Perry Mason (1957–1966)
7.7/10
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The Case of the Golden Girls 

Victor Montalvo picks up a young lady hitchhiking which results in being blackmailed by her. He is part owner of a storied men's club but a new co-owner is changing the format. When he is killed, Victor is charged and she is a key witness.

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(based on a novel by), | 1 more credit »
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Cast

Episode cast overview, first billed only:
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Dan Tobin ...
Philip Bourneuf ...
Victor Montalvo
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Beverly Garnett
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Debbie Conrad (as Angela Dorian)
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Irving Florian
Jean Engstrom ...
Corinne Richland
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Stacey Garnett (as George Neise)
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Rick Durbin
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Lee Frederick ...
Sgt. Eggers (as Lee Fredericks)
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Storyline

Stacey Garnett driving near the beach picks up young Debbie Conrad. He gives her his card offering her a job as a Golden Bear at his club before stopping at a company property for a meeting taking a small gun with him. After hearing shots she runs away and finds a second ride with Victor Montalvo at a phone booth. She notices and quietly picks up the same gun in the floorboard. When the majority owner of the Golden Bear Club Stacey Garnett is found shot to death, his partner Victor Montalvo is charged with murder and he turns to Perry Mason to defend him. There is no doubt that Montalvo disliked Garnett who took over the club and it's magazine, which focused on outdoor activities, and turned into a men's club and girlie magazine. Montalvo was known to have detested what Garnett did but the forensic evidence also shows that he was killed with a odd-caliber gun, which Montalvo happens to own. Perry is certain of his client's innocence but there are several others who would like to have ... Written by garykmcd

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Genres:

Crime | Drama | Mystery

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Release Date:

19 December 1965 (USA)  »

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1.33 : 1
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Trivia

The music heard at The Golden Bear Club shortly before the owner is arrested is the same music played by The Mosquitoes in the Gilligan's Island episode "Don't Bug the Mosquitoes," including the song "You Need Me," sung by Ginger, Mary Ann, and Mrs. Howell! See more »

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User Reviews

Interesting continuum evidence of TV vs. sexploitation films
23 March 2017 | by (New York, New York) – See all my reviews

Other IMDb reviewers have usefully recounted the links of this episode being a remake of "The Case of the Vagabond Virgin" (title of which appears in the opening credits alongside the new title) and the coincidental career ups & downs of beautiful guest star Victoria Vetri. But for me it is the opening sequence that merits comment.

Vetri is picked up on the roadside by the faux-Hugh Hefner character and the black and white visuals and content exactly capture the look, style and risqué situation of countless 1960s Adult movies, only without the nudity and violence that made those pre-rating system releases forbidden fruit shown to Adults-Only audiences at burlesque houses and Adult theatres of the day. Of course, "Perry Mason" would qualify for a G rating once the MPAA ratings were created 3 years later, but the tone is the same. And as with sexploitation films, it would be easy to edit in more explicit insert shots were this episode to have been expanded into a feature film, perhaps for European audiences ("Man from U.N.C.L.E." episodes were famously augmented for theatrical release though hardly "Adult" in content.

I have always contended that mainstream and Adult cinema and TV represent a continuum, as evidenced by the similarity of early 1970s drive-in exploitation movies and subsequent hit TV series (best example: Ted Mikels' "The Doll Squad"begat "Charley's Angels"). The only surprised I had watching "The Case of the Golden Girls" beyond the use of Golden Bear as the club and magazine name in the show without apologies to Jack Nicklaus was the end credits, attributing the episode to Jesse Hibbs, veteran TV and B-movie helmer. I would have bet anything based on the opening scene that Arthur Marks had been the director, he of hundreds of "Perry Mason" episodes who evolved into a famous drive-in exploitation film director in the '70s ("Bonnie's Kids", "The Roommates", etc., but I was wrong.


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