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|Index||22 reviews in total|
Tall gorgeous handsome sexy six figure prominent attorney with an incredibly great personality and a command on the world that respects him as well as loves the fact that he is young and good looking!! Let's face it girls, where are we going to find a guy this perfect? Steven Eckhold plays the gorgeous hunk attorney who is just too good to be true...This is why he is a television character, and not a real guy just walking around in downtown Los Angeles somewhere!! I love Steven Eckholdt...I loved him in a great number of things, but I really loved him in L.A. Law,,,he is so incredibly handsome and I just go crazy thinking about dating a guy like that...He was the true hunk on L.A. Law and some of the other guys were OK!! Nothing really all that special...Television is of course supposed to be entertainment, and looking at a hunk like Steven Eckholdt is very entertaining to me.. As a matter of fact, Steven Eckholdt would be the perfect blind date...upon feasting my eyes on him and then finding out that he is L.A.'s most prominent attorneys, the first thing I would say to him would be, yes I will marry you!!!
L.A.Law was a standout drama from '86-'94. At the end, as many drama's
happen, it became somewhat stale and may cause many to forget the gripping
storylines Bochco, Kelley etc. created. The acting was superlative from
mainstays Dysart, Rachins, Tucker, Eikenberry, Ruttan, Bernsen, Hamlin
As the show expanded Law brought forth additional characters played by
Smits, Greene, Underwood, Donohoe, Spencer, Drake, Muldaur etc. These
made their roles and characters as unforgettable as the originals made
Probably the best thing that can be said about this show is that no one player was the focal point. No one character had to be the "lightning rod" for the show to be great. In an interview for the 100th show Richard Dysart, who played Leland McKenzie, the paternal "glue" of McKenzie, Brackman, Cheney, Kuzack, and Becker, told Jane Pauley that the actors weren't the genius of the show...the writers were. Awful high praise from an actor at a very candid moment.
Catch it in syndication on A&E each Monday thru Friday. You'll love it the second time around.
*** This review may contain spoilers ***
Less than two dozen reviews for a show which, like the Buffy/Angel series which was yet to come, essentially changed the face of prime time drama? I am very disappointed. In the 60 and 70s, TV dramas (eg- Perry Mason, Mannix) were about the stories not the characters. If you wanted to learn about the characters, you had to infer the information from things that happened in the main narrative. Every now and then the writers might give the viewer a treat and actually do an episode about the main character himself/herself, but these were few and far between. It was of course just the opposite in daytime TV which is why for literally decades there was a clear divide between the two narrative styles. Shows like this one by Bochko (and his HILL STREET BLUES, which preceded it) paved the way for the type of work that Whedon (and others) would deliver later. Ultimately we would end up with programming in the current generation like Arrow (also reviewed by this scribe in the IMDb) where the line between dramatic narrative and soap opera has become indistinguishable, and no one, not even the Head Writer, really knows where the series is headed. But that is now. This was then. Aside from the usual weekly stories about amoral lawyers working for amoral clients, we had something here that was very new to the decade -- backstory. And we had it in spades. It also did not hurt that Harry Hamelin was voted at the time "sexiest man alive;" and that in an early episode, Bochko presented the viewer with an office party where the short, dull, nerdy lawyer (nicely played by Michael Tucker) got drunk and made a pass at the tall blonde Nordic-goddess lawyer played by Jill Eikenberry. And the pass worked! Viewers all over the US were gob-smacked by this scene, which so deftly played against type. And they were gob-smacked yet again when the the press agent for the show revealed that in real life the two, Tucker and Eibenberry, were husband and wife. Bottom line, unforgettable show, and a true piece of TV history.
This was a seminal show -- probably the first "lawyer show" that wasn't
really a detective program in disguise. L.A. Law introduced us to many
of the particulars of a law firm: The staff meeting, administrative
hearings, appellate court argument, as well as almost all aspects of
criminal and CIVIL litigation. It was an amazing program that, when it
focused on the intriguing cases that came to the firm, was arguably the
best show on television in the late 80s and early 90s. If I recall
correctly only Hill Street Blues, The West Wing, and L.A. Law won 4
Emmys for best drama (now maybe Mad Men?). There's a reason this show
ranks in the upper echelon of television dramas.
To be fair to its critics, however, I can't remember ANY program that was this good that, almost abruptly, became so bad! Although I continued to watch it until the end, it was hit-and-miss at best, and sometimes just plain terrible after the fifth season.
Steven Bochco created one of the most popular series of the '80s. It's
a legal drama about a law firm in L.A.
It featured some great actors who created some iconic characters. On top of that, they had great chemistry. Their interactions is half of the fun. It made a mythical sexual position an actual thing. Now that's popularity.
With such a great large cast, a few defections do happen. And that is one of the reason for this show's demise. By 1992, some of the casts start to disappear. Unlike other shows, this one relied on it's characters and their relationships.
