Monkees vs Macheen: “Hillbilly Honeymoon” (a.k.a. “Double Barrel Shotgun Wedding”)

“Y’all come back now, y’hear!”

“Hillbilly Honeymoon” aka “Double Barrel Shotgun Wedding” was written by Peter Meyerson and directed by James Frawley. Meyerson wrote eight Monkees episodes including the debut episode “Royal Flush,” and the very similar-in-plot episode, (it’s doppelganger you might say) “Prince and the Paupers.” This episode debuted October 23, 1967 and was filmed September 12-15, 1967, after their big 1967 July 8-Aug 27 summer tour. The Monkees have a new look in the episodes that were shot from September onward. Micky’s curly hair is the most noticeable, but the Monkees started dressing in what I’d call a more “hippy” look and Mike didn’t always wear the green hat.

The story begins with the Monkees lost and driving their Monkeemobile through a small town that’s divided by a white line. On either side are two feuding families, the Weskitts and Chubbers. The Monkees ask for directions, but gun-toting Weskitts and Chubbers warn them to stay on the white line. The Weskitts and Chubbers parody the Hatfield and McCoy real-life family feud that occurred between two rural families in the West Virginia and Kentucky area from 1863-1891. Mike sends Davy to follow the white line out of town and find some help.

Davy starts to walk the line but gets pulled into a haystack by a pretty young woman in pig-tails, Ella Mae Chubber. She kisses him (with a pop sound effect) and then has the nerve to warn him her boyfriend won’t like it. Ella Mae resembles Elly May Clampett from The Beverly Hillbillies with her name, hair, and costume. The other three main characters in “Hillbilly Honeymoon” also have Beverly Hillbillies counterparts: Maw equals Granny, Paw resembles Jed, and Jud is a Jethro type. The Monkees were parodying this popular television show that ran from 1962-1971. Both are “fish out of water” stories: The Beverly Hillbillies is about a group of hillbillies trying to navigate their way through society in Beverly Hills, while “Hillbilly Honeymoon” has our California boys trapped in hillbilly country. Admittedly the “Hillbilly Honeymoon” versions of these characters are lot nastier, in a fun way of course.

Paw points his rifle at Davy and Ella Mae and makes it clear Davy has to marry her. Jud Weskitt approaches with his rifle and makes it clear Davy’s going to die for kissing Ella Mae, because she’s his girl. Since Ella Mae’s a Chubber and Jud is a Weskitt, I can add Romeo and Juliet to the list of things parodied in “Hillbilly Honeymoon.”

After the opening theme, Ella Mae tries to keep Paw and Jud from killing both Davy and each other. Micky pops into the frame and tries to talk the men out of fighting but they just shove rifles in his face. Micky and Davy run off, and the two feuding clans start shooting at each other, accompanied by banjo music. There’s lots of bullets flying around but no deaths occur that we see. Micky pops up in the haystack and Ella wants to kiss him now. He points out he’s not Davy but she kisses him anyway. Micky responds, “Well, I tried,” and makes out with her. Now Paw wants Micky to marry Ella Mae because she’s about to turn 16 and he doesn’t want anyone calling her an “old maid.” Yep, those kind of stereotypes. Paw takes Mike, Micky, and Peter away at gunpoint. Maw tricks Davy into thinking she’s a helpless old lady and asks him to help her cross the street. As a reward for his kind service, she and Jud kidnap him.

At Maw and Jud’s, cabin, Jud wants to put Davy into his vat to make liquor out of him while Maw explains the health benefits of anger and hate. At Paw and Ellie’s cabin, Paw wants to know which Monkee will marry Ella. Micky, Mike, and Peter eagerly volunteer Davy. Paw points out that Jud’s got Davy and going to get him will get them shot. All three declare in unison, “We’ll risk it.” Paw agrees to send Micky and keep the other two but Ella wants one for herself. She approaches Mike, “I think you’re cute.” Mike breaks the fourth wall in terms of actor/character and says, “So does my wife and kids.” He volunteers to go with Micky. Peter frets that they’re abandoning him but Mike promises they’ll be back for him “or we’ll die trying.” Paw gleefully points out, “That’s a distinct possibility.”

I love that Dub Taylor plays Paw with a menacing smile. Sure he’s going to blow your head off, but he’ll have a good time doing it. I also figured out that I recognized Dub Taylor from the old Hubba Bubba “gum fight” commercials. Big bubbles, no troubles. You 70’s-80’s kids will know what I’m talking about.

