Tag Archives: paul harrison

H.R. Pufnstuf 1.13 – A Tooth for a Tooth

It’s a rare day when Billie Hayes gets upstaged in this show, but one of the very few examples comes in this episode. This time out, when Jimmy escapes into her forest, she calls out the always-incompetent evil trees again, leading to one of this goofy show’s goofiest moments.

You sometimes wonder whether this program’s writers, Lennie Weinrib and Paul Harrison, actually remember their previous scripts, because the trees are so patently bumbling that you’d think Puf would, by this point, just sit back and wait for Jimmy to kick the bejesus out of them as he’s done at least five times before. But Pufnstuf fears the worst and calls for the good trees to step in.

Now, up to this point, Hayes has, as always, been the star of the show. She gets to rant and rave because she has a toothache, pose as a little girl to get her tooth pulled by Dr. Blinky (reusing the costume from “The Stand-In“), and, once she’s given the whammy of a love potion, act like a bundle of sunshine who loves everybody on Living Island. But then the trees have a fight, which turns into a dance once the evil trees get a dose of the love potion, and it’s the funniest thing in the universe.

I’m impressed by so much about the bizarre costuming and puppetry in the Krofft series, and just the way the actors navigate around each other while wearing these silly things is always amusing. But this is a really funny spectacle of chaos, especially when Jimmy takes off his jacket so he can start swatting one of the evil trees from behind. We loved it!

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H.R. Pufnstuf 1.5 – Box Kite Caper

Not much to say about this story, except to note how remarkable it is that they even attempted the big aerial duel between Jimmy and Freddy, floating on a box kite, and Witchiepoo and her gang, on her Vroom Broom. Every episode of the series was written by Lennie Weinrib and Paul Harrison, and they must have been supremely confident of director Hollingsworth Morse’s ability to actually convey what’s happening when both Jack Wild, on one stationary prop, and Billie Hayes, Joy Campbell, and Angelo Rossitto, on another stationary prop, have to act as though they’re moving around each other. They’re filmed separately, with only camera angles suggesting movement.

Sure, it’s primitive and phony, but what a lot of moxie to know how very limited the resources at Paramount Gulf + Western Studios were in 1969 and to say “We can do this.”

Daniel has mostly gotten over his fear of Witchiepoo. He’s realized that she loses, hilariously, every time, but he was still pretty restless tonight. We may try watching the next thing before dinner if possible, before it gets too late for him.

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