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| Desiderio Alberto Arnaz and Lucille Désirée Ball |
Those of us who recall watching the 1950s “I Love Lucy” show, or have enjoyed its re-runs, may not be aware of the uniqueness and ground-breaking work involved in its presentation. According to Arnaz’ Autobiography, almost from their first meeting, starlet Lucille Ball and Cuban singer Desi Arnaz felt a galvanic connection. Despite their later divorce after a volatile marriage, the residue of this affection never truly dissolved.
Untapped ability lay beneath both Desi and Lucy’s somewhat superficial appeal. Desi’s talents transcended his persona as an amorous Hispanic Don Juan, while Lucille’s comic abilities would long outlast her fleeting allure as a flirtatious firefly. Almost from the first, Desi called her “Lucy” mainly because no-one else ever had, and undoubtedly due to his sense that this name suited her flamboyant nature far better than did the dainty restraints imposed upon a Hollywood dolly.
They married on November 30th 1940. From its outset, their marriage was fraught with both joy and flame. Desi’s Hispanic male expectations were soon deflated by Lucy’s American mindset. When Desi, drowsy and dry-mouthed from drinking, shook Lucy awake and ordered her to get up and bring him a glass of ice water, she obeyed obediently. A few hours later, however, she shook him awake to voice her fury and astonishment at his request and her compliance. Never was he to do that again.
Having invested in their own company, Desilu Productions, they decided to create their sitcom, “I Love Lucy”. No hurdle was viewed as too large to impede them. When told by fire inspectors that certain production aspects violated laws, Desi asked what he needed to do in order to accomplish what he had just been told was forbidden. A compromise resulted.
In order to make “I Love Lucy” succeed, another couple was needed. Thus, Desilu employed Vivian Vance and William Frawley to portray Ethel and Fred Mertz, the slightly older pair from whom “Ricky and Lucy Ricardo” rented an apartment. A further example of the Arnaz business method occurred at a lunch meeting between Arnaz and Frawley. When Frawley groused he could not get work in Hollywood based on the false belief of unreliability due to drinking, Desi put it to him in concrete terms. One missed day of work due to alcohol would be accepted. A second such lapse would be concealed by the script writers, though perhaps at some inconvenience. A third offense, however, would result in instant firing, and Frawley’s inability to obtain further work as an actor by any studio. This strategy succeeded; the first show was aired in October 1951. Frawley never missed one day of work, or appeared for one rehearsal or show with the slightest sign of having imbibed beforehand.
Much of Desilu productions work was innovative. Never before had a show been on a sound stage, presented in front of a live audience. In addition, the recording industry was still seen as high-tech. Desilu preserved its episodes in this form, and gained firmer control than they would have if they had allowed large networks to sell their work to smaller TV stations.
Today, there are those who ridicule the “I Love Lucy” show as mindless slapstick. Arnaz does not deny their program contained farcical elements. Still, as he states in this autobiography, their purpose was to entertain-nothing more. If someone, after a long day at work, switched a TV onto their show, they hoped to generate laughter and fun. There was no social commentary or solemn subtext. Even the Ricardo’s worst arguments always ended in humor and tenderness. They hoped to reflect the typical 1950s couple, plagued by the day-to-day irritations, with never a question of granite-like love.
Even though outdated marital views can be found in their programs, countless couples still seem to recognize aspects of themselves and their lives within the Ricardo’s framework.
The book is a wonderful read depicting a complicated career, a volatile relationship and I believe Desi's lifelong love for “Lucy”
