Once the supporting character, when you’re always overshadowed by a bright star, it’s a tough role to play.
For entertainers like Desi Arnaz, that spotlight belonged to Lucille Ball, his wife and co-star in the iconic 1950s sitcom “I Love Lucy.” An unforgettable image etched in television history shows Lucy stumbling as she crushes grapes at a winery, struggling with an out-of-control chocolate conveyor belt, and comically mismanaging William Holden’s attention as he highlights her fake nose instead of her cigarette. Cones seem as vital as ice cream.
Not only was he the comedic foil to his wife, but he also faced the relentless laughter targeted at his Cuban heritage. Despite the odds, he was a Latino figure on American screens, portraying a successful husband and father instead of the typical gang member or sidekick. His character earned lasting recognition through his memorable catchphrase.
“Desi Arnaz: The Man Who Invented Television” and Todd S. Purdham’s meticulously researched and engaging biographies shed light on Arnaz’s timelines as an entertainer and astute businessman. With assistance, Arnaz envisioned, assembled, and directed the transformation that established the foundations of early TV productions.
Born in 1917, Arnaz was the only child in a distinguished family in Santiago, with a father serving in the Cuban Parliament. The revolution of 1933 forced affluent families to seek refuge in the United States amid burning homes and slaughtered cattle, while his father was imprisoned for months. By the time Arnaz started high school in Miami, he spoke mostly English and took on various jobs to earn money.
Despite his struggles with music reading, show business became an unexpected path for Arnaz. The charming and lively young man could sing and play the guitar and conga drums. Soon, he collaborated with renowned bandleader Xavier Cugat in New York, turning the Congaline into a popular dance craze. He landed a role in the 1939 Broadway musical “Too Many Girls,” which led him to Hollywood for the film adaptation. At RKO Studios, he met his future wife and co-stars, mingling with many struggling veterans hoping to achieve success.
Although Arnaz and Ball found greater success in films during the 1940s, they were initially reluctant to explore the emerging medium of television. Had their marriage not faced significant challenges—largely due to their independent careers and his issues with alcohol—Arnaz might not have been cast when Ball transitioned her radio show “My Favorite Husband” to television in 1951.
The show became the innovative platform Arnaz needed. Adhering to industry standards, it was broadcast live with audiences present in New York and filmed using a camera aimed at a television monitor. Arnaz proposed that the “Lucy” episodes be filmed in front of a live audience in Los Angeles. This method ensured better image quality and allowed episodes to be aired and rerun later—an innovative concept regarding syndication. The use of multiple synchronized cameras presented the show as a live performance, requiring a redesigned studio with bleacher seating for clear audience sightlines.
This established a new standard for situational comedy and kickstarted the movement of television production from the East Coast to the West Coast. While Arnaz didn’t create the system, he directed the process, recruited the right people, and spearheaded the project.
“I Love Lucy” became a monumental success, being the first television show to reach 10 million households in the U.S. By the end of the 1950s, Desilu was the world’s largest studio in terms of entertainment time filmed.
Purdham candidly captured Arnaz’s descent into alcoholism. Arnaz struggled with his sexual impulses, particularly his attraction to prostitutes. The combination of substance abuse and infidelity led to the collapse of both his career and marriage, ruining his health and finances.
In contrast, Ball faced her own career hurdles—struggling to move beyond her iconic role as Lucy—but she displayed financial acumen. After buying out her husband in 1962, she greenlit two enduring television series: Star Trek and Mission: Impossible. Upon selling the studio in 1967, the iconic redhead walked away with what today would amount to roughly $100 million.
The beloved couple of the 1950s eventually remarried but never completely exited each other’s lives, remaining connected through their two children, shared business interests, and a unique professional legacy. Their enduring affection for one another doesn’t require any embellishment.
___
Douglas K. Daniel is the author of Anne Bancroft: Life (Kentucky University Press).
___
AP Book Review: https://apnews.com/hub/book-reviews
Source: apnews.com