-Ladies and gentlemen,
Garry Moore. (cheers and applause) -Thank you. Nice to see you all. We have here a collection of
three pictures that are executed absolutely
magnificently in what I believe to be a highly
recognizable style. But as you look at the pictures and try to decide
who painted them, I think you’d better
think twice; you just might be wrong. Let’s see if we can fool
the panel here on “To Tell The Truth.” -Bill Cullen. (cheers and applause) Peggy Cass. Orson Bean. And Kitty Carlisle. (applause) -Panel, I don’t know how good look you can get from
over there, but we have three pictures
over here that are certainly Rockwellian in style, if I may use the term. This one that is typically a Rockwell kind of picture. It’s a picture of one
predominant character, and then of montage
of other characters, some of them recognizable
people, others are just types, age, ethnic, and very typical. Over here is a sort
of comic poetry of a figure that we more or less
all have known at one time or
another in our lives and can identify with. Over here is a
portrait of Mark Spitz. Now, these three
gentlemen are coming out, all claim to have done
these Rockwellian portraits. Let’s meet them
right now. Gentlemen. -Number one, what is your
name please? -My name is
Robert Charles Howe. -Number two. -My name is
Robert Charles Howe. -Number three. -My name is
Robert Charles Howe. -Listen to the artistic
statement of Robert Charles Howe, this is what he
has to say for himself, “I Robert Charles Howe, I’m an artist,
and Norman Rockwell is my idol. When I was a little boy, my grandfather
used to show me all of the Rockwell paintings in the pages of the
Saturday Evening Post. When the Post announced
a contest to choose an artist who could paint
like Norman Rockwell, I had gathered together my most
Rockwellian paintings, and took them to the
Saturday Evening Post office. The editors
were very pleased, but the final
decision rested with Mr. Rockwell himself. I was honored that he
chose me as the winner. I was doubly thrilled
when I learned that Norman Rockwell
had said that I was a better painter
than he was himself at the age of 18.” Signed
Robert Charles Howe. (applause) We’ll be back together,
look at the pictures perhaps, and learn more about
this remarkable young artist after some reasonably
remarkable commercials. -We have with us three
fine looking young gentlemen, all claiming to be
Robert Charles Howe who won a contest for painting in the style of
Norman Rockwell. Let’s start the question
please with Peggy Cass. -Whoever you are, those are
really very very good. I especially
like the middle one. Number one, where is the Saturday Evening
Post published? -It’s in Indianapolis
right now. -Thank you. Number three, do you make any money
with your work? Because it seems
to me you should be out earning a very good
buck with that stuff? -Right now
I’m just working for the
Saturday Evening Post. -Oh, you do work for them. As an illustrator? -Now. Yes. -At 18? That’s pretty darn good. Number two,
where are you from? -New York. -Do you work for
the Saturday Evening Post? -Yes. -Where is it? -The Waldorf. -The Waldorf Astoria? -In the lobby,
they have their office. -They have their office in the lobby of the Waldorf? -Sounds more like Vogue. -Oh. Number one, do you know
Mr. Rockwell? -No I don’t. -Oh. Well, number three, where does
Mr. Rockwell live? You don’t have to
give me his address, but just where does he live? -In Stockbridge,
Massachusetts. -What did they do? Send your stuff to him, to have him look at it? -Yes I believe so. -Did you get a letter from
him, or? I mean how do you know
he thought you were so good? -Well, I have received letters
from him. I sent him a piece of
my artwork through the mail. (buzzer)
-Okay. -From Peggy
we go to Orson. -Rockwell only recently
began to be accepted by
the intelligentsia, but I think
he’s one of the great American artists,
there’s no question. Number one,
the four paintings that he did many years
ago expressing the freedoms,
remember what they were? -Freedom from want, freedom from fear,
let’s see, freedom from– -That’s close enough. Number two, the famous one of
the hands where did that express? Those two hands. -I don’t know. -Number three, did you ever see the one of the hands? -Yes. -Do you remember what it
expressed or anything? -I think it was freedom
from want. -Number two,
that book of his that recently came out
in the past year, so how much did it cost? You remember
the big beautiful one? -I think it was $65. -That was worth a till. It was wonderful. Number one, what’s your
favorite painting of his? -I like the
freedom from fear, and the four
freedoms I must say. -Number three,
will you eventually, do you hope to
evolve your own style, or do you want
to stick with this? -Well I paint in my
own style now. This is the best
way I express myself. -Do you believe that the current vogue of realism
is going to go on? -Oh, I believe so. -Yeah, I hope it does. I think it’s great. Number two, what do you–
(buzzer) -Thank you Orson. Let’s go to Kitty. -Number two,
