Going My Way was hardly the first television series based on a popular feature film, and while these type of adaptations probably have had a higher miss (Mr. Lucky) to hit (Dr. Kildare) ratio, the TV series version of Going My Way had a major movie star in Gene Kelly and a successful producer in Joe Connelly (Amos 'n' Andy, Leave It to Beaver) behind it. However, what it didn't have was a good time slot on the TV schedule, being pitted against new megahits The Beverly Hillbillies and The Virginian as well as old favorites The Many Loves of Dobie Gillis and Perry Como's Kraft Music Hall. It may have also been limited in mass appeal by its subject matter--a pair of Roman Catholic priests in a poor New York City neighborhood. But Connelly and his writers largely stayed away from the vagaries of Catholicism or religion in general, as most episodes revolve around common everyday problems of ordinary people, which the priests are often asked to help resolve. The debut episode, however, centers around one of the priests, the elder mentor Father Fitzgibbon, portrayed by veteran character actor Leo G. Carroll, who stereotypically comes from Ireland and has always had a yen to return to the idyllic homeland he remembers. He appears to get that chance after a group of parishioners decide to fund-raise for his trip, bolstered by a Polish pawnbroker who chips in a hefty sum but insists that it must be used for the trip only. Things get complicated when the younger priest, Father O'Malley, portrayed by Kelly, learns from a recent visitor to Ireland that Fitzgibbon's idyllic homeland has been paved over for commercial enterprises, which will surely ruin his trip home. After a long, serious discussion with the pawnbroker, Fitzgibbon is able to persuade him to allow the donated money to help a young Irish lad, with big dreams about America's promise, to emigrate to the U.S., thereby focusing on the future rather than Fitzgibbon's memory of the past. While the episode manages to make a decent point about the mirage of nostalgia, it drapes the alternative of looking forward in so much pro-America propaganda that it overshadows what should have been the show's primary point. The October 10, 1962 review of the series in Variety observes, "Wired for sentimentality and moral lessons, it ought to get the endorsement of parent-teacher groups and others seeking wholesomeness in prime-time television". It goes on to note its stiff competition on the TV schedule and says it might fare better as a 30-minute program. The review closes out by saying that Kelly and Carroll are well-cast but that the plot is a might thin. Also noted is that Kelly gets a chance to show off his dancing prowess in a scene at a party given for Fitzgibbon--but this is the only dancing sequence with Kelly in the series' 1962 episodes. What isn't mentioned in this review is the waste of Dick York's talent, not only in the initial episode but throughout the first 13 installments. Fresh off a lauded performance in Inherit the Wind, York is here cast as boys club owner Tom Colwell, a boyhood friend of the O'Malley character, whose main function in the series seems to be chauffeuring O'Malley around the city. His character is never at the center of any of the plots, and we get no back story about who he is or why he is doing what he is. Nevertheless, the series does a decent job in focusing largely on dysfunctional family dynamics that the priests are called in to help settle, making this something of a family counseling show, or a nonscientific Eleventh Hour. With one exception, religion is never laid on too thick; in fact, the dilemmas handled by the priests could just as easily be handled by a secular counselor. In both "The Crooked Angel" (October 10, 1962) and "A Matter of Principle" (November 21, 1962) a disgruntled father drives his talented son to behave badly as a way to vicariously make up for his own past deficiencies. In the former episode, young Eddie Slade is a talented singer who resorts to petty theft as a result of his bar-owner father's forcing him to regularly settle the accounts of a math-challenged bookie who is a bar patron. In the latter episode, talented basketball player Frank Murphy is driven by his common laborer father to arrogantly play only for himself so that he can one day make a lot of money as a professional, then settle into a cushy corporate spokesperson job to make up for his father's lack of success in the business world. "Like My Own Brother" (November 7, 1962) portrays two brothers who clashed in their youth because the younger one was always getting into trouble, only now he has become a huge success in real estate and has returned to avenge his elder brother's strictness by turning his own family against him. O'Malley decides that the only way to break through their animosity against one another is to allow them to box it out at Colwell's gym. "The Father" (October 24, 1962) depicts a Spanish immigrant widower father who is bullied by his overly repressive sister into restricting his daughter from any kind of social life, thereby driving her to run away and nearly fall into the hands of a sexual predator. "Ask Me No Questions" (December 5, 1962) tells the tale of a young boy who resorts to stealing from the church poor box as a way to bring his divorced father back from California and hopefully bring his estranged parents back together, while "Not Good Enough for Mary" (November 14, 1962), shows a brother who disapproves of his sister's construction-worker fiance and does his best to sabotage their romance merely because