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Top Banana and the Topkick
You know how influential TV is with children. I was no more than six when I first cast an admiring look at the Sergeant Bilko lifestyle and said to myself, now that’s the kind of man I want to grow up to be. By the time I was eight, I’d added Richard M. Nixon to that select list of inspirations (“Do you want to win? Steal!”). Well before I was twelve, Cardinal Richelieu (Armand du Plessis, onetime bishop of Luçon), had joined them as my role models. A soldier. A statesman. A man of God. Men of confidence.
In 1954, Phil Silvers was still a year away from the role that would bring him lasting fame. Top Banana had been his big breakthrough on Broadway, a hit 1952 musical about a TV comedian’s struggle to top the ratings and produce his show in the middle of chaos. Top Banana, the film, has echoes of other mid-fifties comedies about television, like the TV show finales of White Christmas and It’s Always Fair Weather; or Bob Hope’s That Certain Feeling, with its disruptive broadcast of Edward R. Murrow’s “Person to Person.” Top Banana’s New York Times review is hilarious—wildly laudatory towards Phil Silvers, a locally well-known night club comic who was then all but unknown nationally—but on the other hand, “It is hard to imagine a picture appearing more cheaply made. Even the color is shabby. It’s the cheapest-looking film we’ve ever seen.” Quite a Times review!