where do you live? -I live downtown
in Manhattan, at my parents’ house. -Oh, and number one, what did you do
before you became a painter? I mean, where
did you go to college? Did you study art or
was this just self-taught? -I come from
Charlottesville, Virginia and my father teaches art
in the university. -Oh, and number three, who was your grandfather
that he was such a fan of
Norman Rockwell’s? -Well, he was just
an average American that liked the
Saturday Evening Post. -He wasn’t an artist? -No ma’am. -Did you go
to art school? -No ma’am. -Are you’re
a self-taught? -Yes. -Do you intend to go
to art school? -Right now it’s taking up most
of my time to work. -I see. Number two, who runs the Saturday
Evening Post now? -I don’t know. -Number one, is your
Saturday Evening Post in the Waldorf Astoria too? -Well. I took the paintings to Independence Square
in Philadelphia where they have an office, since I was
closer than the Waldorf. -I see. Number three, it says here
that you took your– you sent your
paintings to Mr. Rockwell? -Yes. -You didn’t take ’em to the post? -Well, I did when they ran an
amateur painting contest, I took some of
my paintings there. -Where? -To Indianapolis. (buzzer) -Great geographical
confusion here. Bill Cullen. -I’m still trying to get out
of Pittsburgh. Okay. We’ll not talk about geography or
anything like that. Number one, how often is the Saturday Evening Post
published now? -Well, it’s just started– it’s just beginning
to become bimonthly. It has been quarterly
until recently. -Yes. If I recall correctly. I’ll ask number two this. The Saturday Evening Post for a while was
off the market, I mean it
wasn’t on the stands. Is that correct,
and then it was sort of brought back. Is that right? -Yes, that’s true. -Now, number three, you of course are talking about the current
Saturday Evening Post, but when you were
a little boy you talked about the original
Saturday Evening Post? -Yes. -Did you have,
number three, assuming you
were the right one. When you painted
that first painting, the one with
President Nixon and behind him
all the other figures. Did you have a particular
magazine format in mind when
you painted that? Was that for the post? -No sir. -Did you have any idea it would
make a great time cover? (bell dinging)
That’s my point there. Looks like–
-It would have been– -Yeah, Time cover. -But the bell rang and we have no further time
for questions. We must mark our ballots, and of course our choice
must be amongst number one, or two,
or three. -We pay each team of
challengers $50 for each wrong question, we pay them $500 if the whole ballgame
goes down the drain. Peggy, what do
you want to do my dear? -How would you know? I would
vote for number three. He looks as though
Norman Rockwell will be glad to draw him. He’s like a nice–
-Rockwell type. Yes, all right. So, he got a
three showing there. Orson? -They’re all good liars, but I went for number three as well. -A pair of 3s. -I will say, it looks like
number three, and number two
looks like an artist. But number one said
he went to Philadelphia, and I thought the
Saturday Evening Post was always in Philadelphia. So, I voted
for number one. -So we got a
one in the pair, three is in, Bill Cullen. -Well, I was torn between, I thought it was
either two or three. But my mind
was made up when number three answered all of Kitty’s questions by saying, “Yes ma’am” and “No ma’am”
and he cannot be all bad. I voted for him
for that purpose. -That doesn’t mean
he has talent; it means he
has nice manners. That’s what it means,
but he gets three votes anyway. Now, one of the prizes
for winning the Norman Rockwell
art contest was to paint, you commit–
they commissioned him to you paint
a self-portrait for the cover of the
Saturday Evening Post. When you see this
painting you’ll certainly know which
one the artist is, and there’s the picture. Robert Charles Howe,
stand up my friend. (applause) -That’s very good. -This is what, it must surely have
been his ambition. This is what
the self-portrait looked like
when it appeared actually on the cover
on the Saturday Evening Post. -That’s marvelous. -Isn’t that great? -Yeah. (applause) -We’ll get back to the
pictures in half a second. Let’s first find out
who our impostors are. Number one
tell us about you. -My name is
Carrie Giudice, and I’m the
Assistant Director of Public Relations
for Sadah, which is a drug rehabilitation
program in the Bronx. -Very good one. (applause) Number two. Tell us about you. -My name is Mark Bladon,
and I’m a cab driver. (applause) -Now, something that I’m surprised the
panel didn’t get in, and perhaps it came
from the fact that they really can’t get a good look at these pictures from
them where they’re seated. But one of the
Norman Rockwell trademarks was when he did
a montage, when he had many faces
he usually included his own. -Oh he would. Yeah. -Now, if you look at this
picture, squeezed over here is
President Nixon and Mr. Agnew, and here we go
back in the corner, and there’s