Jud has Davy in a sack. Between this and “Everywhere a Sheik, Sheik,” people really enjoy putting Davy in sacks. He’s ready to boil Davy when Micky and Mike arrive outside, dressed as hillbillies. They push a pig wearing a baby bonnet in their baby carriage. The pig, the bonnet, and carriage remind me of Alice in Wonderland, when Alice takes the Duchess’s baby outside and discovers it’s a pig. Mike and Micky try to convince rifle-wielding Jud that they’re cousins. Jud doesn’t recognize the names Claude and Roy, or Luke and Ezra, but seems to remember a Roland and Clem. He still wants to get rid of them until Maw insists, “That’s no way to treat kinfolk” and lets them inside. Meanwhile at Paw’s, Peter becomes Ella’s next victim [She’s a lonely woman, apparently – Editor’s note]. She chases him, and he gives in as Micky did, with a resigned, “Well, I tried.”

Micky and Mike see Davy in the sack, but they’re intimidated by Maw and Jud. Jud wants Mike to prove he’s a cousin by playing his nose. Mike (in a line delivery worthy of Jim Parsons) tries to stall, saying his nose is “out being fixed.” He gets nervous when Jud points the gun so he starts tapping the side of his noise, and the sound editors help Mike out with a “boing, boing” sound. Micky accompanies Mike by tapping the pig. This begins the romp to “Papa Gene’s Blues” (Michael Nesmith), a first season song that’s perfect for this romp and episode. During the song, Maw, Jud, Mike, and Micky play in a jug band, and also do some square dancing, joined by Davy in the sack. There’s some footage from “Don’t Look a Gift Horse in the Mouth” with the Monkees performing farm chores, bailing hay,etc. My favorite bits are Micky and Mike smoking ears of corn and Mike politely attempting to light Maw’s pipe with a match, but failing until she eventually just busts out a Zippo. Billie Hayes, the actress who plays Maw, is a lot of fun to watch.

After the nose-playing, Maw welcomes them to the family. Micky frees the pig to create a distraction. Maw and Jud chase after it, giving Mike and Micky time to look through the sacks for Davy. When they just find oats, they start crying that Davy Jones is dead. Funny gag as Davy comes up behind them joins in the crying over his own death. They all abruptly stop to figure out what to do now.

Mike pulls out a script and they use it to figure out that they need to get Peter from Paw and Ella Mae’s. With this, and Mike’s earlier mention of his family, this entire episode feels looser than usual. The first season episodes, for the most part, create the reality of them as a band with the fourth wall breaks as a knowing “wink” to the audience. This episode and some others after it make no pretense at creating a reality; I’m constantly reminded I’m watching a show. With this episode, there’s so much funny stuff that it doesn’t hurt the energy of the episode. There’s never a dull moment.

Outside Paw’s place, Micky, Mike, and Davy start making pig calls. Ella Mae and Paw come out, and Micky and Mike rush in to get Peter, but Davy’s pants are caught on a nail. Paw turns around and cocks the rifle at Davy. He asks Ella if Davy was the one kissing her. Ella isn’t sure, “Maybe. I can’t tell one from the other no more.” Paw makes Davy drop to his knees and tries to force a proposal. Instead, Davy starts singing “I Wanna Be Free.” Paw isn’t impressed, “Anybody who sings like that deserves to die.” The other three Monkees run out on the porch. At Paw’s gun-pointing threat, Davy finally says “Will you marry me?”

Outside Paw’s, Mike, Micky, and Peter agree they’ve got to stop the wedding so they head for Jud’s. I love Micky leaping over the porch rail and posing as he proclaims Davy’s predicament. He looks like he’s trying to crack Mike up. Those little moments, they can’t be scripted. Inside, Paw and Ella have dressed Davy up in a suit for the wedding. Elly thinks he’s “purdy” but Paw’s not satisfied: Davy still looks like a city slicker. Davy suggests, “Why don’t you rub dirt all over me or something?” Unable to detect sarcasm, Paw and Ella go for this idea.

Mike and Micky tell Jud that Ella’s getting married. Naturally Jud grabs his gun. Mike and Micky stop him. Mike tells Jud he’s got to treat Ella like a gentleman. Jud’s response, “But she’s a girl!” inspires the first “Isn’t that dumb” recurring line from Micky. Huge compliments to all the guest cast actors. The episode is packed with over-the-top and corny stereotypes but the actors make it into great comedy. Billie Hayes and Lou Antonio have the most ridiculous lines but I still laugh every time I hear them delivered.

