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"Perry Mason"
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"Perry Mason" (1957) More at IMDbPro »TV series 1957-1966

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Release Date:
21 September 1957 (USA) See more »
A master defense attorney handles difficult criminal cases for his accused clients. Full summary »
Won 3 Primetime Emmys. Another 1 win & 6 nominations See more »
User Reviews:
Defying the Odds See more (43 total) »


 (Series Cast Summary - 7 of 875)

Raymond Burr ... Perry Mason / ... (271 episodes, 1957-1966)

Barbara Hale ... Della Street (271 episodes, 1957-1966)

William Hopper ... Paul Drake / ... (271 episodes, 1957-1966)

Ray Collins ... Lt. Tragg / ... (241 episodes, 1957-1965)

William Talman ... Hamilton Burger / ... (225 episodes, 1957-1966)
Lee Miller ... Sgt. Brice / ... (116 episodes, 1957-1966)
Don Anderson ... Courtroom Spectator / ... (113 episodes, 1957-1966)
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Series Directed by
Arthur Marks (76 episodes, 1958-1966)
Jesse Hibbs (43 episodes, 1962-1966)
William D. Russell (28 episodes, 1957-1960)
Christian Nyby (13 episodes, 1957-1962)
Laslo Benedek (9 episodes, 1958-1961)
Jerry Hopper (9 episodes, 1961-1966)
Andrew V. McLaglen (7 episodes, 1958-1960)
Bernard L. Kowalski (6 episodes, 1961)
Allen H. Miner (5 episodes, 1962-1963)
Harmon Jones (5 episodes, 1963-1966)
Irving J. Moore (5 episodes, 1963-1964)
Arthur Hiller (4 episodes, 1958-1960)
Gerd Oswald (4 episodes, 1958-1959)
Richard Kinon (4 episodes, 1959-1965)
Francis D. Lyon (4 episodes, 1962)
Lewis Allen (3 episodes, 1958-1961)
Roger Kay (3 episodes, 1958-1959)
Anton Leader (3 episodes, 1958)
Earl Bellamy (3 episodes, 1963)
Richard Donner (3 episodes, 1964-1965)
Ted Post (2 episodes, 1957-1958)
Buzz Kulik (2 episodes, 1958-1959)
Walter Grauman (2 episodes, 1959-1960)
William F. Claxton (2 episodes, 1960)
Gerald Mayer (2 episodes, 1960)
Robert Ellis Miller (2 episodes, 1960)
James Sheldon (2 episodes, 1960)
John English (2 episodes, 1961)
John Peyser (2 episodes, 1961)
Jack Arnold (2 episodes, 1964-1965)
Vincent McEveety (2 episodes, 1965)
Series Writing credits
Erle Stanley Gardner (259 episodes, 1957-1966)
Samuel Newman (37 episodes, 1958-1965)
Jonathan Latimer (32 episodes, 1958-1965)
Jackson Gillis (31 episodes, 1959-1966)
Gene Wang (23 episodes, 1957-1959)
Robert C. Dennis (22 episodes, 1958-1965)
Seeleg Lester (20 episodes, 1958-1960)
Orville H. Hampton (15 episodes, 1965-1966)
Ernie Frankel (11 episodes, 1965-1966)
Milton Krims (8 episodes, 1959-1965)
Maurice Zimm (8 episodes, 1959-1963)
Robb White (7 episodes, 1961-1965)
Richard Grey (6 episodes, 1957-1961)
Sy Salkowitz (6 episodes, 1960-1965)
Al C. Ward (5 episodes, 1957-1959)
Sam Neuman (5 episodes, 1958-1964)
Robert Leslie Bellem (5 episodes, 1961-1964)
Francis M. Cockrell (4 episodes, 1957-1958)
Robert Bloomfield (4 episodes, 1958-1960)
Bob Mitchell (4 episodes, 1961-1964)
John Elliotte (4 episodes, 1964-1966)
William Bast (4 episodes, 1965-1966)
Harold Swanton (3 episodes, 1957-1960)
Laurence Marks (3 episodes, 1957-1958)
Donald S. Sanford (3 episodes, 1957-1958)
Lawrence L. Goldman (3 episodes, 1959-1966)
Sol Stein (3 episodes, 1960-1961)
Glenn P. Wolfe (3 episodes, 1960-1961)
Adrian Gendot (3 episodes, 1961-1962)
Philip Saltzman (3 episodes, 1964-1965)
Marian B. Cockrell (2 episodes, 1957-1958)
Stirling Silliphant (2 episodes, 1957)
Herman Epstein (2 episodes, 1958-1960)
Ben Brady (2 episodes, 1958)
Stanley Niss (2 episodes, 1958)
Michael Morris (2 episodes, 1960-1961)
Helen Nielsen (2 episodes, 1961-1962)
Esther Mitchell (2 episodes, 1962-1964)
True Boardman (2 episodes, 1962-1963)
Arthur E. Orloff (2 episodes, 1963)
Mann Rubin (2 episodes, 1964-1965)
Albert A. Vail (2 episodes, 1964-1965)
Henry Farrell (2 episodes, 1965-1966)
Robert E. Kent (2 episodes, 1966)

