THE CATHOLIC UNIVERSITY OF AMERICA An Analysis of the Portrayal of Catholicism on Prime-Time Network Entertainment Television, 1950-1980 A DISSERTATION Submitted to the Faculty of the Department of History School of Arts & Sciences Of The Catholic University of America In Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy © Copyright All Rights Reserved By Christopher Gildemeister Washington, D.C. 2014 An Analysis of the Portrayal of Catholicism on Prime-Time Network Entertainment Television, 1950-1980 Christopher Gildemeister, Ph.D. Director: Leslie W. Tentler, Ph.D. Representations in popular culture entertainment both reflect popular thought about various subjects, and simultaneously influence perceptions of those same subjects. This dissertation proposes a twofold thesis: firstly, that the representation of the Catholic priest in American popular culture – particularly film and prime-time broadcast network entertainment television – was shaped by various real-life individual priests; and secondly, that such representations fell into a number of identifiable and frequently repeated tropes, which themselves served to influence later representations. With the rise of mass popular culture in the 1920s (largely originated by the increasing influence of film and the rapid and widespread adoption of radio broadcasting), the image of the Catholic priest in America shifted from that of the effeminate, licentious, and sexually depraved predator which was widespread during the nation’s era of domination by traditionally anti- Catholic Protestants to that of the “heroic priest”: a tough, dynamic, manly individual dedicated to social reform, particularly involving battles against entrenched civic corruption and crime. The major model for the “heroic priest” was the famed “radio priest,” Father Charles Coughlin, who in the early years of his fame was a far more populist and reform-minded individual than he was to become subsequently. Several other real-life priests, such as Boys Town founder Father Edward Flanagan and World War I chaplain Father Duffy also contributed to the image of the “heroic priest,” which was reflected in such films as Angels with Dirty Faces, Boys Town , and others. Post-World War II, the image of the “heroic priest” acquired a heavily anti-Communist cast, influenced by such real-life resistance to tyranny as that offered by Hungarian Cardinal Joszef Mindszenty, which was reflected throughout the television programming of the era, from the early Studio One to programs like Mission: Impossible and The Outer Limits . The image also softened somewhat into that of the “man of piety,” dedicated priests who continued their devotion to social uplift though in less obstreperous ways, seen on programs ranging from Dragnet to The Loretta Young Show . The 1962-63 ABC television series Going My Way (based on the famed 1944 movie) offered a unique picture of Catholic clergy and the Church on the eve of the Second Vatican Council. While overtly reflecting an older, traditionalist portrait of the “Catholic ghetto” of the 1930s, in its subtext the series uneasily confronted the Church’s internal tensions over such issues as marriage, atheism, ecumenism, and race. Finally, influenced by such real-life radical priests as Philip and Daniel Berrigan, media began portraying priests as radical reformers in such programs as The Mod Squad . This image soon softened into a portrait of Catholic clergy as “fully human,” well-meaning but possessed of the full range of human foibles, as reflected on such television portrayals of priests as Father Francis Mulcahy on M*A*S*H and comedian Don Novello’s humorous character Father Guido Sarducci – thus tracing a perceptual arc of the Catholic priest from depraved to heroic to fully human. This dissertation by Christopher Gildemeister fulfills the dissertation requirement for the doctoral degree in History, approved by Leslie W. Tentler, Ph.D. as Director, and by Timothy Meagher, Ph.D. and Alexander Russo, Ph.D. as Readers. ____________________________________ Leslie W. Tentler, Ph.D., Director ____________________________________ Timothy Meagher, Ph.D., Reader ____________________________________ Alexander Russo, Ph.D., Reader ii TABLE OF CONTENTS Signature Page………………………………………………………………… ii Table of Contents……………………………………………………………… iii Acknowledgements…………………………………………………………… iv Introduction…………………………………………………………………… 1 Prologue: Anti-Catholicism in American Culture, 1620-1920……………….. 