Maw wants to know, who’s going to teach Jud how to treat a girl? Micky announces, “Raybert presents, coming straight from the mountains, Uncle Raccoon!” Peter enters and speaks in a German accent until Mike stage whispers, “wrong accent.” Peters tries again with a hillbilly accent that’s awkwardly over-the-top. I dig the fact that all the Monkees get a chance to shine and be funny in “Hillbilly Honeymoon.” The Monkees have Jud practice proposing to Ella Mae on Micky in a bonnet.

The scenes of Jud’s training are intercut with Davy fussily complaining about being covered in soot and Paw’s spitting and so on. I’ve never seen this fastidious side of him before. They’re contrasting a British fastidious persona with the dirty hillbillies, I suppose. Davy tries to convince Ella to elope with Jud, but Paw won’t have it because Jud is “dirty, dumb, and violent.” Well, yeah.  There’s a subtle anti-violence message here.

The same barn used in “Don’t Look a Gift Horse in the Mouth” and also “The Monkees in a Ghost Town” is decorated for a wedding in this episode. Paw walks Ella and Davy down the aisle with his gun. The preacher, played by Jim Boles, who also played the Dad in “Don’t Look a Gift Horse in the Mouth,” starts performing a funeral service. Once he restarts the right ceremony, Ella Mae is reluctant to take this “stranger to be your lawfully wedded husband,” so Paw jabs her. Jud walks in wearing a suit and followed by the other Monkees and Maw. He announces, “Gentleman Jud Wescott, come to claim his bride.” Paw isn’t happy and renews the fighting between the two clans, despite Micky and the Preacher’s efforts to keep the peace. The barn is crackling with gun fire and the families divide across the white line again.

Ducking behind a hay bale, Davy asks Ella who she loves best and she admits that it’s Jud. Davy plays matchmaker and calls over Jud and the preacher. The preacher marries the hillbilly couple behind the hay stacks as the gunfire continues.

Jud and Ellla are about to kiss when Paw comes up with his gun and says, “I got you at last.” Ella updates him that they’re married. Paw happily says, “You son-in-law” and hugs Jud. He takes the couple to the center of the barn and makes the announcement that the feud is over, “the houses of Weskitt and Chubber are joined.” Everybody celebrates. A Romeo and Juliet where no one has to die. Paw invites Jud to go ahead and kiss. Jud leans in, and Paw clarifies, “Not me, her!”

Despite all the hillbilly clichés, I love this episode. It’s so funny, even just thinking about it makes me laugh and it’s easily one of the best of season two. One thing that these recaps have taught me is a true appreciation for director James Frawley. I knew nothing about him before I started this recap project. There’s an interview with James Frawley here where he talks about directing The Monkees. The four actors were encouraged to go off the script, and they would disregard written scenes for ad-libbed versions. I would speculate this extended to the guest cast as well if they were up for it and willing to play. (I realize that when they were actually shooting they probably couldn’t improvise so much due to lighting placement and other technical needs.) According to the book, Monkeemania: The True Story of the Monkees by Glen A. Baker, 29 of the first 32 Monkees episodes directors had no previous television directing experience. Frawley’s willingness to experiment might have been because he didn’t have much experience at the time as a director so he wasn’t encumbered by having to do things the “right” way. The natural-seeming bits of comedy and interaction combined with the elements of magic and fantasy are part of what makes “Hillbilly Honeymoon” and many other episodes watchable over and over.

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.

 

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Monkees Vs. Macheen: “Monkees Get Out More Dirt”

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The Monkees Love Catwoman!

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“Monkees Get Out More Dirt” is one of the episodes I’d put into a “most memorable” category. It’s the one with Julie Newmar, and the one where they all compete with each other instead of working together. The episode first aired April 3, 1967, and the writers were Gerald Gardner and Dee Caruso. Gerald Shepard directed this one. He has very few credits as a director, there’s this and another episode, “Monkees On The Wheel” as well as a film called Heroes Die Young (1960). Most of his credits are as an editor, he edited 11 of the 58 episodes Monkees episodes, 21 episodes of my beloved Addams Family and the Bob Rafelson directed film 5 Easy Pieces. One of the things I appreciate about The Monkees is the editing, which consistently adds personality to each episode.

The Monkees arrive at the laundromat to do their laundry. Each of them in turns goes to get some soap, meets the lovely April Conquest (Julie Newmar) and each in turn comes back to the others, stunned by love and muttering “soap…soap.” There are two separate funny POV shots, from her POV. First, diminutive Davy has to look high up to see her. Next, when Micky meets her he takes an awestruck look at her “rack” (which would really be the camera’s “rack”). The writers have created a variation from the usual plot device of Davy getting love struck; here they’re all love struck.