Series Produced by
Gail Patrick .... executive producer (271 episodes, 1957-1966)
Arthur Marks .... producer / associate producer (144 episodes, 1959-1966)
Art Seid .... producer (132 episodes, 1961-1966)
Jackson Gillis .... associate producer / producer (115 episodes, 1961-1965)
Ben Brady .... producer (64 episodes, 1957-1959)
Sam White .... associate producer (63 episodes, 1957-1959)
Seeleg Lester .... associate producer / producer (43 episodes, 1959-1961)
Herbert Hirschman .... producer (28 episodes, 1959-1960)
Robert Wechsler .... assistant producer (10 episodes, 1958)
Series Original Music by
Richard Shores (56 episodes, 1964-1966)
Russell Garcia (39 episodes, 1957-1958)
Van Cleave (7 episodes, 1962-1964)
Jerry Goldsmith (2 episodes, 1959)
René Garriguenc (2 episodes, 1964)
Series Cinematography by
Frank Redman (107 episodes, 1957-1964)
Robert G. Hager (63 episodes, 1961-1963)
John M. Nickolaus Jr. (56 episodes, 1964-1966)
Howard Schwartz (18 episodes, 1963-1964)
Philip H. Lathrop (2 episodes, 1961)
Series Film Editing by
Richard Cahoon (107 episodes, 1957-1966)
John Faure (55 episodes, 1959-1963)
Richard W. Farrell (33 episodes, 1957-1966)
Otto Meyer (22 episodes, 1957-1961)
Al Clark (12 episodes, 1963-1965)
George Hively (3 episodes, 1966)
Paul Weatherwax (2 episodes, 1958)
Series Casting by
Harvey Clermont (193 episodes, 1958-1966)
Marvin Schnall (15 episodes, 1958-1959)
Series Art Direction by
Lewis H. Creber (249 episodes, 1957-1966)
Lyle R. Wheeler (60 episodes, 1957-1959)
Series Set Decoration by
Charles Vassar (158 episodes, 1957-1963)
Carl Biddiscombe (74 episodes, 1963-1966)
Walter M. Scott (59 episodes, 1957-1959)
Sandy Grace (9 episodes, 1963)
Series Costume Design by
Charles Le Maire (1 episode, 1960)
Series Makeup Department
Annabell .... hair stylist (247 episodes, 1957-1966)
Irving Pringle .... makeup artist (190 episodes, 1959-1966)
Mel Berns .... makeup artist (34 episodes, 1957-1958)
Dick Hamilton .... makeup artist (24 episodes, 1958-1959)
Series Production Management
J. Paul Popkin .... production supervisor (60 episodes, 1957-1959)
Dewey Starkey .... production supervisor (55 episodes, 1959-1961)
Series Second Unit Director or Assistant Director
Robert G. Stone .... assistant director (111 episodes, 1958-1966)
Gordon A. Webb .... assistant director (69 episodes, 1961-1966)
Morris Harmell .... assistant director (39 episodes, 1958-1961)
Arthur Marks .... assistant director (15 episodes, 1957-1958)
Maxwell O. Henry .... assistant director (9 episodes, 1957-1958)
Wilbur McGaugh .... assistant director (3 episodes, 1957-1958)
Series Art Department
Ray Thompson .... properties / props / ... (251 episodes, 1957-1966)
Series Sound Department
Herman Lewis .... production sound mixer / sound mixer (188 episodes, 1959-1966)
Gene Eliot .... sound effects editor / sound editor (87 episodes, 1958-1961)
Robert O'Brien .... production sound mixer / re-recording mixer (26 episodes, 1958-1959)
Alfred Bruzlin .... recordist / production sound mixer / ... (17 episodes, 1957-1958)
Harry M. Leonard .... recording mixer / rerecording mixer / ... (17 episodes, 1957-1958)
Roy Meadows .... production sound mixer / sound mixer (13 episodes, 1959)
Eugene Irvine .... production sound mixer (4 episodes, 1958)
Series Camera and Electrical Department
Dennis Dalzell .... first assistant camera (30 episodes, 1965-1966)
Series Casting Department
Harvey Clermont .... casting (24 episodes, 1958-1965)
Marvin Schnall .... casting (3 episodes, 1958)
Series Costume and Wardrobe Department
Evelyn Carruth .... wardrobe supervisor / costumes / ... (185 episodes, 1959-1966)
Edward McDermott .... wardrobe supervisor / costumes / ... (136 episodes, 1957-1965)
Dick James .... wardrobe supervisor / wardrobe supervision (61 episodes, 1957-1959)
W.T. Zacha .... wardrobe supervisor (42 episodes, 1959-1961)
Bob Wolfe .... wardrobe supervisor / wardrobe (29 episodes, 1965-1966)
Series Editorial Department
Art Seid .... editorial supervisor / editorial supervision (61 episodes, 1957-1959)
Series Music Department
Fred Steiner .... composer: theme music (98 episodes, 1962-1966)
Gene Feldman .... music editor (55 episodes, 1959-1961)
Herschel Burke Gilbert .... music supervisor / conductor (25 episodes, 1964-1965)
Richard Shores .... conductor (10 episodes, 1964-1965)
Van Cleave .... conductor (7 episodes, 1962-1964)
Lud Gluskin .... conductor (3 episodes, 1963-1964)
Series Other crew
Samuel Newman .... story consultant / script consultant (109 episodes, 1961-1965)
M.E.M. Gibsone .... script supervisor (74 episodes, 1959-1962)
Marshall Schlom .... script supervisor (65 episodes, 1963-1966)
Gene Wang .... story consultant / story editor (57 episodes, 1957-1959)
Cosmo Genovese .... script supervisor (56 episodes, 1957-1964)
Art Seid .... assistant to producer (43 episodes, 1959-1961)
Alice Young .... story editor / script editor (30 episodes, 1958-1959)
Seeleg Lester .... story consultant / associate story consultant (30 episodes, 1959-1960)
William E. Orr .... script supervisor (29 episodes, 1958-1959)
Jackson Gillis .... story consultant (28 episodes, 1960-1961)
Ernie Frankel .... story consultant (28 episodes, 1965-1966)
Orville H. Hampton .... associate story consultant (28 episodes, 1965-1966)
Robert Gary .... script supervisor (8 episodes, 1959-1962)
Gertrude Bank .... stand-in: Barbara Hale (6 episodes, 1957-1964)
George Rutter .... script supervisor (5 episodes, 1964-1965)
Hazel W. Hall .... script supervisor (5 episodes, 1965)
Lewis Jarrard .... script supervisor (3 episodes, 1958)