of social snobbery. Then there are the three unlikely stories about career criminals who eventually repent the errors of their ways when they are made to see the effect their transgressions have on their families. "Mr. Second Chance" (November 28, 1962) centers around a career racketeer who tries to spend his way back into his ex-wife's good graces so that he will be allowed to attend his daughter's upcoming wedding. In "Keep an Eye on Santa Claus" (December 12, 1962) recently released ex-con Honus Shamroy nearly slips back into his thieving ways just at Christmas time until O'Malley figures out what he is up to and shames him into calling off a store heist to spare his daughter and grandson the embarrassment of yet another lockup. Finally, in "A Saint for Mama" (December 26, 1962), mobster kingpin Tony Laurentino has to give up his life of keeping two mistresses and a lavish life built on criminal proceeds after his mother takes ill and announces she wants to die unless he reforms. It's rare to find so many tender-hearted long-time criminals willing to give up their very identity for the approval of their family members, but on Going My Way the Lord works in mysterious ways. However, even these implausible stories are fairly well done and have more grit than the many overly sentimental sit-coms of the era, such as My Three Sons, Hazel, and The Donna Reed Show. But there are still two episodes from 1962 that are worthy of unmitigated censure. "A Man for Mary" (October 31, 1962) is a blatantly chauvinistic story about a young woman whose attractiveness causes all men to fight over her but is completely unaware of her charms. She is likewise clueless that she has no talent as an actress, her chosen profession, and that her proper place is becoming the wife of a no-nonsense widower with three children who is not overwhelmed by her physical appearance. But worst of all is "A Dog for Father Fitz" (December 19, 1962) in which not only does housekeeper Mrs. Featherstone come off as a dog hater after a parishioner bestows a dog on Father Fitzgibbon as a gift, but after Fitzgibbon finds a new home for the dog with a young boy who is a student at the parish school, the dog runs away from the boy's family rural retreat and winds up being struck and killed by a truck only a block from the church. Matters only get worse when the boy requests that a Mass be said for his dead dog, as both Fitzgibbon and O'Malley explain that in their religion dogs do not have souls and therefore cannot go to heaven, that they are put on earth only to serve man, who in turn serves God. The boy winds up being appeased by having his dog buried in front of a statue in the church courtyard, supposedly a place of honor, but airing this episode less than a week before Christmas to hammer home the point that all dogs do not go to heaven must have alienated dog owners and animal advocates everywhere, regardless of religious denomination. Though Dick York and others have cited the other shows airing at the same time as the reason for the series' demise (the show apparently fared better in summer reruns when it was pitted against lesser competition), it's hard to imagine how it could have survived after an episode like "A Dog for Father Fitz."
The main theme and scores for individual episodes for Going My Way were composed by Cyril Mockridge, who is profiled in the 1960 post on Laramie.
The complete series has been released on DVD by Timeless Media Group.
The Actors
Gene Kelly
Eugene Curran Kelly was born in Pittsburgh on August 12, 1912, the son of a phonograph salesman who served as Al Jolson's road manager in the 1920s. At the age of 8 his mother enrolled him, his brother James, and his sisters in dance classes, which subjected him to bullying and name-calling as a sissy, prompting him to give it up until he was 15. By then Kelly had developed physically as an athlete and could better defend himself, but his real dream was to play shortstop for the Pittsburgh Pirates. Nevertheless, his early hazing clearly influenced his creative drive to develop and promote a masculine style of dance. After graduating high school at age 16, he enrolled at Penn State to study journalism but was forced to drop out during the crash of 1929 to help support his family. He and younger brother Fred developed dance routines to enter talent contests, thus beginning his life-long career as a dance choreographer. In 1931 he enrolled at Pittsburgh University and earned a degree in economics while also performing in theatrical musicals with the Cap and Gown Club, for which he also served as director from 1934-38. During this period his family opened a pair of dance schools which they named after him and for which he was an instructor. He briefly attended law school at Pitt but dropped out after two months and decided to shift his focus in dance to performance rather than teaching. In 1937 he decided to move to New York to seek work as a choreographer but was unsuccessful and returned to Pittsburgh in 1938 to choreograph and appear in a local theatrical production of Hold Your Hats. For the next few years he moved back and forth between New York and Pittsburgh, making his Broadway debut as a dancer behind Mary Martin in Leave It to Me! and then being spotted by Robert Alton in one of his Pittsburgh productions to appear in Alton's production of One for the Money in 1939. After appearing in The Time of Your Life later that year, he got his first Broadway choreography job on Billy Rose's Diamond Horseshoe during which he met and later married cast member Betsy Blair. But