Before the opening theme, there’s a weird bit where an actor named Wally Cox comes over and uses a box of detergent with a question mark on it, and an arm comes out of the washing machine. These are both spoofs of TV commercials from the times, one for Salvo detergent (the real Salvo ad featured Cox) and one for Action bleach packets by Colgate. More details on Monkees Tripod. Also, the name of the episode sounds like a product slogan for the Monkees as a soap.

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The Monkees return home with their laundry bags. They each make an excuse to leave, so they can go see April. They are now scheming against each other, instead of scheming against a common enemy. Davy’s excuse is that he wants to train to be a boxer, something we saw him do already in “Monkees in the Ring.”

Davy arrives first at the laundromat. April explains to Davy she’s doing post-graduate studies in laundry science. Mike gets there next and jokes that he came to see another commercial, referencing the pre-credits gag. She explains she’s working on her doctor’s thesis and Mike repeats the “Why can’t your doctor work on his own thesis” joke from “The Prince and the Pauper.” Micky arrives next and walks right up to her, touching his nose to hers. April goes on about the great reservoir of untapped dirt. She opens the lid of the washing machine and finds Peter inside. The editors play little bird tweeting music.

I occurs to me that April is not that great. She’s not all that fun, intelligent or interesting. I don’t think she’s supposed to be. As her last name “Conquest” telegraphs, she exists to be just that; an object of desire. The joke is the four of them fighting over a dull girl who’s fascinated by laundry. It says more about the Monkees than it does about her that they’re so into her. Julie Newmar, on the other hand, is amazing. Aside from her obvious stellar physical attributes, she hits the flighty and giddy notes of the character just perfectly and is easily a strong enough presence for the four boys to center around.

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Back at home the Monkees pace around the pad and fret. Mike turns on Davy asking “Don’t you think she’s a little tall for you?” That’s mean, and also, if Mike thinks men are required to be taller than their dates, in heels the 5ft. 11 inch Newmar looms over all of them, even 6 ft. 1 inch Mike.

They sit down and watch Dr. Lorreen Sisters, an allusion to Dr. Joyce Brothers, the “face of American psychology.” Sisters is “bringing the cool light of reason into your messy little lives.” The actress wears tortoiseshell, cat-eyed glasses, identical to the ones April wore at the laundromat. This actress is also very funny with her no-nonsense performance; much sterner than I recall the real Dr. Brothers ever coming off.

Sisters is answering the question, “How do you win the girl you love?” I dig the answer: “The fastest way to a woman’s heart is through her mind.” Davy hilariously notes, “You know, I never would have thought of that route.” Sisters advises them to find out what kind of man she likes, and be that man. They all take off to do that, not even bothering with excuses this time.

Next is the series of scenes of TV parodies/disguises. Davy on the payphone introduces himself to April’s mother as David Armstrong Jones of the BBC (Better Be Clean). He finds out from Mom that April’s into pop art. Mike is at the pad, using a Get Smart model shoe phone to call April. He’s happy to learn that she’s interested in men who ride motorcycles. Peter is on a Green Acres style outdoor phone-on-a-pole from which he calls April’s neighbor and finds out she’s into chamber music. Micky is also in the pad (I guess at a different time than Mike) on the red phone pretending to be from radio station M.O.T. He discovers that April wants her future husband to be into ballet. Thing from The Addams Family pulls Micky’s phone into a box and then tries to pull in Micky! That was a neatly structured, well edited sequence. Story-wise, we find out April does have interests other than laundry, but none of them match the Monkee’s interests, other than Mike. Maybe Peter generally as a musician.

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Each Monkee returns to the laundromat to win April over. First up is Davy, who paints a Pop Art mural on the wall. It’s a red x with a blue arrow. April is comically, adorably turned on by this and the editors help with the stars in the eyes and birds sound effect. Here comes Peter with a harpsichord and three other musicians for a chamber music quartet. Now she has stars for him until Micky comes in and starts pirouetting all over the laundromat as a ballet dancer. He does an impossible leap through the air. Davy wants to know how he did that. Micky’s answer, “A man in love has the strength of thousands” echoes Davy’s own line from “Too Many Girls.” Last, but not least, Mike rolls in on his bike and impresses her with some wheelies. She fantasizes each one in the appropriate costume for the persona they adopted for her. There’s chaos as they all compete for her attention with The Monkees theme playing, ending when Mike crashes into Micky with the bike and they hit the wall.

Of course she loves them all. Me too–how could you not? They way they’re portrayed on the show, Davy is charming, cool, and a great dancer, Peter is handsome, sensitive, and innocent. Micky is funny, quick-witted, and an amazing singer, Mike is thoughtful, intelligent, and resourceful. Between the four of them, they would make the perfect boyfriend.