Production CompaniesDistributorsOther Companies
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Additional Details

Also Known As:
60 min | USA:60 min (271 episodes)
Aspect Ratio:
1.33 : 1 See more »
Sound Mix:
Australia:PG | Finland:K-18 (self applied) (DVD) (2008)

Did You Know?

Perry's car, in the first season was a black 1957 Ford Skyliner. The Skyliner was a low volume car that had the first retractable hard top in a mass market American auto. Ford sold them in low volume from 1957 to 1959.See more »
Continuity: In the episode "Case of the Crying Comedian", actress Sue Ane Langdon is seen sitting at the bar, then she comes down the stairs and moments later is seen sitting at the bar again.See more »
Della Street:[a simple question] What do you know about art?
Paul Drake:[astonished] Me? I don't even know what I like!
See more »
Movie Connections:
Park Avenue BeatSee more »


Was there a board game based on this series?
See more »
26 out of 26 people found the following review useful.
Defying the Odds, 25 December 2006
Author: dougdoepke from Claremont, USA

Perhaps the most successful formula show in the history of TV. An interesting question is why, since the lead characters never varied, the outcome was predictable, and the plots could at times defy expert analysis. To me, that sounds pretty boring. So why did I faithfully watch the first runs and still catch the reruns when I can, and why did the series catch the fancy of so many others as it still does. Here are some conjectures.

