A Review of Season Six
Last night I finished up my weeks-long review of ILL as an overall series. With the sixth and final season, I continued to pick eps I'm not generally crazy about, or routine offerings I rarely watch.
I started with the sparkling Bob Hope premiere. While never a huge fave, it is nonetheless a strong season opening, with Richard Keith making his debut as five year-old Little Ricky. The sets look painted, there's new carpeting, the new hallway "door" for Little Ricky's room, a "modern" telephone, and, best of all, Ricky now owns a piece of the Tropicana, which is gorgeously remodeled and renamed Club Babalu.
Hope and Ball work marvelously together (they made several films) and the musical finale is actually quite witty.
Why don't I love it? Too little for Ethel to do, Ball and Arnaz are showing their age, and, more than anything, it's the beginning of the end.
Moving on, I watched "Little Ricky Gets Stage Fright", a surprisingly mature look at both parental and childhood anxieties. As always, I was less impressed with "Visitor From Italy", a pointless remake of the Ernie Ford offering, although Lucy's pizza bit IS funny.
I watched two I love - "Lucy and the Loving Cup" and the Superman classic. In the former, it's interesting how great Ball's expressions remain, despite our not being able to see her eyes after the first ten minutes or so.
I checked out "Lucy Hates to Leave", a surprisingly emotional ep, in which I'd forgotten how genuinely teary-eyed Lucy becomes when leaving the apartment. Too bad, though, that the writers failed to mention the FIRST apartment.
I finished things out with "Ragtime Band" and the series' final offering, "The Ricardos Dedicate a Statue." Both are very routine shows, but each felt fresh as I hadn't watched them in years.
Mid-way, I did force myself to watch "Lucy Meets Orson Welles." I still don't care for it and neither did Ball. By this point, the celebrity gimmick had been done to death.
On balance, a fun revisit.