Back at the pad, Mike points out the obvious: It’s stupid for all four of them to moon over the same girl. They talk about how great she is and leads into the romp to “The Girl I Knew Somewhere” (Nesmith). They all fantasize about hanging out with her at the laundromat. For her bits with Davy, she wears an artist’s smock and no pants, which seems racy for the times! She dances with Micky, listens to Peter play, and rides with Mike.

Back to reality, the Monkees agree not to let April ruin their friendship, but then they end up dividing the pad into four equal pieces of territory. Now only one of them has the bathroom, one has the front door, one has the fridge and one has the TV. Peter turns on the television and Dr. Sisters is on again. Peter has written a letter to her as “Tormented” describing their situation with April and asking how he “can cut the others out?” The letter she reads notes that April is now fond of each of them. Davy says, “That’s right, what of it?” Sisters, “I’ll tell you what of it.” Cute fourth wall within the fourth wall gag. She continues to respond to them like they can hear each other through the television. She also has a letter from Miss Laundromat who is so nervous from being in love with four different men, she’s close to collapse.

The Monkees all rush for the laundromat to check on her and find it closed due to illness. Working together again to help someone out, they realize they should resolve her confusion of being in love with all four of them. The boys choose for it, and Peter wins. The other three go to break up with her while Peter stays to run the mat.

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Bewitched fans may notice that the brief shot of the exterior of April’s mother’s house is actually the exterior of the Bewitched house. Aside from the Screen Gems connection, Newmar later appeared in a 1971 episode of Bewitched called “The Eight Year Itch Witch.” The 1969 episode “Going Ape” used a redecorated Monkees pad set, and featured Lou Antonio of “Hillbilly Honeymoon.” Monkees songwriters Tommy Boyce and Bobby Hart appeared in the 1970 episode “Serena Stops the Show.”

Mike, Micky, and Davy enter April’s room where she’s posed dramatically on the bed. (I should look so great while having a nervous breakdown.) They each tell her they’ve given up the thing that made her love them and she’s better off with Peter. Cute bit where Mike almost screws up by saying he’s taken up skydiving. She likes that, so he backpedals that he’s afraid of airplanes. She feels instantly better and breaks the fourth wall to ask the viewer, “Where is Peter?”

Pete’s busy destroying her business, as a bunch of angry customers attack him with damaged clothing. The man who had been reading the newspaper (Digby Wolfe, co-creator of Laugh-in) in all the laundry scenes gets up and is shirtless. He takes his shrunken shirt out of the laundry. With the “Monkeemen” theme playing, he joins in the fray. The Monkees come in and rescue Peter. April comes up, embraces him and asks, “How can I ever thank you?” Peter answers, in a manly baritone, “That’ll do for a start.”

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And now, the kicker. At the pad, Peter prepares a romantic dinner for April while the others mope. April comes to the door and introduces Peter to her new fiancé, Freddy Fox III, clearly the 1960’s version of a douche-bag. The couple canoodles and April says she’s never met a singer before. The irony … it hurts. [EDIT on September 7, 2017. I can’t BELIEVE I missed this, but Monkees stand-in David Pear is the actor playing Freddy Fox. D’oh!] As they leave, April skips. A nearly 6 foot woman skipping in heels is truly a glory to behold.

Davy lays T.S. Eliot on us, “April is the cruelest month” from “The Waste Land.” Especially cute since this episode debuted in April. Mike starts in with the Shakespeare “To thine ownself be true…” Micky cuts him off with “please, no morals.” Micky baby, I couldn’t agree more. I hate morals. Peter starts to cry that none of them will find any happiness. There’s a knock on the door and four cute girls are there, asking the way to the laundromat. The Monkees do a quick head count and each walks off with his arm around a girl. Speaking of Shakespeare…

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My dear husband and Blissville editor doesn’t like this episode much because the Monkees are working against, rather than with each other. I can see where that could be a deficit, I do think they work better together. As I said, April is not worth fighting over, but that is actually the punch line of the episodes’ main joke. Also, I must admit it’s nice to see a change from the usual structure of them making fools of other people. Like the previous, “Monkees on the Line,” this one is so well put together. (Worth noting that this and “Monkees on the Line” were the last two episodes shot for season one, “Line” being the very last.) There’s a tight structure of the four of them falling for her, finding out her interests, and winning her love. The episode is packed with funny lines and sight gags, and two very funny women in the guest cast. I can’t find anything not to like. It’s a strong episode and it seems that the director, editors, writers, producers and performers really cared about doing a good job.

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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.