This award winning show lasted 8 seasons.
This show was so good when it premiered, several seasons later, it diminished in quality... Much of the cast contributed significantly to the success of this series, Tom Verica and Steve Eckholdt were very enlightening and auspicious factors to making "L.A. Law" popular in the latter years of the show's existence!! By then, those two were about the only stellar characters in this series!! Dialog in programs today is far more intellectual and acrimonious than it was in the past!! "L.A. Law" was the harbinger of things to come in terms of relevant and legally germane script writing which was pertinent to the authenticity of a law office in the 1980's!! The original made for T.V. movie signified a revelation in television law shows!! Candor about legal settlements, and situations involving ethics with relation to salaries and status quo behavior, became a staple to the modus operandi of L.A. Law!! The poignant jeremiads which articulated the indictments of our prevailing legal system in America, became one of "L.A. Law's" trademarks!! "L.A. Law" lasted eight seasons, only three were really excellent!! Almost everyone who knows about "L.A. Law" would agree with me, it is just that it is very difficult to comprehend why "L.A. Law" went downhill so quickly? NBC's perception of the Thursday Night slot of 10/9 central was that it was sewn up in their favor regardless of what they put in this slot!! Rationale of this nature is always a grave mistake!! There were a few highlights to the show in it's last couple of years, guys like Steve Eckholdt added to the show tremendously!! Even with his talent, he was not enough to re-establish the reputation "L.A. Law" had at one time for being one of the best shows on television!!
*** This review may contain spoilers ***
This was a terrific legal drama about a hodgepodge of lawyers in an
upscale legal firm in Los Angeles, and it focused on their cases and
their lives. The story lines were terrific as were the characters, like
the womanizing Arnie (a character you usually find in sitcoms!), the
retarded office worker Bennie, the Hispanic attorney Victor who knew he
had been hired to meet racial status quos, and the nasty attorney who
met her end when she fell down the elevator shaft. I loved the theme
song-it ranks among my all-time favorites. Anyone who likes legal
dramas will love this show. Compare and contrast it to The Practice.
You might find it interesting.
*** out of ****
*** This review may contain spoilers ***
Allot of people give Steve Bochco all the credit for the shows success as well they should because he read a screen play called From The Hip ands in turn hired the writer of said screen play. While Bochco wrote many amazing moments in Hill Street, it was David E. Kelly that dropped Rosalyn Shays down an elevator shaft. It was Kelly that established established the beginnings with the odd twist which he would continue with Picket Fences and Chicago Hope. Hardest thing for this writer is every show after it was compared to LA Law. People complained about that in the case of Harry's Law. But at least it was considered in the shadow of Boston Legal. Really Bochco and Kelley invented the dramedy.
The previous post was less than favorable to this incredible show
("great actors, flawed writing"), so I just had to weigh in. For a
moment, forget that "L.A. Law" presented some of the most
compelling and unusual legal cases as drama (some of them so
unusual, in fact, showrunner David E. Kelley would revisit them in
his own "Picket Fences," "The Practice," and even "Ally McBeal").
"L.A. Law" brought black comedy back to television and presented sexuality and sensuality that actually advanced its storylines. The latter were core character traits of Corbin Bernsen's Arnold Becker and Jill Eikenberry's and Michael Tucker's Ann Kelsey and Stuart Markowicz, respectively. You can argue the tastefulness of these scenes and others, but you couldn't make a case for their gratuity.
The writing, of course, enabled the other collaborators on this show to perform at the peaks of their abilities. The show explored some of the more difficult issues of its time through our legal adversarial process. Whether surgeons should be obligated to operate on AIDS patients, the right for the terminally ill to die, the lives of the mentally challenged, sexual dysfunctions, the pressures and responsibilities of the police -- these and other episodes paved the way for the shows we're watching today. "L.A. Law" stood on the shoulders of giants, yes, but it became a giant in its own right.
Arguably the show created by Stephen Bochco and Terry Louise Fisher suffered with the departure of David. E. Kelley in its fifth season. The guys who used to run "St. Elsewhere" had a brief stint as showrunners, and viewers began tuning out when the show became less about L.A. lawyers and more about various medical maladies.
That fifth season was especially dramatic, too, as several cast members also were leaving, which freed the writers from some of the constraints of series television -- namely, that characters could not change significantly from week to week.
To dismiss "L.A. Law" as a show about yuppie lawyers is to misjudge a deep, poignant, and important book by its slick, glossy cover. Check it out.
This show concerning the lives of lawyers at an LA law firm was a breakout hit during its first season for its well written plots and great characters. This of course was because of some incredible writers and great actors. However as the show entered about it's sixth season the best writers and actors began to leave en masse the plotlines fell apart and the show became much more stale. Avoid this period if you can.
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