Have Gun - Will Travel

What a remarkable half hour of allegory and metaphor. Starting with the premise that our protagonist is a fellow who others don't like - he's a gunfighter. And that he charges a lot - $1,000 - and that he is cool - wears black and uses a business card - and he does good deeds for others.

And he doesn't like to use his gun to solve problems.

This vehicle is used over and over again to good effect. He solves interesting problems that span a large part of the country and a large array of people - blacks, chinese, mexicans, bums, crooks and good guys.

Writers include Roddenberry.

Good stuff, mostly.

The plot and the character, Paladin (which is not actually the gunfighter's name; he takes the moniker after being challenged by a character named Smoke) were ahead of the times for 1957. Paladin is a multilingual gentleman of letters who sees no need for macho bravado, is a champion of human rights (regardless of race or nationality) and who proves that real men can be literate, eloquent, and even wear a satin robe.

Having viewed the Columbia House re-release of twenty-one episodes of "Have Gun", it amazes me how much Paladin is a renaissance man. Paladin laughs up his sleeve as his adversaries fumble in comic absurdity, trying to prove just how masculine they are. Psychology, not a pistol, often is the weapon of choice. Even so, after twenty-two minutes of clever strategy and elocution, the fist and the forty-four are often called upon to end the story, lest we run out of time.

No small surprise that "Have Gun" provided writer Gene Roddenberry with a creative garden to develop ideas for another series (deemed by the omniscient sages of networkdom to be "too cerebral"), "Star Trek".

I suspect this series grew out of a radio show of the early 50's called Frontier Gentleman with John Dehner as a polished force for good in the Old West. Of course, a character like that cuts against the stereotype of the western hero, who, whatever his level of gun-slinging skill, is rarely able to quote Shakespeare or distinguish a Rothschild '29 from a swig of whiskey. But, of course, Palladin can. In fact, the guy in black knows all the arts of refinement, which not surprisingly came to separate him from the hundred other Western heroes of that day.

But casting an intellectual gun-fighter for a macho Western series presents a tricky challenge. The actor's got to be authoritative whether slinging a gun or fingering a glass of wine, and also be masculine enough to command respect in both regards. And this is where the series really succeeded. They got Richard Boone, an actor who can make you believe most anything. Plus, his homely, craggy looks are unlike any of the many handsome heroes of the day. At the same time, dressing him in black, with a mysterious background and a mythological name pretty much completes the package that produced big success in the ratings, lasting an unusual six seasons.

The opening sequence in San Francisco usually played up Palladin's refinements and success with the ladies, even dressing him often like a dandy. After that, he'd hire out, change into his black work clothes, and go on the road to some risky situation. My favorite stories are those that have him trying to figure out where the truth lies, because often his employer would shade the truth for various reasons. Then, our knight-without-armor would have to rely on instinct and a sense of honor since he's not a lawman with a duty to perform. What duty he does have comes from a knight's sense of honor that only he is responsible for, reinforcing his image as an ultimate loner.

Wisely, the script would occasionally humanize Palladin's superior skills by having him reflect on the strange ways of the world or on the wisdom of his actions. For example, he might stare off in silence at the end of a particularly troubling story, or quote something wise that would make us think. These were important moments that added a thoughtful dimension too commonly missing from other horse operas of the time. Then too, even weak stories were often compensated by Boone's commanding presence.

I don't know if HGWT was the best series of that six-gun saturated era—the early Gunsmoke (1955-60) was awfully good as was Sam Peckinpaugh's brilliant but short-lived The Westerner (1960). Nonetheless, the guy in black is definitely worth catching up with, along with that catchy title tune.

There was a lot of thought put into this TV series, which was not your typical Western. For one thing, his name: a Paladin was a lawful knight of Charlemagne's court. This accounts for the chess-piece knight on his calling card, and the lyrics of the theme song which refer to him as "a knight without armor in a savage land." His calling card said "Have Gun, Will Travel" and "Wire Paladin, San Francisco." (By the way, "Wire" was not his first name, it's a verb meaning "send a telegram.") Paladin, the only name he ever went by, was a true split-personality type. He was equally at home wearing expensive suits and living a rich playboy lifestyle in a San Francisco hotel, or donning his black working clothes, and avenging evil. Some of the clients he stood up for were not in the majority; for example, he once defended the Mennonites, which probably would make him seem to be a non-conformist. Paladin only cared about right and wrong. Even though he charged a fee for his services, he only took cases he believed in, and clients he wanted to help.

" 'Have Gun, Will Travel' reads the card of a man. A knight without armor in a savage land. His fast gun for hire heeds the calling wind. A soldier of Fortune is the man called Paladin. Paladin, Paladin, where do you roam? Paladin, Paladin, far, far from home."

Intelligent, principled, competent, courageous, educated and suave. A bit ruthless perhaps, but a hero. Such was Palladin, who could quote Shakespeare as well as he used his perfectly balance Cavalry model 1873 Colt Single Action Revolver. This was the perfect counterpoint to Maverick's irony. For a school boy who also loved Shakespeare, Palladin became a justification. If a Western hero could be literate, then a literate boy was OK. Richard Boone was excellent, as we all know and yet... I wonder if John Dehner (who played Palladin on radio and who could not take the role on television because of contractual difficulties) had played the role, what would that have been like? Dehner vs Boone... speculation only but Dehner's greater sophistication against Boone's rugged masculinity. Both the radio and TV versions of Palladin were excellent. There has been little or nothing like it since.