In the comical trials of Lucy and Ricky Ricardo TV audiences
recognize the exasperation and warmth of their own lives.

Last week's signing of record $8,000,000 contract to keep
"I Love Lucy" on television another two years was economic
confirmation of the obvious. The weekly TV adventures of
Lucille Ball and her husband, Desi Arnaz-"and or" Lucy and
Ricky Ricardo-clearly are not susceptible to the usual
mundane standards of appraisal. By every reasonable criterion
they are something very special.

Not since the heyday of the fifteen-minute broadcasts of
"Amos'n'Andy," which back in the Nineteen Thirties brought
American home life to a halt every evening, has a program so
completely caught the interest and affections of the public.
"I Love Lucy" is probably the most misleading title
imaginable. For once all available statistics are in agreement:
millions love Lucy.

"I Love Lucy" is as much a phenomenon as an attraction.
Fundamentally, it is a piece of hilarious theatre put together
with deceptively brilliant know-how, but it also is many other
things. In part it is a fusion of the make-believe of the footlights
and the real-life existence of a glamorous "name." In part it is
the product of inspired press agentry which has made a national
legend of a couple which two years ago was on the Hollywood
side-lines. In part it is the fruit of the perennial unpredictability
of show business.

But whatever parts make up the whole of "I Love Lucy," the
most trenchant fact is that week after week upwards of
40,000,000 persons tune in Lucy and Ricky at 9 o'clock
(Eastern Time) on Monday evening. What makes them do it.
What has Lucy got?

The distinction of "I Love Lucy" lies in its skillful presentation
of the basic element of familiarity. If there is one universal theme
that knows no age limitations and is recognizable to young and old,
it is the institution of marriage-and more particularly the day-to-day
trials of husband and wife. And especially on television, which
plays to the family circle sitting in its own home, it is the single
story line above all others with which the audiences can most
readily identify itself.

"I Love Lucy" has a monopoly on the humor inherent in
marriage; the ideal is as old as the theatre itself and television
channels are cluttered with rival shows rather pathetically
hoping that the "Lucy lightning" will strike. But what seems
to escape most of these imitations is the extraordinary
discipline and intuitive understanding of farce that gives
"I Love Lucy" its engaging lilt and lift.

Miss Ball and Mr. Arnaz always know what they are about.
Every installment of "I Love Lucy" begins with a plausible
and logical premise. Casually the groundwork is laid for
essential motivation: Lucy vs. Ricky. Only after a firm
foundations of credibility has been established is the element of
absurdity introduced. It is in the smooth transition from sense
to nonsense that "I Love Lucy" imparts both a warmth and
a reality to the slapstick romp which comes as the climax.
The viewer has a sense of being a co-conspirator rather
than a spectator in completely unimportant yet amusing
high jinks.

"I Love Lucy," in other words, is marriage projected in
larger-than-life size but never so distorted that it loses
its communion with the viewer at home. By the art of
delightful exaggeration Lucy and Ricky put marriage in
sharp focus. As sheer farce, "I Love Lucy" has the
fragility of this form of make-believe, and what the
show would be without Miss Ball is a prospect about
which no one should think.

Unquestionably, she is the unrivaled top TV comedienne
of today, a complete personality blessed with a very real
and genuine comic artistry. How she was ever wasted
as a sexy glamour girl in the motion pictures passes
all understanding anywhere except Hollywood.

Miss Ball's gifts are those of the born trouper rather
than the dramatic school student. First and foremost is
her sense of timing; in this respect she is the distaff
equivalent of Jack Benny. Maybe it is a roll of her big eyes.
Maybe it is the sublime shrug which housewives the world
over will understand. Maybe it is the superb hollow laugh.
Maybe it is the masterly double-take that tops the gag line.
Whatever it is, it comes at the split-second instant that
spells the difference between a guffaw and a smile.

But the most durable and recognizable quality conveyed
by Miss Ball-perhaps it is the real heart of "I Love Lucy" -
is the wifely patience. Whatever the provocation or her
exasperation, she is always the regular gal and the wonderful
sport. On stage and off, Miss Ball is a person.

Mr. Arnaz, alias Ricky, is a success story in himself.
Before TV he was known primarily as an orchestra conductor. The very qualities which presumably hampered his advance
at that pursuit were turned to advantage on "I Love Lucy."

His rather marked accent and his unprofessional style of
performing were wisely left alone. The result was a
leading man far removed from the usual stereotyped stage
husband. It was a case of awkwardness being recognized
as an asset. Today-after two seasons in his role-Mr. Arnaz is
rapidly becoming a competent actor.

As Ethel and Fred Mertz, the landlords, neighbors and
friends of the Ricardos, Vivian Vance and William Frawley
consistently turn in performances that are veritable cameos
of resignation to the unpredictable ways of Lucy and Ricky.
Would that the supporting casts of most other TV shows
were half as good!

Probably no event in recent theatrical history has
occasioned as much national suspense as the birth of a son
to Lucille and Desi. By careful advance filming of the script
the TV Ricardos also welcomed a new arrival. The two events
managed to coincide on the same day because the child
was delivered by Ceasarean section. But it was plain luck
that the birth of a boy happened to be exactly as called for
in the script.

The expected birth of a child, including the mother's
obvious condition, seldom, if ever, has been used as the
basis for an extended comedy series. There were a number
of protests. But most viewers welcomed the tasteful and
tactful handling of the sequences and certainly the humorous
side was recognized by every parent. And, unlike so many
shows that stand still, doing the same thing over and over again,
"I Love Lucy" now has a limitless supply of comedy material
in bringing up the child.

Perhaps that's the explanation of why millions do like
"I Love Lucy." It's very human-and so are we.

-END-

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