he became a star when he was cast in the lead role of Pal Joey, choreographed by Alton, in 1940. Thereafter he began to get offers from Hollywood. According to Kelly years later, one of those offers came from MGM's Louis Mayer, who met him backstage and offered him a contract without a screen test, but when Kelly was contacted later by one of Mayer's assistants, he was told he would need to submit to a screen test after all. So Kelly signed instead with David O. Selznick, who did not require a screen test, but Selznick couldn't come up with the right vehicle for Kelly, so he remained sidelined until Judy Garland persuaded Arthur Freed to have MGM buy out Kelly's contract so that he could co-star with her in For Me and My Gal, Kelly's film debut in 1942. After a couple of forgettable B movie appearances, he starred opposite Lucille Ball in Du Barry Was a Lady and got to dance to his own choreography, with a mop for his partner, in Thousands Cheer. He starred with Rita Hayworth in Cover Girl in 1944, this time dancing with his reflection in a mirror, and then was given full creative rein in Anchors Aweigh in which he danced with the animated mouse Jerry of Tom & Jerry, a role that earned him an Academy Award nomination for Best Actor. Despite his employers getting him a deferment from the military draft in 1940, by 1944 that deferment was rescinded and he joined the U.S. Navy, working in their photographic department in Washington, which gave him experience writing and directing documentaries, thereby giving him another skill set he would pursue the rest of his career. When he was discharged in 1946, MGM did not have projects waiting for him, but beginning in 1948 with The Pirate, Kelly began taking a larger role in not only choreographing the dance sequences for the studio's biggest musicals but in orchestrating camera movement to properly capture the dance, a departure from earlier Fred Astaire musicals that tended to keep the camera stationary. Kelly was cast in the male lead in 1948's Easter Parade but broke his ankle playing volleyball, prompting him to persuade Astaire to come out of retirement to fill in. After teaming with Frank Sinatra a second time in Take Me Out to the Ballgame, Kelly was persuaded by Freed to direct and star in On the Town in 1949, and Kelly insisted that the assistant he had been working with for years, Stanley Donen, be given co-directing credit. On the Town was viewed at the time as an inventive breakthrough in the musical film genre. He reunited with Garland for 1950's Summer Stock, and followed this with one of his signature films, An American in Paris, in which he introduced the world to former ballerina Leslie Caron and staged an unprecedented 17-minute dance suite with her. The film won 6 Academy Awards, including Best Picture, and an Honorary Award for Kelly. And the following year he starred in and co-directed (again with Donen)in Singin' in the Rain, perhaps the most lauded film musical of all time. This was the apex of his career. After MGM sent him to Europe for 19 months to make movies that earned the studio tax exemptions, he returned to a declining market for musicals, such that Brigadoon was shot on studio back lots rather than in Scotland. MGM refused to loan him out for the film versions of Guys and Dolls and Pal Joey, the show that had made him a star on Broadway, so Kelly negotiated an end to his contract which included It's Always Fair Weather, Les Girls, and The Happy Road, none of which was a hit. In 1957 he divorced Betsy Blair and married his choreographic assistant Jeanne Coyne, who had previously been married to Donen. Kelly found a number of projects to direct and star in, including directing the hit theatrical musical Flower Drum Song, a couple of French projects, the Jackie Gleason film Gigot, and a role in the 1960 drama Inherit the Wind. On television he produced and directed the 1958 documentary Dancing Is a Man's Game in which he interpreted in dance the movements of athletes such as Sugar Ray Robinson and Mickey Mantle to promote his view of masculinity in what was often seen as an effeminate discipline. Other than a single appearance in a 1957 episode of Schlitz Playhouse, Kelly had not tried a regular TV series before signing on to play Father Chuck O'Malley in the TV adaptation of Going My Way, which faced stiff competition from The Beverly Hillbillies, The Virginian, The Many Loves of Dobie Gillis, and Perry Como on the other networks. After Going My Way's cancelation, Kelly found his most significant work in directing in feature films such as A Guide for the Married Man and Hello, Dolly!, which won 3 Academy Awards, but he turned down an offer to direct The Sound of Music, reportedly calling it "a piece of shit." He won an Emmy for his 1967 TV movie Jack and the Beanstalk and appeared in specials such as The Julie Andrews Show, Gene Kelly in New York, New York, and Gene Kelly and 50 Girls. He appeared as a narrator in the first two That's Entertainment films celebrating the golden days of film musicals, but also participated in a number of flops, such as directing The Cheyenne Social Club and appearing in Viva Knievel! and Xanadu. He appeared in single episodes of The Mary Tyler Moore Hour and Love Boat and had roles in the TV miniseries North & South: Book 1 and Sins in the mid 1980s, his last appearances on film. His second wife Jeanne Coyne had died in 1973, but Kelly finally married again in 1990 to Patricia Ward when he was 77 and she was 30. He suffered strokes in both 1994 and 1995, then passed away at age 83 on February 2, 1996.
