If there is such a thing as peaceful crime drama, "Perry Mason" fits the bill. Mark this up to a commitment to an indefinable human quality, and a non-divisive stance. Which equate to an appealing sensibility (that weakens in the final season).
"Perry Mason" is nearly as absorbing and comforting as "Sherlock Holmes." The viewer can't help but sense that she or he is in good hands. Each episode is like a favorite book by a familiar and trusted author.
And holding down the center of this remarkable draw is Mason himself (Raymond Burr) who bears his considerable authority with utmost grace. He insists on the honesty of his clients which he exacts through direct eye contact and his own sense of justice. He wins and wins, of course, but he never gloats. His very subtle, knowing smile is never offensive, never provocative, and not even that challenging--it's a smile of self-assurance, of being in touch with himself, the case, and the greater world. He even sympathizes with certain of the guilty whom he must expose to save his innocent client.
In a real sense, "Perry Mason," works so well because of what it refuses to do. It eschews hurtful stereotypes, cruelty, sarcasm, violence, tough cops, macho, sex exploitation, patriotism (as in "Dragnet"), hit men, and shoot outs. There's no pretension in this semi-noir world, nor is there any excess, posturing or harsh humor. In fact, there is something consistently adult in the whole scheme, some light but serious touch which might be akin to "The Honeymooners" on TV's comedy front.
I think the subsequent Burr crime series, "Ironsides," is not, as many say, a continuance of "PM" but rather a discontinuance. Most of what "PM" rejects, "Ironsides" readily accepts, as do almost all other TV crime dramas thenceforth. Which only serves to underscore the special achievement of "PM." Which is based on a subdued sense of drama, characterization over action, and fairly convincing and intricate plots.
Yes, each of its countless episodes requires a corpse; but, as far as the viewer is concerned, it might be some single stuffed dummy appropriately positioned and made-up to match the specific drama. For "Perry Mason" is non-violent in almost every sense of the word. Della Street(Barbara Hale)sees to that.
"Perry Mason" is nearly as absorbing and comforting as "Sherlock Holmes." The viewer can't help but sense that she or he is in good hands. Each episode is like a favorite book by a familiar and trusted author.
And holding down the center of this remarkable draw is Mason himself (Raymond Burr) who bears his considerable authority with utmost grace. He insists on the honesty of his clients which he exacts through direct eye contact and his own sense of justice. He wins and wins, of course, but he never gloats. His very subtle, knowing smile is never offensive, never provocative, and not even that challenging--it's a smile of self-assurance, of being in touch with himself, the case, and the greater world. He even sympathizes with certain of the guilty whom he must expose to save his innocent client.
In a real sense, "Perry Mason," works so well because of what it refuses to do. It eschews hurtful stereotypes, cruelty, sarcasm, violence, tough cops, macho, sex exploitation, patriotism (as in "Dragnet"), hit men, and shoot outs. There's no pretension in this semi-noir world, nor is there any excess, posturing or harsh humor. In fact, there is something consistently adult in the whole scheme, some light but serious touch which might be akin to "The Honeymooners" on TV's comedy front.
I think the subsequent Burr crime series, "Ironsides," is not, as many say, a continuance of "PM" but rather a discontinuance. Most of what "PM" rejects, "Ironsides" readily accepts, as do almost all other TV crime dramas thenceforth. Which only serves to underscore the special achievement of "PM." Which is based on a subdued sense of drama, characterization over action, and fairly convincing and intricate plots.
Yes, each of its countless episodes requires a corpse; but, as far as the viewer is concerned, it might be some single stuffed dummy appropriately positioned and made-up to match the specific drama. For "Perry Mason" is non-violent in almost every sense of the word. Della Street(Barbara Hale)sees to that.