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Wally Cox

Wally Cox

Acting

Biography

Wally Cox was a beloved character actor who made his mark in television and ranks as one of the medium's most memorable performers. His ability to show his range likely was limited by his short stature, slight frame, and high-pitched voice, which along with his talent for being very funny, made him ideal for comedy parts such as his memorable turn as Professor P. Caspar Biddle in "The Bird-Watchers" episode of The Beverly Hillbillies (1962) in 1966. His television persona was that of a shy, timid man in horn-rimed glasses who spoke in a tentative, though distinctly enunciated, voice. It was a persona that his long-time friend Marlon Brando said was completely at odds with the real man. Cox always will be remembered as the eponymous "Mr. Peepers" and the voice of "Underdog," but he was an actor of wider talents seldom used by the industry, as can be seen in his turns as the sonar operator in The Bedford Incident (1965) and as the potential suicide Wally Haverstraw in The Bill Cosby Show (1969) episode "Goodbye, Cruel World" in 1970. Dying unexpectedly on February 15, 1973, from what some newspapers described as an accidental overdose of sedatives but which Marlon Brando in his autobiography said was a heart attack, Wally Cox's cremated remains were kept hidden in a closet by his old friend for three decades. According to Brando's son Miko, both his father's and Cox's ashes were scattered at the same time in Death Valley, California, in a ceremony following Brando's death, thus reuniting the lifetime friends.

Known For

Mission: Impossible
7.6

Mission: Impossible is an American television series that was created and initially produced by Bruce Geller. It chronicles the missions of a team of secret government agents known as the Impossible Missions Force. In the first season, the team is led by Dan Briggs, played by Steven Hill; Jim Phelps, played by Peter Graves, takes charge for the remaining seasons. A hallmark of the series shows Briggs or Phelps receiving his instructions on a recording that then self-destructs, followed by the theme music composed by Lalo Schifrin. The series aired on the CBS network from September 1966 to March 1973, then returned to television for two seasons on ABC, from 1988 to 1990, retaining only Graves in the cast. It later inspired a popular series of theatrical motion pictures starring Tom Cruise, beginning in 1996.

Mission: Impossible

1966Series
Get Smart
8.0

Get Smart is an American comedy television series that satirizes the secret agent genre. Created by Mel Brooks with Buck Henry, the show stars Don Adams, Barbara Feldon, and Edward Platt. Henry said they created the show by request of Daniel Melnick, who was a partner, along with Leonard Stern and David Susskind, of the show's production company, Talent Associates, to capitalize on "the two biggest things in the entertainment world today"—James Bond and Inspector Clouseau. Brooks said: "It's an insane combination of James Bond and Mel Brooks comedy." This is the only Mel Brooks production to feature a laugh track. The success of the show eventually spawned the follow-up films The Nude Bomb and Get Smart, Again!, as well as a 1995 revival series and a 2008 film remake. In 2010, TV Guide ranked Get Smart's opening title sequence at No. 2 on its list of TV's Top 10 Credits Sequences, as selected by readers.

Get Smart

1965Series
Matinee Theater
5.3

Matinee Theater is an American anthology series that aired on NBC during the Golden Age of Television, from 1955 to 1958. The series, which ran daily in the afternoon, was frequently live. It was produced by Albert McCleery, Darrell Ross, George Cahan and Frank Price with executive producer George Lowther. McCleery had previously produced the live series Cameo Theatre which introduced to television the concept of theater-in-the-round, TV plays staged with minimal sets. Jim Buckley of the Pewter Plough Playhouse recalled: When Al McCleery got back to the States, he originated a most ambitious theatrical TV series for NBC called Matinee Theater: to televise five different stage plays per week live, airing around noon in order to promote color TV to the American housewife as she labored over her ironing. Al was the producer. He hired five directors and five art directors. Richard Bennett, one of our first early presidents of the Pewter Plough Corporation, was one of the directors and I was one of the art directors and, as soon as we were through televising one play, we had lunch and then met to plan next week’s show. That was over 50 years ago, and I’m trying to think; I believe the TV art director is his own set decorator —yes, of course! It had to be, since one of McCleery’s chief claims to favor with the producers was his elimination of the setting per se and simply decorating the scene with a minimum of props. It took a bit of ingenuity.

Matinee Theater

1955Series