Amos Burke was a Los Angeles chief of detectives who was also a millionaire with a chauffeur-driven Rolls Royce, a mansion, and a high-wheeling lifestyle. The hallmarks of this series were ... See full summary »
Neil Brock is a young social worker in the slums of New York City; his boss is Frieda Hechlinger; and Jane Foster is the office secretary. This dramatic series features stories about child ... See full summary »
George C. Scott,
Ben Gazzara plays a successful lawyer who is told by his doctor in the first episode that he will die in one to two years. He decides to do all of the things he has never had time for. The ... See full summary »
Through a combination of re-enactments and actual footage, sensational true crimes are followed from their commission, through the investigation and apprehension of the suspected criminal, ... See full summary »
Ken, Dave and Sandy are three hip private detectives living on and working out of a houseboat in Miami, Florida. A yacht, belonging to socialite Daphne, is anchored next to their houseboat.... See full summary »
There were only two seasons of THE ELEVENTH HOUR. Both featured Jack Ging as Dr. Paul Graham, a passionate and caring young psychologist working under the aegis of elder psychiatrists ... See full summary »
Mike is running from some men when he falls into the harbour. He climbs out remembering only that he was running and the phrase 'coronet blue'. As the show continues from week to week, Mike... See full summary »
The Rifleman (1958) was scheduled for a sixth season in 1963 when Chuck Connors said he felt that five years in one series was enough. He was considered a hot property at the time due to its success. "Eager for a change," he wanted to break out of the western mold. Connors signed a lucrative seven-year deal with Universal/Revue Studios that gave him profit participation and allowed him to do at least one feature film a year. "Arrest & Trial" was the first project he committed to under his new contract. Originally slated to play Sgt. Anderson, the Ben Gazzara part, Connors lobbied for and received the part of John Egan, a slick, top-flight criminal defense attorney. Gazzara, on the other hand, had a number of impressive Broadway plays and Hollywood films to his credit but had resisted doing a TV series because, in those days, it could damage an actor's chances to appear on the big screen. However, Gazzara said that Broadway hadn't made him rich and the film offers were not exactly rolling in. So, he signed for "Arrest & Trial" for the financial security and exposure. Both actors were reportedly paid $7,500 a week and Gazzara, like Connors, enjoyed profit participation. See more »
When Dick Wolf was creating "Law and Order", he was told there had already been a show that followed a crime from it's commission through the investigation the arrest and the subsequent trial. It was called "Arrest and Trial" and was on from 1963-64, a quarter century before the pilot for "Law and Order", (I'll call them A&T and L&O). Wolf screened an episode of A&T and concluded that their show was very different from his. He was right. The biggest difference, however, was not in concept but in time.
A&T is a 90 minute show, L&O an hour. L&O is a story-driven show with the nature of it's characters suddenly and starkly revealed. A&T is a character study that shows situations developing over time and their effect on people as they happen. In L&O the cops are cops but the lawyers are prosecutors, attempting to forge justice using the imperfect tool of the law. Their adversaries are usually rather sleazy criminals who cared about no one but themselves and their equally self-interested attorneys, people who care nothing about law or justice but just want to win. In A&T the cops are part psychoanalysts and the criminals victims of tragic circumstances. The lawyers are highly principled defense attorneys. The prosecutor is a very friendly adversary who almost reluctantly does his job, even though he may even be sympathetic toward the accused. L&O is mostly about legal issues as the lawyers dual with each other. Whatever moral issues come up have been violated by the criminals. In A&T, there is always some great moral issue that dominates the question of whether the accused is guilty of the crime. How do we treat the insane? Drug addicts? The emotionally distraught?
When I had a chance to view A&T myself after many years of watching L&O, I found it a pleasant surprise, perhaps the most underrated show of my favorite TV decade, the Sixties. The length and emphasis on crime as human tragedy provided some very fine actors such as James Whitmore, Joseph Schildkraut, Mickey Rooney, Roddy McDowell, (who starred in a version of "Crime and Punishment") and many others with tours de force. The writing and acting was very strong. Ben Gazzara, (who I recently spotted in an L&O episode, with his voice apparently dubbed for some reason- I hope he isn't having health problems), played a very thoughtful and sympathetic policeman and Chuck Conners was fine and forceful as an idealistic attorney. It's a consistently entertaining show, one that covers much of the same ground as the excellent "The Defenders" from the same period.
But it's clearly a product of it's time. There are no bad guys. The victims are often faceless or minor characters. Prosecutors and defense attorneys are brothers in arms, fighting for what's right. There's never talk of a deal. This was from a time when, in the last generation, we'd survived a depression, won a war, were holding back Communism and reaching for the moon. We were going to get rid of poverty and injustice. A great many shows presented the contemporary world, one with problems but problems which seemed soluble with heroic effort. Dr. Kildare, Mr. Novak, The Defenders, East Side West Side, Naked City, even Route 66. A&T was definitely a product of this environment.
L&O is product of a much more cynical age, one where people are grubbing for whatever they can get, protecting their own interests and bending the law anyway they can to get what they want out of it.
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