27 Chapter 1: The Rise of the “Heroic Priest,” 1920-1950……………………… 42 Chapter 2: “Heroic Priests” and “Men of Piety”: Catholic Clergy on Television, 1950-1970……………………… 97 Chapter 3: The Church in Transition: Catholic Popularity, Vatican II, and TV’s Going My Way ……… 215 Chapter 4: “Radical and Human”: The Modern Priest on TV, 1968-1980…… 334 Conclusion…………………………………………………………………… 439 Appendix 1: Going My Way Episode Guide………………………………… 446 Appendix 2: Catholics: A Fable of the Future ……………………………… 457 Appendix 3: William Christopher Interview………………………………… 468 Endnotes……………………………………………………………………… 539 Bibliography…………………………………………………………………… 575 iii ACKNOWLEDGEMENTS During the extremely lengthy process of completing my this dissertation, I have incurred many debts, professional, academic, and personal; thus, it is meet that I take a small amount of space to acknowledge, and express my genuine gratitude toward, all those who have helped me on my way to the achievement of this life-long goal. Professionally, I am grateful to Tim Winter, president of the Parents Television Council, for the generous amount of paid time away from work which he allowed me for the researching and writing of the present dissertation. Thanks are due Melissa Henson, who graciously took on my work in addition to her own during my absences, and who at all times proved herself a loyal, concerned, and devoted friend. I am also grateful to Chris Ryder, who formatted and paginated this dissertation for me. His skill with computer programs is matched only by his patience and good humor. Academically, gratitude and thanks must be extended first to the late Edward Norman Peterson, whose unflagging enthusiasm for History first sparked an interest in the field, and later led me to choose History as a vocation of study. Kurt Leichtle’s infectious humor and mastery of seemingly everything relating to American history and culture confirmed that choice. His interest in and concern for me as a person has continued across the successive years, and he was also the first to show me that serious scholarship and an interest in popular culture were not incompatible. At the Catholic University of America, thanks are due Gary Gerstle, who served as my first mentor at CUA, and whose work in the areas of identity-building and Americanization provided good conceptual grounding for this dissertation. Christopher Kauffman, late of the iv Church History department, provided a midwestern convert from Lutheranism with my first exposure to the richness of American Catholicism. Ernest Suarez’s class on early 20 th century American literature exposed me to techniques of literary analysis which were invaluable for this project. A conversation with James Riley at a moment of deep personal crisis encouraged me to continue my graduate studies; a similar conversation with Nelson Minnich persuaded me to begin – and, ultimately, finish -- my dissertation. Dean Hanna Marks gave me more “second chances,” readmissions to candidacy, and forgiveness of student fees than I ever deserved. For so brutally taxing her patience, apologies; my attainment of this degree will, I hope, prove adequate compensation. But my greatest academic debt is to Leslie Tentler. Without having had me as a student or knowing anything about me, she took a large risk on the word of someone who had been away from the academic world for the better part of a decade, and agreed to serve as advisor and sponsor my dissertation. Through long silences, pleading for more time, last-minute receipt of a 600-page first draft, and the process of wrangling a recalcitrant defense committee, Dr. Tentler has never been anything but generous, gracious, patient, and compassionate. Words are insufficient to express my gratitude. Personally, I am grateful to the many dear friends and family members – too many to name here -- who supported me intellectually, emotionally, and psychologically through many moments of fear, depression, and despair; but a few in particular must be acknowledged. Jim Mossman provided a compassionate “sounding board” during some of my blackest moods. At one crucial moment, Francis Illano’s willingness to listen encouraged me to make a final necessary effort in finishing my revisions. Jennifer Bonner’s often mordant wit and sympathetic understanding of the dissertation process have provided an excellent source of commiseration. v My sister Melissa and nephew Joseph have been unfailing in their support through prayer. Over the course of our friendship, Linda Taylor’s love, concern, patience, and prayers for my success have been a constant solace and aid. But my deepest debt, and greatest acknowledgement, must be to Jeremy Bonner. Beginning as fellow students in the same department and specialty, our academic comradeship quickly ripened into a firm and unfailing friendship. Jeremy never stopped encouraging me to finish my dissertation. Through revision of multiple drafts, expert advice and guidance on the dissertation and graduate school process, and absolute and unwavering support for me in