Robert Charles Howe. Up there in the corner. -Oh. Yeah. -Give away his trademark. Robert, thank you very much. Thank you gentlemen also for
being with us on To Tell The Truth. (applause) -Now, let us meet our
Miss Award Winner. Number one,
what is your name please? -My name is Karen Calais. -Number two? -My name is Karen Calais. -Number three? -My name is Karen Calais. -Here is the story of
Karen Calais. She says,
“I Karen Calais, I’m the co-founder
of a rape crisis center. For generations
rape was a subject of such humiliation that victims suffered alone
and in silence. Today, American women
are beginning to deal realistically with this
and other vital subjects. From the
Rape Crisis Center, a woman can receive
information on medical, legal, or
psychological problems. She can be directed
to a hospital or a police station
and a member of the center will accompany her
if she desires. We also provide a model structure
for similar centers, which are being organized
all over the country. There are some 200 to 300
calls we receive each month
are all answered by women who are
highly empathetic. Their support
is no accident, most of them are
rape victims themselves.” Signed, Karen Calais. (applause) I think we’ll start this
with Bill Cullen, please. -Number three, do I understand correctly that actually
a woman who has been raped many times a
high percentage of times, they do not report the
rape to the authorities? -This is correct. Yes. -Now, stay with you,
number three, because naturally I
don’t know which one it is. Why is it that they are
reluctant to report it? I think I know,
but just for the record. -Well, the
main reason is that even if they are able
to identify the assailant, almost never
is he convicted. -Number one,
another reason, have I not understood
that frequently a woman reporting rape
actually gets not into trouble, but it’s made difficult
for her by the authorities to whom
she makes the report? -Yes, that’s true. There are two things
involved mostly, it’s when she tries
to convict the rapist. It’s quite embarrassing
for the woman. She’s asked many
embarrassing questions. -Number two,
are there cases of women who have reported rape and actually been made fun of, to put it that bluntly, by the people to whom
they made the report? -Yea, very much so, that’s a
very common occurrence, especially when
she has to testify herself in front of an open hearing. -Now, go back to number one
just for– (buzzer) -Sorry, Bill,
we’ll go to Peggy. -Well, I have to disqualify
myself. -You have some knowledge of
the young lady? -Yes. -Okay, fine. We’ll find out where and
how Peggy met her. It counts for a
wrong vote automatically, and we’ll go
to Orson, please. -Number two,
I find it hard to believe
maybe out of ignorance that if it’s obvious
that a man has raped a woman, it would be
difficult to get a conviction. Do you agree with
three if that that’s true? -Yeah, I agree. -Why is that? -Well, first of all there’s a whole lot of
different things that go into what it takes to convict a man
of raping a woman, and a lot of it is
put on the woman to prove, and you have to
deal with the police, and the hospitals,
and the courts. -Number one, is it the
question of whether there was a certain
amount of seduction on the part of
the woman involved, or is it just–
what is it? -Well, usually
the common belief is that no woman
is forcibly raped. -What’s your
opinion on that? -Most women are, either
by force or coercion. -You mean most women
who are raped are forcibly raped? -Yes. That’s what I meant. -Number three. Isn’t that
obvious though? Certainly
literature like Faulkner and things like
that are filled with incidences where guys are unjustly convicted of rape and isn’t there a realistic chance
that this can happen? Does that not account for some of the
hesitance maybe? -There is a chance. Right. Legally, this
is the hesitancy I suppose, but from the woman’s
standpoint, this is very rare. Most women that report a
rape have really been raped. -Number two doesn’t–
(buzzer) -Finally, Kitty Carlisle. -Thank you. Number two, has the law been changed to require a witness to a rape? -That’s true in New York,
and I don’t know about witnesses
in any other places. -It is true in New York. Well, number one,
how often are women raped with
witnesses standing around? -Very infrequently. -So, it’s very hard to get
a conviction? -Yes. Exactly. -Number three,
does a certain amount of guilt play a part, unreasoning
I’ll grant you, but a certain amount
of guilt on the part of the lady that’s
been raped play a part in
her reluctance to report it? -This is true and this is what
we are trying to deal with in
our rape crisis center. -Well, I’ve never understood
why she feels guilty if
she’s been forced. -She feels guilty because of
the way she’s been reared because of
the attitudes of society. -I see. Number two, how have you
been able to change the attitude in the
courts vis-a-vis the woman? -The attitudes in the courts are really hard to change. But, we are
trying to first of all make women feel more
stronger about themselves, so that they don’t
feel guilty about it, and then when