Dick York
Richard Allen York was born September 4, 1928 in Fort Wayne, Indiana. His father was a salesman, and his mother was a seamstress and later ran a beauty shop. When York was 10, the family moved to Chicago, and he says he decided to become an actor after seeing the Cecil B. DeMille film The Crusades. He was enrolled in The Jack and Jill Players acting school after a Catholic nun recognized his singing voice and sent him to a singing coach, who in turn sent him to the acting school. He landed his first professional job at age 15 taking over the lead role on The Brewster Boy radio program, a family comedy along the line of the popular Aldrich Family comedy. He then moved on to a supporting role on Jack Armstrong, All American Boy, where he first met his future wife Joan Alt, who was brought in to do a commercial. The couple married in 1951, had 5 children, and remained married until York's death. He stayed on Jack Armstrong for 6 years, but then decided to move to New York and pursue a career on the stage, initially living at the YMCA until he could become established. By 1953 he landed a role in the drama Tea and Sympathy starring Deborah and John Kerr, which led to a film contract with Columbia Pictures. He began getting rare TV guest spots in 1952 on Mr. District Attorney, followed by appearances on Omnibus, The Web, Goodyear Playhouse, Mr. Citizen, and The Philco Television Playhouse. He got his first credited feature film appearance in the 1955 comedy My Sister Eileen and followed this with roles in Three Stripes in the Sun, Operation Mad Ball, Cowboy, and The Last Blitzkrieg while also finding more frequent work on television in series such as Kraft Theatre, Studio One, Father Knows Best, and Playhouse 90. But while filming the adventure feature They Came to Cordura starring Gary Cooper, York suffered a lifelong debilitating back injury when he was in the process of pumping a railroad hand car when the director yelled "Cut!" and one of the actors on the car grabbed the handle York was in the process of lifting, thereby putting tremendous strain on his back which led to torn muscles and spinal injury (another account says that York wound up pinned beneath the hand car). Initially York did not seek out medical treatment for the injury but was determined to keep working. He would make his final movie appearance in 1960's Inherit the Wind, which also starred Gene Kelly, and was allowed by director Stanley Kramer to write his own dialogue in his first scene as school teacher Bertram Cates. At the same time he was finding more and more work on television on series such as The Millionaire, The Untouchables, The Twilight Zone, Alfred Hitchcock Presents, Dr. Kildare, Frontier Circus, and Naked City before finally landing his first recurring role as youth center proprietor Tom Colwell on Going My Way in the fall of 1962. In a later interview, York said that after filming about 25 episodes for the series, his back injury flared up and after none of the treatments seemed to work and surgery was recommended, he still returned to the show in pain only to find that Gene Kelly, also a producer for the show, had installed ramps and places that allowed him to ease himself into position for each scene, somewhat similar to the accommodations that would be required for his next TV series. After Going My Way was canceled, York continued to find regular work guest starring on series such as Route 66, Rawhide, Wagon Train, and The Alfred Hitchcock Hour before being cast in his most memorable role as Darrin Stephens on Bewitched in 1964. York was actually third choice for the role, as the producers initially hoped to land Dick Sargent, but he had already committed to the female Navy comedy Broadside, and second choice Richard Crenna of the recently canceled Real McCoys turned down the role. But York's back condition, plus his addiction to painkillers to deal with it, made his years on the hit comedy anything but fun. The crew built slanted walls that he could lean on between takes and would sometimes have to help him just walk around the set. He powered through and was nominated for an Emmy in 1968, but during filming of the episode "Daddy Does His Thing" in Season 5, York, running a fever of 105 and feeling terrible, fell off scaffolding and had a seizure, biting a large hole in his tongue, which led to him finally having to quit the series, eventually replaced, ironically, by Sargent. He spent the next 18 month bed-ridden and drug-addled, obviously unable to work, and after that decided to quit his drug addiction cold turkey, which led to another 6 months of disorientation and hallucinations. He and his wife supported themselves first by buying an apartment building in West Covina, but they rented to the poor and indigent who couldn't always pay their rent, so they lost the building. Then they worked cleaning apartments and their sons made money selling newspapers and collecting tin cans. After ballooning to 306 pounds, York decided to go on a diet and hired a new agent, which got him guest spots on Simon & Simon in 1983 and Fantasy Island in 1984. He filmed a pilot for High School USA, but the show was not picked up for production. Then he stopped getting calls for work and belatedly discovered that his agent had failed to properly register him with the Screen Actors Guild, which effectively ended his acting career. He and his wife moved to Rockford, Michigan to take care of her ailing mother, and after the mother passed away, they