Harry Orwell is a world-weary private investigator who was forced to leave the Los Angeles Police Department after a bullet became lodged near his spine. Moving to San Diego, he lived on ... See full summary »
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Harry Orwell is a world-weary private investigator who was forced to leave the Los Angeles Police Department after a bullet became lodged near his spine. Moving to San Diego, he lived on the beach, and, when not working on a current case, spent much of his time fixing up his boat, which was called The Answer. Harry O was unusual in that he didn't own a flashy car in which to conduct high-speed chases, preferring to ride the bus instead. Written by
Marty McKee <mmckee@wkio.com>
Harry Orwell was a gumshoe that Dashiel Hammet would appreciate (though he talked a bit more like Philip Marlowe, and his Southern California felt more like Ross MacDonald's.
It's been decades since I saw an episode of Harry O. I remember it having 70's cop show production values (everybody drove Fords). I can't really recall any of the stories. But I remember dialog and mood and characters with many layers. This show's success had less to do with the mystery and more to do with people and fantastic story-telling. You *liked* Orwell and Manny Quinlan. You wish you could meet people like that. You like to think they're out there somewhere, holding up some kind of code of decency in a dirty world. And if you had to have an adversarial relationship with a guy like Trench (the great Anthony Zerbe), at least you knew he was honest and fair and smart.
Those passages of narration were poetry! With Janssen's world-weary delivery it was like a ballad by Sinatra. Sure wish I could see some of these again.
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Harry Orwell was a gumshoe that Dashiel Hammet would appreciate (though he talked a bit more like Philip Marlowe, and his Southern California felt more like Ross MacDonald's.
It's been decades since I saw an episode of Harry O. I remember it having 70's cop show production values (everybody drove Fords). I can't really recall any of the stories. But I remember dialog and mood and characters with many layers. This show's success had less to do with the mystery and more to do with people and fantastic story-telling. You *liked* Orwell and Manny Quinlan. You wish you could meet people like that. You like to think they're out there somewhere, holding up some kind of code of decency in a dirty world. And if you had to have an adversarial relationship with a guy like Trench (the great Anthony Zerbe), at least you knew he was honest and fair and smart.
Those passages of narration were poetry! With Janssen's world-weary delivery it was like a ballad by Sinatra. Sure wish I could see some of these again.