It has to be stated at the outset that I am one of the world's most ardent "All in the Family" fans--I believe this television series to be the greatest ever. Producer Norman Lear bought the rights to Johnny Speight's British kitchen-sink comedy "Till Death Do Us Part" and relocated it to Queens, New York, and in so doing he unwittingly rewrote the books on the power of the medium. A show that weekly served up major sociological story lines, dressing them in darkly comedic depictions of the ugliness of racism and intolerance, in "All in the Family", you were laughing at Archie Bunker, not with him. And in the end, the moral right always won out over Archie's ignorance.
"All in the Family" was one of those rare events in the arts where everything falls into perfect place at the perfect time. Ernest Borgnine was to play the bigot patriarch Archie but got cold feet over the more hardcore prejudiced attitudes his character exhibited, thus allowing for journeyman actor Carroll O'Connor to step in and arguably create the most indelible characterization in TV history. O'Connor, of course, was part of an ensemble: stage actress Jean Stapleton forged an endearing "dingbat" foil for him in Edith Bunker, Archie's wife; A-list director Rob Reiner will forever be known for his one major acting role, that of Archie's "Meathead" son-in-law; and actress Sally Struthers got her break as Gloria, the Bunkers' only child--she's done nothing close to the same stature since.
With writing of unparalleled wit and intelligence, "All in the Family" almost exists in an era unto itself: as the rare sitcom with a political agenda, it was ahead of its time when it debuted in the early '70s, and it is still considered cutting-edge some thirty years later, albeit more for its displays of racism than for its shows of liberalism. Many stations that currently air the show do so after broadcasting a warning that its language may offend viewers, but what is truly offensive is how episodes are routinely chopped by anywhere from thirty seconds to a minute for these syndicated reruns to accommodate an extra commercial or two. Usually the codas are dropped from replays of the show today; seeing episodes intact is part of the beauty of Columbia Tri-Star Home Video's three-disc "All in the Family: The Complete Second Season".
For hardcore fans of the series, this set is like a favourite-food binge. This latest package nearly doubles the value of the studio's first-season DVD collection in offering 24 instalments compared to the previous set's 13. ("All in the Family" premiered in a January, hence its shortened debut run.) While the initial season established the show's daring and social relevance, in season two was when it really hit its stride, garnering a total of seven Emmys as a result.
Among the gems found in "All in the Family: The Complete Second Season":
Edith Writes a Song (2.4) - In which the Bunkers are robbed by a couple of African-American bandits, played beautifully by Cleavon Little and Demond Wilson. The bandits leave the house and everything they stole behind after Edith sings them a song she composed. Poignant, thought-provoking, and just plain funny.
The Elevator Story (2.14) - In which Archie is trapped in an elevator with a bizarre cross-section of the American public: a Puerto Rican couple expecting a baby any second; a rich African-American executive; and a neurotic Jewish woman. Ends with the baby being born in the elevator--an event that has a softening effect on Archie's dark, cynical heart.
Sammy's Visit (2.21) - Considered one of the all-time classics of the series. Sammy Davis Jr. himself visits the Bunker household on Hauser St. to recover a briefcase he left in Archie's cab. The interaction between Sammy and Archie hilariously illustrates the absolute absurdity of Archie's philosophy of life. This episode is also famous for producing one of the biggest laughs in live-audience TV when Sammy and Archie pose for a photo together and Sammy plants an impromptu kiss on Archie's cheek as the picture is snapped.
My one complaint about this set--and the Season One collection as well, for that matter--is the fact that the sound is slightly off: voices are a few frames out of sync in every single episode. Visually, the presentation is about as good as one can expect for a seventies program shot on video; let it be said that if you're watching "All in the Family" for its technical merits, you are probably missing the point.-Christopher Heard
© Film Freak Central; filmfreakcentral.net. This review may not be reprinted, in whole or in part, without the express consent of its author.
Christopher Heard is the former co-host of television's "Reel to Real" and the author of James Cameron (Dreaming Aloud; Doubleday Canada), John Woo (Ten Thousand Bullets; Doubleday Canada), and Johnny Depp (Depp; ECW Press) biographies. He will return to television with "Admit One", which debuts early next year. Visit Chris' official website at www.christopherheard.tk
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