continued living in her home. York decided to create a new career for himself helping the homeless, since he had experienced extreme poverty growing up during the Depression in Indiana, and founded the organization Acting for Life. Though he was confined to home since he had developed emphysema from smoking three packs of cigarettes a day all his life and now required an oxygen tank, York worked the telephones to find military and government surplus items that could benefit the poor, including clothing, mattresses, and cots, and had them shipped to shelters for the homeless. Despite his years of intense pain and suffering, York remained positive to the end, saying that he had been blessed and had no complaints. But he also said that only four of his acting jobs gave him complete artistic satisfaction: Inherit the Wind, working with Elia Kazan on Bus Stop on Broadway, an episode of Playhouse 90 with Paul Muni, and his one episode on Route 66. He passed away on February 20, 1992 at the age of 63.
Leo G. Carroll
Leo Grattan Carroll was born in Weedon Bec, Northamptonshire, England on October 25, 1886, the son of a military officer. After the family moved to New York in 1897, his father held various positions throughout the years, from foreman in an ordnance store to wine clerk to dramatic agent. Leo himself became an assistant wine merchant at age 15 when his father was a clerk, and his father's occupation as a dramatic agent coincides with Leo's first professional acting job at age 25 in a production of Rutherford and Son in which he both acted and served as stage manager. Carroll's interest in the theatre began in his school days, appearing in Gilbert & Sullivan productions as well as an appearance in Liberty Hall when he was 16. Carroll brought the production of Rutherford and Son to New York after running a year in London, and it is listed as his first Broadway appearance in 1912. He appeared in a production of Everyman on Broadway the following year before enlisting in the British Army during World War I, which saw him serving in France, Greece, and Palestine, where he was badly wounded and hospitalized for two years. Though he had once considered following his father into a military career, he resumed acting after the War in 1919 but did not make it back to Broadway until 1924 in a production of Havoc. From then on, he was a regular on The Great White Way, appearing in at least one production a year until well after he had crossed over into film. Among the highlights on the stage were Noel Coward's The Vortex (1925-26), The Perfect Alibi (1928-29), The Green Bay Tree (1933-34) with Laurence Olivier, Angel Street (1941-44) aka Gaslight, and the title role in The Late George Apley (1944-45). In 1926 he married Edith Nancy De Silva, and they had one son, William. M. Carroll. He continued appearing in Broadway productions through the mid-1950s, with the last being the short-lived Someone Waiting in 1956. His feature film debut came in 1934's Sadie McKee starring Joan Crawford, and he appeared in two more features that year--The Barretts of Wimpole Street and Outcast Lady. From then on he was a regular supporting player in several features per year, often playing authority figures, though he also played Marley's ghost in A Christmas Carol in 1937 and Joseph in Wuthering Heights in 1939. In 1940 he appeared in the first of six Alfred Hitchcock productions, the Academy Award Winner for Best Picture Rebecca. He would also appear in Suspicion(1941), Spellbound (1945), The Paradine Case (1947), Strangers on a Train(1951), and North by Northwest (1959), in which he played a spy chief named The Professor, very much like his signature TV role 5 years later. Other noteworthy feature film appearances during this period include Forever Amber (1947), Father of the Bride (1950), The Bad and the Beautiful (1952), and We're No Angels (1955). He made his first foray into television in 1949, appearing in episodes of The Chevrolet Tele-Theatre, The Philco Television Playhouse, and NBC Repertory Theatre. In 1953 he landed his first recurring TV role playing grumpy banker Cosmo Topper on Topper, starring opposite Robert Sterling and Anne Jeffreys. The series ran for 78 episodes over 2 seasons until 1955, after which Carroll began getting more TV guest spots, mostly in drama anthologies and the western The Californians. In 1961 he had supporting roles in the features The Parent Trap and One Plus One, as well as appearing on a couple of anthology TV series. He then received his second recurring TV role as mentoring priest Father Fitzgibbon on Going My Way. After Going My Way was canceled, Carroll's output declined though he still appeared on Hazel and Channing in 1964 and the feature The Prize in 1963, but very soon he was cast in another recurring role, his most famous, as spymaster Alexander Waverly on The Man From U.N.C.L.E. in 1964. He would appear in 105 episodes over its 4-year run, as well as all the feature films cobbled together from various episodes, and when Stefanie Powers was spun off into The Girl From U.N.C.L.E., Carroll played Waverly in that series, too. He received one Emmy nomination for Best Supporting Actor for each series--for Girl in 1966 and Man in 1967. But after the U.N.C.L.E. franchise ground to a halt, Carroll would appear in only one more feature, From Nashville With Music in 1969, and a single episode of Ironside in 1970 before retiring. Two years later he died from cancer-induced pneumonia at the age of 85.
