went; all of them point in different directions. I’d love to hear how that conversation went, “Have you seen a little guy chained to a big chair? He’d be sort of dragging it?” They think they’ve found Davy, but it turns about to be…another identically dressed guy, also dragging the same chair. This had me falling of my chair laughing.

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Davy arrives, not at all suspicious that the pageant is at the same tea room where they met Mrs. Badderly or that there’s only one contestant. It’s Fern, disguised in a cave-girl costume and long brown wig. This is the scene with the blurring where her bikini would be, due to NBC-TV Broadcast Standards and Practices (the same standards that didn’t want anyone to see Barbara Eden’s belly-button on I Dream of Jeannie, or any woman’s navel on Star Trek). YouTube has an uncensored clip, with some full body shots of her. On my DVD, they go right to a close-up of her face.  In the context of the un-blurred version, Davy’s expression changes from “stunned” to “turned-on.”

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The couple hears music every time they touch. Davy think it’s love, but it’s Mrs. Badderly in the next room with a record player. Davy says “I’m Davy Jones, and I think I love you.” (Wrong show, Davy, “I Think I Love You” is The Partridge Family.)   The Monkees arrive too late. Mrs. Badderly comes out and Davy “introduces” her to Fern. She reads Fern’s tea leaves and tells her she’s going to be a great success on a television show with Davy. Fern coaxes Davy into helping her. The Monkees sit in Davy’s chair to stop him. But…

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That was pretty hot – rubber chain or no. [I noticed that Davy’s shirt is designed to resemble a straitjacket – Editor.] Davy, Fern and her blurry body leave, and the Monkees sit in the chair and sulk. The phone rings and some unseen person [Frawley, I presume – Editor.] pushes it out to them. After a little hand-over-hand contest, Peter answers. Who picks up the phone in someone else’s place of business? The Monkees, that’s who. It’s Mr. Hack calling Mrs. Badderly to say that her daughter and Davy are scheduled to appear last on the amateur hour. Peter hangs up and relays to Mike and Micky. They all realize “her daughter and Davy!” They’ve been had again.

Now comes the part I’ve been waiting for: the talent show. The other three Monkees are at Mr. Hack’s televised Amateur Hour, performing under aliases to cause some trouble, as usual. Very nice Dickensian naming convention for Mr. Hack by the way. Although it’s also a reference to Ted Mack’s Original Amateur Hour. First up is the Astonishing Pietro. Peter is less than competent as a magician, but he gets the best line: “You’ll notice that my fingers never leave my hand.”

Mr. Hack announces “very gifted folk singer” Billy Roy Hodstetter. Mike gives a flustered performance of his own composition “Different Drum”. Hats off to him for this awkward self-parody, and he even mocks his own wink to the camera. I always loved “Different Drum” even before I knew Nesmith wrote it. This episode debuted almost a full year before the Stone Poneys’ version and this probably played even funnier once the popular version of the song was known.

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Locksley Mendoza: “Master of Impersonations” is up next. This is Micky as a comedian, being so unfunny, he’s back to funny again. All his impersonations sound exactly like his Cagney. While he does his act, Peter and Mike put rocks in Davy’s pocket and replace his dance cane with a rubber one. Peter helpfully tells the camera what they are doing. Mike gets Davy’s attention and sprays him with something to mess up his voice.

Davy and Fern go on stage to do a song and soft-shoe number, but Davy can no longer sing or keep up with her dancing. She screams at Davy, storms off stage and goes to her mother, who comforts her. A little contradictory, as it seemed at the beginning she was being pushed into this plot by her Mother, and now it seems like she wanted this to work. Davy is surprised to learn Mrs. Badderly is Fern’s mother.

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Mr. Hack says there will be one more act after these words from our sponsor. The three Monkees let us know it’s “our” as in The Monkees sponsor. Mr. Hack advertises a product called SDRAWKCAB, which is Backwards, um…backwards. The last act is The Monkees, who play “I’m a Believer” (Neil Diamond) in beige Monkees shirts. Fern keeps crying to her Mom and, speaking for all the foes of the Monkees, Mrs. Badderly says:

Curses-Foiled-by-the-Monkees

Mike tells Davy that Fern and her mother were conning him. Davy blames himself for believing in the tea leaves. The winners of the contest? Davy and Fern. What? It’s not the Monkees? This is an outrage! Like in “Your Friendly Neighborhood Kidnappers,” the Monkees have unfairly lost a contest. As Davy said in “One Man Shy,” it’s not how you play the game, it’s whether you win or lose.

Of course the Monkees are never allowed to succeed in show business, but at least they didn’t lose Davy. It’s a more realistic plot-line, similar to “One Man Shy” where the story depends on character conflict and not high adventure, as in an episode such as “The Spy Who Came in from the Cool.” “Too Many Girls” isn’t as funny as some but there are a couple of laugh-out-loud moments. There’s also a central irony. Fern and Mom trick Davy into thinking he’s in love, because Davy’s always looking for love. He didn’t really love Fern, but he’s not in love with any of these girls anyway. The opening scene set that up very well. He gets infatuated with the next girl and the next girl and the next…He’s in love. For the very first time today.

Evil-too-many

Look-Out-For

by Bronwyn Knox

Every couple of weeks, “Monkees vs. Macheen” examines the crazy, spirited, Ben Franks-type world of the Pre-Fab Four: David Jones, Micky Dolenz, Michael Nesmith, and Peter Tork alias The Monkees.