society changes and maybe the
attitudes in the courts will. -Thank you. Number one what is your proportion of
convictions for the men? -I couldn’t even tell you, probably
below one percent. -Oh, my–
(bell dinging) -There were
happy facts or perhaps non-facts
came out of the questioning. In any event,
we must now mark our ballots and
we try to just choose. Is it number one or
number two or number three, and Bill Cullen
you have to make the first surmise, my friend. -Difficult. The answers all good. Number three,
in answering the questions sounded to
me like she had answered those
questions before. You know, some people
have just the right selection of words and for that reason and
only that reason, I voted for number three. -All right. So,
we got a three showing. Peggy is a disqualification
and therefore automatically counts
as a wrong vote. Orson Bean is up. -I’m not suggesting that there
should be equal time for rapists, but I just feel that the whole story
has not come out. I don’t know what
the whole story is, but it just doesn’t
hold water entirely. However,
I voted for number three. -Witnesses. -We’ve got a two at three,
and Kitty. -Of course. -I don’t wish to discuss
that with you. I voted for number three
because I feel that she has also
practiced, more practiced vocabulary,
and also she looks like the kind of girl
that would get out there and back up
what she feels. -All right. So that’s the way the
votes went here and so will the real
Karen Calais please stand up. (applause) Very nice going, and $500 goes to
the group over there. Congratulations. Peg, why did you
disqualify yourself? -I would
have killed myself. -Why? You mean you thought. -I saw it on
a Channel 7 News. I thought it was three. The good guys
are bad guys today. I thought it was you, are you sure you
weren’t on the Channel 7 News? -Positive. -Were you on it? -Yeah my hair was longer
though, but there was also
somebody else with dark hair. -Well, either
way I was right. -I think it’s the kind of
thing Peg that she would
remember if she were on it. -But, the thing is, I think
it’s so dumb to ask for a
witness to a rape. People don’t rape
with these witnesses around. -Unless it’s the guy who’s
waiting to– the friend. -Let’s find out about
number one. What is your
real name please? -My name is India
Yvonne Vorhees and I’m an
administrative assistant with Doubleday and Company. (applause) -Okay. Great. Are you any relation to Westbrook Van Vorhees? -Distant cousin. -Distant cousin. He was a fine
voice of radio. Number three, triumphant. What is your real name
please and what do you do? -My name is
Sharon Connors and I’m a housewife
in New York City. (applause) -Karen,
how does a center like this get its funding? I should think
it will be difficult. -Yeah, well it is and what we
do is we basically get our funding through speaking and through private donations
and if anybody would like to make a donation
they can make their checks out to
the Rape Crisis Center, post office box […]
Washington DC, 20009. -There’s one in New York? -No, it’s DC. Oh, there’s one that’s going to be
started in New York. -Well, is it a part of the service really
is for the people who are with the crisis center having gone through
the same experience, help the women to get rid of any sense of
shame that they might have. In other words,
it’s the psychological help more than the legal help? -Well, it’s all of them, we don’t place
one above the other, but we do turn out a fine
bunch of strong women. -Because I should think to win a legal part
is one thing, but to get over the psychological sense
of having been violated actually
be far more important. It’s a fine idea, Karen. Thank you very much
and thank you ladies, gals also for being with us. -There’s not very much to
say after that last spotted, gives us great pause,
a lot to think about, and I think we just ought
to quit and think about it. So, we’ll see
you again sometime. Thank you. Thank you, panel. (applause) -This is Bill Wendell
speaking for To Tell the Truth, a Mark Goodson,
Bill Todman production.

2 thoughts on “To Tell The Truth – PAINT A PICTURE FOR US! | BUZZR

  • September 4, 2019 at 3:58 pm

    Anyone else find Orson Bean's comment suspicious? What a strange thing for him to say about rape to the woman who started the rape crisis center! Guilty conscience?

  • September 5, 2019 at 12:52 am

    Wow…this episode left me with some conflicted feelings…

    First, this episode shows how unintentionally inappropriate the theme can sound during very serious subjects:

    "Most of them are rape victims themselves…"


    Second, I was surprised to find something to make me not like Orson Bean but his comment during the voting in segment two made me sick to my stomach…I will never view him in the same light again…he should have been ashamed to have said such a horrible thing…

    Finally, my love for Kitty Carlisle was renewed 1000% by her performance during that segment and her admonistion of Bean…get 'em, Kitty!


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