Mason, Street, and Drake are more than a team-- they are a family. The chemistry among them is so good it's almost spooky. Burr's Mason is nothing if not masterful both inside the courtroom and out. He's a strong father-figure, while Hale's Della Street is the perfect secretary, sweet, attractive and highly efficient. Not quite a mother-figure (after all, this is a chaste family), she's the perfect older sister. And Hopper's Paul Drake is clever, charming, and slightly rakish. All in all, he's the perfect younger brother. Though each is a professional, together they operate as a loyal family unit. And when their final scene rolls around (The Final Fadeout, 1966), we're happy to know they will remain together even though we (the viewers) won't be with them.

The key here is Burr's grasp of character. After all, Mason wins week after week-- he never misses. What's more, he shows up the guardians of law and order week after week. If not done right, Mason would be an easy character to dislike. But Burr's Mason is never smug, never immodest, and always low-key, so we don't resent his near god-like status. This is a real tribute to Burr and the show's producers, who managed to walk a very fine line. There's one other character point worth noting. Mason's personality is the only one of the five (Burger and Tragg included) to alter. In the early episodes, he smokes, wears loud jackets, and occasionally flirts. But with the show's success, he's transformed into a paragon of virtue, probably because his character has come to stand for the quality of criminal justice in America. Shrewdly, the producers would take no chances with their golden egg.

The engaging quality of the stories varies little, an unusual feature for any formula show. That's likely because the script-writers worked with variations on six or seven basic plots. After all, they had to come up with thirty-plus mysteries every year for nine years. And each episode had to have a plausible list of suspects with a story line to unravel, which is a pretty heavy load. Then too, each entry had to have a larger than average cast of capable actors as suspects. Watching the re-runs, we see just about every familiar face from that era (one of the joys of catching the re-runs). Executive producer Gail Patrick Jackson deserves a lot of behind-the-scenes credit, since I'm sure this was not an easy series to put together week after week.

I had never thought of the show as film noir. But other reviewers have correctly pointed this out. Indeed, there are elements of noir in many of the first half hours, where the mystery sets up. Many of these were done in shadow, with strong emotions and a heavy atmosphere of doom, which distinguishes the series. For, overall, there was very little noir from any series during that sunny era. Frankly, it's that part I always enjoyed more than the courtroom scenes with their high-key lighting and extended dialogue. The general excellence of these first half- hours is another reason, I think, for the show's unusual success.

The mystery angle remains an attraction for many. It's fun, for those who want, to try to figure out the culprit. We know he or she will be exposed and the loose ends tied-up by hour's end. But the entries can be enjoyed for their drama alone. The witness-stand confessions served as a chance for neglected feature players to show their acting chops. Some of these were truly memorable. My favorite is from that great unsung actress of the era, Constance Ford. Watch her split personality emerge under Mason's perceptive grilling (The Case of the Deadly Double, 1958). It's a dramatic tour-de-force, as good as anything from the movies of the time. Many of the confessions were also poignant. The culprit could be seen as a sympathetic character, driven to murder by larger forces. And though, the epilogue (usually in Mason's office) often ended on a humorously upbeat note, the confessions remain the dramatic high point.

These are some of my best guesses. I expect there's another, not so flattering reason. Many of us, of course, have a nostalgic attachment to those younger years, which, I suppose, is only natural. Nonetheless, there is something timeless about the brave knight rescuing unfortunates in distress (in this case, usually a shapely blonde or brunette). In fact, the Mason show was predicated on that venerable premise. And even though Mason-as-ideal-defense-attorney would probably not work in today's post-Vietnam era, the key plot elements endure ( understandably, the series ended, just as the war in south-east Asia heated up). Greed, jealousy, ambition-- this is the stuff of high drama, while the Mason show used them effectively inside a format that fit its time. But the elements themselves remain timeless. And in that sense, so does the series.

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