For many artists, there comes a moment when they draw a line in the sand, indicating a firm stance on their creative boundaries. For Carroll O’Connor, star of the iconic sitcom All in the Family, that line was drawn over a particular episode he vehemently refused to participate in. His opposition was so strong that it eventually involved attorneys. Here’s the story of what happened and how it was resolved.
O’Connor’s Acting Roots in Dublin
Carroll O’Connor’s journey to becoming Archie Bunker began with his training as an actor in Dublin. When he auditioned for the role of Archie, he stood out among the other contenders. In his 2014 memoir Even This I Get to Experience, the show’s creator Norman Lear recalls the moment O’Connor captured his attention.
“When Carroll came to audition, he entered as the cultured, New York- and Dublin-trained actor he was,” Lear wrote. “When he turned to the script to read, his voice, his eyes, and the attitude of his body shifted; he opened his mouth, and out poured Archie Bunker. Carroll hadn’t reached page 3 before I wanted to run into the street shouting for joy.”
O’Connor’s Breakthrough Role
Lear first noticed O’Connor’s potential for the role of Archie Bunker in the 1966 film What Did You Do in the War, Daddy? directed by Blake Edwards. Although O’Connor played a small, dramatic role as an officer, his performance left a lasting impression on Lear.
“I’d seen [O’Connor] in a picture that [director] Blake Edwards did called What Did You Do in the War, Daddy? He played an officer. One scene in a tent. It was a dramatic scene, it wasn’t really comedy. But that face,” Lear said, laughing. “He was blustery and had an element of what I wanted in Archie Bunker.”
Lear knew O’Connor’s expressive face would “light up the world on a television in close-ups,” making him the perfect fit for Archie.
The Controversial Episode: “The Elevator Story”
Despite O’Connor’s stellar performance as Archie, his passion often led to clashes over the show’s scripts. One particular episode, titled “The Elevator Story,” almost brought the show to a halt. The script involved a pregnant woman giving birth on an elevator in front of four onlookers, a premise O’Connor found absurd and unworkable.
Upon reading the script, O’Connor declared, “There was no way in the world he would do this show.” He argued that filming in an elevator with five actors was logistically impossible, exclaiming, “A baby born on the floor of a godd**n elevator! What’s that all about? I don’t want to talk about this anymore!”
A Battle of Wills and Tears
O’Connor’s resistance led to an emergency meeting with CBS executives, Lear, and their respective attorneys. The actor was so distressed that he burst into tears during the discussion. Despite his emotional outburst, Lear decided to move forward with the episode. O’Connor continued his protest by boycotting the set, prompting CBS attorneys to warn him that All in the Family would be canceled if he didn’t comply.
Ultimately, O’Connor returned to the set, the episode was filmed, and it went on to win a 1972 Emmy for Outstanding Achievement in Live or Tape Sound Mixing. While the award wasn’t glamorous, it acknowledged the technical brilliance of sound man Norman Dewes in overcoming the episode’s challenges of filming in an elevator.
Conclusion
Carroll O’Connor’s passionate stand against “The Elevator Story” episode illustrates the intense creative conflicts that can arise in the world of television. Despite the challenges, his commitment to his principles and the show’s ultimate success underscored the dynamic and sometimes tumultuous relationship between creative vision and execution. All in the Family remains a celebrated classic, thanks in no small part to the dedication of both Norman Lear and Carroll O’Connor.
