Los Angeles is where Sgt. Nick Anderson and his fellow officers work to keep the streets safe. After the arrest of the accused, attorney John Egan plans their defense while the prosecution is lead by Jerry Miller.
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1  
1964   1963  
Nominated for 4 Primetime Emmys. See more awards »
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Cast

Complete series cast summary:
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 Det. Sgt. Nick Anderson (30 episodes, 1963-1964)
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 John Egan (30 episodes, 1963-1964)
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 Det. Sgt. Dan Kirby (30 episodes, 1963-1964)
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 Deputy DA Jerry Miller / ... (29 episodes, 1963-1964)
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 Mitchell Harris (26 episodes, 1963-1964)
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 Jake Shakespeare / ... (24 episodes, 1963-1964)
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 Assistant Deputy District Attorney Barry Pine / ... (18 episodes, 1963-1964)
Noah Keen ...
 Det. Lt. Bone / ... (17 episodes, 1963-1964)
Joanne Miya ...
 Janet Okada (13 episodes, 1963-1964)
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Storyline

Los Angeles is where Sgt. Nick Anderson and his fellow officers work to keep the streets safe. After the arrest of the accused, attorney John Egan plans their defense while the prosecution is lead by Jerry Miller.

Plot Summary | Add Synopsis

Plot Keywords:

courtroom | See All (1) »

Genres:

Crime | Drama

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Details

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Release Date:

15 September 1963 (USA)  »

Also Known As:

Arresto y juicio  »

Company Credits

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Technical Specs

Runtime:

(30 episodes)

Sound Mix:

Aspect Ratio:

1.33 : 1
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Did You Know?

Trivia

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 »

Connections

Remade as Arrest & Trial (2000) See more »

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User Reviews

Arrest and Trial and Law and Order
10 April 2002 | by (N Syracuse NY) – See all my reviews

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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