‘Bewitched’ turns 60: Celebrating the classic sitcom starring Elizabeth Montgomery
With a twitch of her nose, Elizabeth Montgomery flew to the top of the ratings as a witch whose trouble-making magical family turns her mortal husband’s life into chaos. “Bewitched” debuted on September 17, 1964, opening with its famous animated sequence produced by Hanna-Barbera, and its catchy tune that follows the cartoon witch flying around on her broomstick, with bells and twinkles warning of the fantastical world we’re about to enter.
Famous for a nosy neighbor, meddling mother-in-law and a husband switcheroo, “Bewitched” has endured for six decades and, along with lighthearted silliness, also has subtle undertones that reflect the changing times and attitudes of the 1960s. Read on for more about the “Bewitched” 60th anniversary.
Series creator Sol Saks was inspired by two romantic comedy fantasies, “I Married a Witch” (1942) and “Bell, Book and Candle” (1958), that center around a witch falling in love with a mortal man and the humorous situations that ensue, and developed a sitcom about “the occult destabilization of the conformist life of an upwardly mobile advertising man.”
Montgomery leads an incredible ensemble as the beautiful and savvy witch Samantha Stephens, who tries to maintain a “normal” life with her mortal husband, Darrin, who does not know she’s a witch when they marry, and wants her to refrain from using magic when he does find out. Feeling that her daughter has married beneath her and with no concern for the trouble she causes her son-in-law, Samantha’s mother Endora consistently interferes in their marriage with her witchcraft, and only refers to Darrin by his true name eight times throughout the run of the series – instead calling him names like “Derwin” or “Dum Dum.” Agnes Moorehead’s portrayal of the fiery, centuries-old witch set the standard for meddling mothers-in-law on television, while the actor playing Darrin had to be the “straight man” of the series — and the producers were fortunate to find not just one, but two men to portray the put-upon husband.
With a host of mischievous witches, befuddled mortals and “magical” special effects, “Bewitched” caught on quickly with audiences. Its debut season finished second only to the popular western “Bonanza,” making it the highest-rated sitcom in the 1964 season and a hit for ABC network.
In one of the most famous character replacements of all time, the essential character of Darrin had to be recast during Season 5. Dick York originated the role, and earned an Emmy nomination for Best Comedy Actor in 1968. However, years before York had suffered a debilitating back injury while filming “They Came to Cordura” (1959), and his health began to deteriorate during the third season of “Bewitched,” with episodes written around his inability to stand for long periods of time. After collapsing on set while filming a season five episode, York decided to leave the series. Darrin was recast with Dick Sargent, who had been offered the role at the start but had turned it down due to a conflict. The two men ironically had the same first name, bore a striking resemblance and had many of the same mannerisms, and the “two Darrins” became an iconic part of television history.
Another role that had to be recast was that of Gladys Kravitz, who helped define the stereotypical busybody as the Stephens’s nosy neighbor who witnesses the use of magic, but can’t convince her annoyed husband Abner (George Tobias) of what she has seen. Alice Pearce originated the role, but passed away from cancer during the second season, and Sandra Gould took over for the remainder of the series.
Samantha’s fumbling Aunt Clara, known for her love of doorknobs, was portrayed by Marion Lorne, who also passed away during the course of the series. After the actress’s death from a heart attack shortly before the start of the fifth season, the producers decided not to recast the role and Aunt Clara was never mentioned again. Both Pearce and Lorne won posthumous Emmys for Best Supporting Actress (in 1966 and 1968, respectively). Remarkably, these were the only acting wins for the series.
Both Samantha and Endora are beloved characters that have become ingrained in pop culture, and each actress earned numerous Emmy nominations. Montgomery garnered a Best Comedy Actress bid every year from 1966-1970, but never won. Moorehead also snagged a nomination in the lead category, vying with her onscreen daughter, in 1967, and received a bid in supporting every other year from 1966-1971. She never won for playing Endora, but in 1967 (the year she was up for Best Comedy Actress), she won for Best Drama Supporting Actress for “The Wild Wild West.”
Out of a total of 22 nominations, the only other win besides Pearce and Lorne was for Best Director, with William Asher winning in 1966. Asher was also Montgomery’s husband at the time, and would eventually become a producer of the series.
Samantha’s efforts to balance making her magical family happy and “obeying” her mortal husband’s wishes to not use her magic have been seen as allegories about mixed marriages, social taboos and feminist struggles. In a time when women on television rarely defy their husbands, Samantha refuses to lose her identity as a witch, while also maintaining harmony in the mortal world for the sake of the man she loves. With stories and allusions to the fact that witches have to “hide who they are” because “people don’t understand,” Montgomery herself acknowledged that there are hidden references to closeted homosexuality.
Even though the recurring theme of “magic messing with the mortal realm” is the primary focus of the series, a ton of recurring — and colorful characters — gives each episode its own personality. Montgomery herself plays another witch, her hippie cousin Serena, who embodies the style and attitudes of the times. The actress used the pseudonym Pandora Spocks (a play on Pandora’s Box) for the role. From Darrin’s oft-confused boss Larry Tate (David White) to the Stephens’s adorable witch-in-training daughter Tabitha (Erin Murphy) to their accident-prone “magical” maid Esmeralda (Alice Ghostley), the cast of “Bewitched” expanded over the years, and gave TV some of its most memorable personalities and moments.
“Bewitched” proved so popular it inspired fantasy sitcoms like “I Dream of Jeannie” (1965-1970), and was still contracted to two more years for ABC, despite a decrease in the ratings for the last couple of seasons. But Montgomery had grown weary of the role, and her marriage to Asher had come to an end. To compensate for ending “Bewitched” early, Asher helped to create two sitcoms for ABC, one starring Paul Lynde, who had played Samantha’s jokester Uncle Arthur, but neither of these fared well.
For 60 years, audiences have been spellbound by Montgomery’s charm and “magical” special effects, and enchanted by the unique and funny characters who have brought a wonderful world of make-believe into our homes. Hopefully generations will continue to discover the fun, and the worldview, “Bewitched” offers for decades to come.
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