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Bob Newhart was a timeless comedic genius whose quiet delivery made him a star

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Bob Newhart was a timeless comedic genius whose quiet delivery made him a star

As a longtime fan of Bob Newhart‘s work, I cannot help but feel deeply saddened by the news of his passing. Having grown up watching reruns of both “The Bob Newhart Show” and “Newhart,” I can truly say that these shows were a significant part of my childhood. The characters of Robert Hartley and Dick Loudon, portrayed so brilliantly by Newhart, were more than just television personalities to me; they were friends, family even.

It would be delightful to open your eyes and discover that you’re lying in bed next to Bob and Emily in Chicago or Dick and Joanna at a Vermont inn, only for it to turn out that this was just a dream. Regrettably, life doesn’t follow such a whimsical scenario. Unfortunately, Bob Newhart has retired from his acting career, and the dream has come to an end.

As a film enthusiast, I’d describe it this way: I was deeply saddened to learn of Newhart’s passing at the age of 94. His subtle humor and clever wit left an indelible mark on comedy for over seven decades. The man behind “The Bob Newhart Show,” “Newhart,” “Bob,” and “George and Leo” (with George being his real name) was a true giant in the industry. And let’s not forget about “Hi, Bob,” that iconic drinking game! (I’ll take a moment to raise my glass in tribute.)

Following a short and unprofitable period attempting to sell recorded comic skits to radio stations, Bob Newhart’s debut album, “The Button-Down Mind of Bob Newhart,” released in 1960 during his initial live performance, experienced unprecedented success: It climbed to the top of the Billboard charts and received Grammys for both album of the year and best new artist. Upon the publication of his second album, “The Button-Down Mind Strikes Back!,” six months later, Newhart held the country’s top two records.

During the early 1960s, comedians didn’t reveal their true selves as openly as they do today. Authenticity was not valued in comedy back then. Instead, they hid behind characters or performed short skits. This applied to comics like Lenny Bruce, Nichols and May, and Shelley Berman, including Newhart who used the one-sided phone conversation technique. They might expose their personalities through their unique perspectives on life and turning it into a routine. Newhart claimed that his character was about 85% him, while the other 15% consisted of an exceptionally warped mind that appreciated the dark and grotesque. However, they didn’t provide visual representations.

In Newhart’s renowned stand-up comedy, there is hardly any focus on “I” beyond the occasional use of “I was reading” or “I think.” The essence of him that can be gleaned from his stage performances is that he hails from Chicago, held an unusual accountancy perspective (“If I got within a few dollars of it… but it didn’t gain popularity”), and previously worked at an unemployment office, where he earned just $10 more than his clients, who only needed to visit once a week.

Newhart appeared to be the embodiment of 1950s American simplicity with his crew cut and suit, hiding his true character beneath. He could convincingly portray various roles such as a driving instructor, a rocket scientist, or Clark Kent waiting for his Superman costume from the cleaners. Speaking to an unseen audience, he filled the gaps with their imagination, making the medium interactive rather than passive. (“The audience is involved,” he said, “and it becomes a lively communication instead of just a one-sided message.”)

Bob Newhart was a timeless comedic genius whose quiet delivery made him a star

In his daily routines, he frequently soothed agitated individuals, persuaded them with words, or presented a positive spin on unfavorable circumstances. He assumed various roles such as a policeman dissuading a jumper from a ledge (“Hey, you’re really gathering quite an audience for a weekday”), a psychoanalyst analyzing Benjamin Franklin’s kite obsession (“Alright Ben, let’s try to understand the root cause of your kite fascination”), or a PR agent advising Abraham Lincoln before his Gettysburg Address (“Abe, changing ‘four score and seven’ to ’87’? That was supposed to be attention-grabbing… we conducted focus groups, and they went wild!”). Throughout his career, from stand-up performances to situation comedies to numerous guest appearances, he maintained an unwavering composure in the face of adversity.

In his debut film role in the 1962 war movie “Hell Is for Heroes,” his humorous phone routine was incorporated. He acted as a source of amusement alongside Steve McQueen, Bobby Darin, and Fess Parker. To throw off listening Germans, he feigned conversations on a field phone to a superior: “Regarding morale, sir, it’s been somewhat lackluster. The primary issue seems to be the evening entertainment… I’ve had to screen ‘Road to Morocco’ for five nights straight now, sir… The troops are growing restless.”

In the past when only three networks controlled television and produced approximately two dozen episodes a year, the influence of long-lasting shows like “The Bob Newhart Show” cannot be overstated. Newhart graced CBS with two of these treasured series: 142 episodes of “The Bob Newhart Show,” where he portrayed psychologist Robert Hartley alongside Suzanne Pleshette from 1972 to 1978; and 184 episodes of “Newhart,” featuring him as innkeeper Dick Loudon with Mary Frann from 1982 to 1990. I, too, am a devoted fan of the less popular “Bob” (with Newhart as a greeting card artist) and “George and Leo” (pairing him with Judd Hirsch in an “Odd Couple” dynamic). Sitcoms are more than just programs to watch; they serve as familiar places where we spend time. Our emotional connection to the comedy stems from knowing the characters intimately, understanding their journeys, and appreciating their meaning. Bob became a cherished member of our television family.

Despite his skill in one-on-one conversations, “The Bob Newhart Show” highlighted that Newhart’s greatest talent came to life when he interacted with other actors. The viewers anticipated scenes where he made phone calls – like ordering moo goo gai pan from a Chinese restaurant being a famous episode. In both “The Bob Newhart Show” and “Newhart,” as the relatively normal person surrounded by oddballs, he gained a lot of laughs with just a “Why?” His unique reaction was a puzzled stare, and his tool was a casual, witty remark.

Bob Newhart was a timeless comedic genius whose quiet delivery made him a star ×

In the early 1970s, not many sitcoms focused on adult married couples without children as a main theme when “The Bob Newhart Show” debuted. The Hartleys and Loudons had their share of marital issues and disagreements, but they were still an attractive and sexually implied couple. Their relationship was portrayed in an innovative way for the time, with them sharing a bed on TV – a bold move for 1972. Some of the funniest scenes unfolded right there in their shared bedroom, with them lying side by side. When “Newhart” unexpectedly transformed into “The Bob Newhart Show” during its final episode, it was as if the entire later series had been a dream of Bob Hartley’s. The audience started applauding as soon as the hidden set (kept secret from both cast and crew) was unveiled, even before Pleshette emerged from beneath the blankets.

Newhart’s versatility as a comedic actor shone through in various roles throughout his career, from playing Will Ferrell’s father in “Elf” to Jim Parsons’ idol in “The Big Bang Theory.” Regardless of the project or its success, Newhart brought his unique comic talents to every assignment. His discerning choices, fortunate collaborations with skilled writers, or simply his exceptional acting abilities made it challenging to identify a less-than-stellar performance during his extensive career. Even in the film adaptation of “Catch-22,” Newhart’s portrayal of Maj. Major Major Major was noteworthy and effective.

I’ve always been captivated by his impeccable sense of timing and the melodic way he delivered his lines, light yet dry in tone. He disliked being labeled as “deadpan” or “mild-mannered.” His radio career might have honed his appreciation for the art of pausing and utilizing silence effectively. A classic Newhart moment was his expressionless gaze. My own tendency to stutter, which I believe is a mark of intelligence though lack solid evidence, was seamlessly incorporated into his stop-and-go delivery. With every breath taken before completing a sentence, he transformed the final word into an explosive burst.

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2024-07-19 20:01

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