Sanford And Son Complete Series Download [NEW]

Sanford was the 1980 revival of the 1970s sitcom Sanford & Son. In 1977, after six seasons of Sanford & Son, Redd Foxx decided to leave the NBC show to star in a variety show for ABC. His new show, The Redd Foxx Comedy Hour, was cancelled after just four months. Perhaps regretting this decision, Foxx returned to NBC two years later in an effort to revive the character of Fred Sanford. NBC was also eager to revive its most successful show of the 1970s. Sanford premiered in March 1980 as a midseason replacement. Demond Wilson refused to reprise his role as Fred's son, Lamont. His absence was explained by having Lamont away working on the Alaskan Pipeline. Fred's new business partner in the junkyard was Cal, an obese White Southerner that worked with Lamont on the pipeline and Lamont sent him to help his father. Cal moves into Lamont's old room. Rollo Lawson (Nathaniel Taylor), a recurring character on the previous series, was now working for Fred as a delivery man. The show was highly promoted by NBC, and the premiere episode garnered solid ratings; however, the ratings dropped as the season progressed. Sanford was then put on hiatus to be retooled. The show returned in January 1981 again as a mid-season replacement. The show was moved from Saturdays to the Friday night death slot. Aunt Esther (LaWanda Page) appeared in the two-part season premiere (along with another episode later in the season). It was explained that her husband Woodrow had died and she was moving in to prevent Fred from being a bad influence on Cliff. This season now focused more on the relationship between Fred and Cal. Evelyn was now reduced to a recurring character and instead of being Fred's fiancee, she is simply dating him. The characters of Rollo, Winston, Cissy, and Clara were dropped with no explanation. Grady (Whitman Mayo), another recurring character from the original series, appeared in two episodes as a special guest star. Officers Smitty and Hoppy also reappeared several times. The retooled Sanford fared poorly in the ratings and NBC pulled the series at the end of January. This is the Complete Series of all 26 episodes presented in HD Studio Quality on 5 discs. Comes with Case & Artwork.

Having been a kid during the seventies, I can't imagine there are TV viewers out there that haven't at least heard about creator Norman Lear's iconic Sanford and Son, but...time does march on, so a quick summary of the show's simple plotline should suffice. At 9114 South Central, in the Watts section of Los Angeles, 65-year-old widowed junkman Fred Sanford (Redd Foxx) is supposed to spend his working days "coordinating" the refuse that litters his combination junkyard/home, while he cooks and cleans for his 30-year-old son, Lamont (Demond Wilson). But as soon as Lamont takes off for the day in their broken-down old 1951 Ford pickup truck, scanning the streets of L.A. and particularly Beverly Hills for discarded treasures, Fred can usually be found sitting in his TV chair, watching his favorite game shows, soap operas and of course, his Godzilla movies. Lazy as the day is long, Fred always has an excuse for the dirty dishes and unkempt, cluttered junkyard when frequently tired, stressed-out Lamont (who aspires, at least in the beginning of the series, to better things than being a junkman) comes home after a hard day out in the truck. Fred's crippling (and totally fake) "ar-thur-ritis" is usually good for a quick deflection of Lamont's anger, and it that doesn't work, Fred can always summon up one of his "big ones," his life-threatening heart attacks (again: fake) that include clutching his chest with one hand, while another arm is thrown out in agony, as Fred intones to his deceased wife up in heaven: "Oh, it's a big one! You hear that, Elizabeth? I'm comin' to join ya, honey!"

Sanford And Son Complete Series Download

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After hitting it out of the TV park with CBS' unlikely 1971 megahit, All in the Family (based on the edgy, ground-breaking British sitcom, Till Death Do Us Part, producers Norman Lear and Bud Yorkin settled on another British sitcom adaptation for a proposed series on NBC. Taking the basic premise of the hit Britcom Steptoe and Son, which featured a Jewish father-and-son "rag and bone" team battling over politics and family responsibility, Lear and Yorkin switched the characters to African-Americans and set them down in the middle of a Watts junkyard. Redd Foxx, a hilariously ribald comedian who had worked the famed "Chitlin Circuit" of black nightclubs during the 40s and 50s, and who had a huge following in the black community with his XXX-rated "party" albums, had recently scored some good notices in a small supporting role in the first big "blaxploitation" comedy crossover hit, Cotton Comes to Harlem in 1970. This role caught Norman Lear's eye, and Foxx was offered the part of Fred G. Sanford (interestingly, Foxx's real Christian name was Sanford, and his brother's name was Fred). Demond Wilson, a former Vietnam veteran with extensive theatrical experience but a virtual unknown to the TV audience, had recently started popping up in small roles on television in the early seventies (he had a funny turn with Cleavon Little as one of the smart-assed burglars who invade Archie Bunker's house just prior to the debut of Sanford and Son) before he was cast as the good-natured high-school drop-out Lamont. With some of the supporting roles filled out by friends of Redd Foxx (Page, an even filthier stand-up artist than Foxx, if that's possible, had worked extensively with the gravely-voiced comedian), Sanford and Son was set as a mid-season replacement for the 1971-1972 season. Even with the relatively small episode order number of 14, Sanford and Son reached an astonishing 6th place in the overall year-end Nielsen's, and the rest, as they say, was history.