Nydia Westman
Nydia Eileen Westman was born into a show business family on February 19, 1902 in New York City. Her father Theodore Westman was an actor and composer, while her mother Lily Wren was an actress and playwright. Her brother Theodore Westman, Jr. was also an actor and author who died in 1927 at the age of 24. Nydia was part of the family act billed as Troubles of Joy until she was 21, performing across several vaudeville circuits. But she finally struck out on her own at age 22, appearing in the Broadway production of Pigs in 1924. She continued to find regular work on the stage through the rest of the decade and beyond, appearing in Two Girls Wanted (1926-27), Buckaroo (1929), Jonesy (1929), The Unsophisticates (1929-30), Ada Beats the Drum (1930), and Lysistrata (1930-31) before breaking into films in 1932, beginning with Strange Justice. Once she made the move to Hollywood, feature films and later television became her primary focus, but she continued to return to Broadway periodically into the early 1960s. However, after appearing in two different runs of The Madwoman of Chaillot in 1948-50, most of her stage productions were short lived. In 1930 she married producer Robert Sparks and had a daughter Robina Jane, who became an actress herself under the name Kate Williamson and married actor Al Ruscio, who appeared in a 1962 episode of Going My Way. By 1933 Westman was appearing in a half dozen feature films per year. Among the highlights were Manhattan Tower (1932), Little Women (1933), Ladies Should Listen (1934) with Cary Grant, Pennies From Heaven (1936) with Bing Crosby, The Cat and the Canary (1939) with Bob Hope, They All Kissed the Bride (1942) with Joan Crawford, and The Late George Apley (1947) with Ronald Colman. She dove into television in 1947 on the live New York-based sit-com Mark Kay and Johnny and appeared in over 300 episodes as Mary Kay's mother over the next three years. Thereafter in the early 1950s she appeared on many drama anthology series and occasionally on continuing series such as Martin Kane, Young Mr. Bobbin, and Colonel Humphrey Flack. Other than anthology series, work slacked off in the late 1950s and early 1960s, as she also appeared on The Phil Silvers Show and The Jim Backus Show in addition to the teen exploitation feature film Don't Knock the Twist, before landing the role of parish housekeeper Mrs. Featherstone on Going My Way in 1962. Unlike many other older actors whose work declined after their recurring series is canceled, Westman actually found more work after the demise of Going My Way, staying very busy through the mid-1960s on series such as Route 66, Perry Mason, The Addams Family, The Alfred Hitchcock Hour, Bonanza, Ben Casey, The Donna Reed Show, The Munsters, F Troop, My Favorite Martian, and The Farmer's Daughter. The year 1966 marked a return to feature films with appearances in The Ghost and Mr. Chicken, The Chase, and The Swinger, followed by The Reluctant Astronaut in 1967. She continued finding regular TV guest spots through the late 1960s on programs such as Please Don't Eat the Daisies, That Girl, Judd for the Defense, Family Affair, Adam-12, Bewitched, and 6 appearances on Dragnet. Her last credit would be in the feature film version of John Updike's Rabbit, Run starring James Caan. She passed away from cancer at age 68 on May 23, 1970.