L.A. Noir: The Struggle for the Soul of America's Most Seductive City

In the spring of 1957, Cohen flew to Buffalo to meet with Graham and explore the possibility of attending the upcoming Madison Square Garden campaign. The New York Herald Tribune broke the story: “Mickey Cohen and Bill Graham Pray and Read Bible Together,” cried the headline. It quoted Mickey praising Graham for having “guided me in many things” and for being “my friend.” The story also suggested that further communion between the two would be forthcoming.

“He’s invited me [to the May crusade],” Cohen told the paper, “and I think I will be here for it.” Cohen added that he was “very high on the Christian way of life.”

The saga of L.A.’s most notorious gangster-turned-florist accepting Jesus as his personal savior promised to be the most sensational story of the summer. It demanded the attention of a journalist who would do it justice—someone who didn’t hesitate to sit down with unsavory characters and ask the point-blank, personal questions that Americans wanted answers to. In short, Mickey Cohen seemed the perfect guest for Manhattan’s newest media star, ABC newsman Mike Wallace.

      IN THE SUMMER of 1956, Mike Wallace was the anchor of the seven and eleven o’clock news reports for New York City’s Channel 5, WABD. Ted Yates, a sinewy ex-Marine from Cheyenne, Wyoming, was his producer. Wallace had been on the job for a year. Yet already he and Yates were bridling at the restrictions imposed upon them. Decades earlier George Bernard Shaw had noted that “the ablest and most highly cultivated people continually discuss religion, politics, and sex” while the masses “make it a rule that politics and religion are not to be mentioned, and take it for granted that no decent person would attempt to discuss sex.” Shaw’s description of Victorian England was doubly true for 1950s television, and it frustrated Wallace and Yates. The two men began to sketch out a different approach. Why not interview the people viewers most wanted to meet? Why not ask the questions viewers really wanted answers to?

That fall, Yates and Wallace managed to convince Channel 5 to replace the eleven o’clock news broadcast with an interview show. The format featured Wallace and an interesting guest—a personality from the world of politics, sports, entertainment, or religion. Yates dubbed the show Night Beat. It was an immediate succés de scandale. New Yorkers watched, mesmerized, as Wallace confronted bristling union leaders with pointed questions about their personal lives, quizzed actresses about their sex lives, and asked novelists about their views of God. Wallace courted conflict. His questions were relentless, his work ethic indefatigable. (Night Beat featured two guests for a half hour each, four nights a week.) The networks noticed. In early 1957, ABC offered Wallace a half-hour national slot that would air Sunday nights. The show would be called The Mike Wallace Interview. ABC president Leonard Goldenson assured Wallace that he would have the same freedom he had previously enjoyed at Night Beat. (“Mike, you will not be doing your job properly unless you make this building shake every couple of weeks,” Goldenson reportedly told him.) Wallace jumped at the opportunity. In late April, Wallace and Yates released a list of Wallace’s first guests. It included the imperial wizard of the Ku Klux Klan, the burlesque star Gypsy Rose Lee, the actor and director Orson Welles, the singer Harry Belafonte, and Mickey Cohen.

Wallace’s interviews looked spontaneous, but in fact, Wallace and his production team deliberately shaped each interview into a dramatic encounter. The responsibility for researching guests and preparing a “script” of likely questions and probable answers fell to Wallace’s researcher, Al Ramrus. Ramrus typically started by calling retired journalist Bill Lang, who maintained his own personal “morgue” of newspaper articles on a remarkable variety of subjects. Ramrus then checked out the three major newsweeklies—Time, Newsweek, and Life—at Hunter College and, in the case of performers, the film and theatrical division of the New York Public Library. Finally, he did a preinterview with the guest. Afterward, he drew up the “script” for Wallace. Of course, it wasn’t a real script in the sense that a program like Dragnet was scripted. Wallace often kept the toughest questions to himself so that guests, lulled into complacency by the preinterview, would be caught off guard. Guests sometimes changed their answers. In general, though, most programs played out as Ramrus indicated they would.