It's probably fair to say that there wouldn't have been a Sanford and Son if Norman Lear's groundbreaking All in the Family hadn't come first. While Sanford and Son was certainly notable in television history for its almost-all black cast, as well as its emphasis on featuring and celebrating an African-American comedic sensibility, it would have been difficult for a network, in 1972 America, to have justified taking a big, controversial chance on a series based around the exploits of a cranky, bigoted black man, had a series about a white bigot not hit first (TV, after all, is the most imitative "art form" out there). And at first, Sanford and Son was viewed by critics and viewers as a direct answer by NBC to CBS' All in the Family - no doubt aided by Lear's connection to both projects.

But was Fred G. Sanford really analogous to Archie Bunker? Certainly, the most "notorious" aspect of Fred's character in 1972 was his bigoted views on anyone who wasn't black - a marked contrast to the few, isolated African-Americans that might pop up in cameos or small, incidental roles in other series (think John Amos as the little seen, inoffensive, apolitical Gordy the weatherman on The Mary Tyler Moore Show at this time). Fred Sanford broke the TV mold for black characters by resolutely embracing the newly mined TV field (by Archie Bunker, of course) of "humor through prejudice." By 1972, blaxploitation films like Shaft had made it acceptable for black lead roles to fully embody genre characteristics that had previously been restricted to "whites only." Sidney Poitier may have won an Oscar in 1963, but he rarely kissed the girl on screen, while white action stars like Newman, McQueen and Connery engaged in all sorts of mayhem, in and out of bed. But Richard Roundtree did way more than kiss the girls - black and white - so the time was right in 1972, after the big success of All in the Family, to have a TV sitcom that featured a black lead who didn't care what anybody else thought, about what he thought.

Certainly the most heightened aspect of Sanford and Son's embrace of guilt-free racial humor (and probably the most troubling for some of today's hyper-sensitive - or hypocritical - viewers) is the frequent use of the words "nigga" or "nigger" in several episodes. It first shows up in only the third episode, Here Comes the Bride, There Goes the Bride, and the audience reaction to it is huge (clearly, this and other moments where it pops up are not "sweetened" with "canned" laughter). Probably its most notorious appearance comes during Fred Sanford, Legal Eagle, where, once he gets up into a white cop's face about supposedly only stopping black drivers, Fred calls out to the raucous courtroom crowd: "Look at all these niggers! There's enough niggers here for a Tarzan movie!" (again, the audience reaction is overwhelming). Of course today, such lines on a mainstream network sitcom, billed as a "family show" (Sanford and Son occupied the primo family time slot of Fridays at 8:00PM) would result in a media firestorm and the likely cancellation of the show (this and other Sanford and Son episodes with the word "nigger" in it, are almost always edited for syndication). But it's important to remember that Redd Foxx battled constantly with NBC and the producers of Sanford and Son to include more of this kind of humor into the series, not less (anyone who's heard his nightclub act will more than understand) - a fact that today's hypocritical, P.C.-obsessed "guardians of public taste" would find difficult if not impossible to resolve with their own conflicted, compromised views.

Still, even back in '72, the producers and writers knew that there had to be some redeeming value to Fred G. Sanford (just as they did for Archie Bunker, too), or else the constant insults would eventually become tiresome. Cannily, the producers and writers - aided by some expert mugging by Foxx - keep Fred loveable, combining in the character the oft-referenced comedic stereotype of the old, rickety coot who still has some smooth moves, with the fun, easily identifiable image of an older parent now turned, essentially, into a willful child again. Foxx is particularly adept at conveying both of these time-honored comedic types, and it's to his great credit that he pulls Fred off, despite the fact that the character, at its core, is largely unsympathetic. If you watch Foxx closely, you'll see that impish, naughty boy come out quite frequently, especially when Foxx insults somebody, and then tries to "get by" by giving a little wave, or turning his face into a hurt pout if the subject of the insult really gets upset. The notion that Lamont's 65-year-old father is more of a handful than Lamont ever was as a baby, is consistently amusing (maybe that's why kids my age loved this show: Fred is nothing more than a bratty kid, trying to scam his way out of trouble on a daily basis). Fred's willful, conniving ways around Lamont's objections to his drinking, gambling, TV-watching, and general laying-about, remain the core dramatic tension in the series, and when it stuck to that theme, Sanford and Son was always successful. ff782bc1db