Reviews written by registered user
|122 reviews in total|
In October 1969, one of the first "Movie of the Week" programs aired on
ABC was "The Young Lawyers". Written by Michael Zagor, whose credits
include co-writing the two-part finale of "The Fugitive" and several
episodes of "Ben Casey," "I Spy," and co-creator of "The Bill Cosby
Show" (1969), the movie starred Jason Evers as attorney Michael Cannon,
who leaves his Boston law practice to become the director of the
Neighborhood Law Office, which serves people who can't afford to hire
an attorney. Three law students, Aaron Silverman (Zalman King), Ann
Walters (Judy Pace) and David Harrison (Tom Holland, a.k.a. Tom
Fielding), assist in helping people who need legal services. In the
pilot, the group helps two musicians (Richard Pryor and Dick Bass) who
are accused of robbing and beating up a cab driver (Keenan Wynn).
Looking closer into the driver's background, the students found some
proof suggesting a cover-up involving the driver's unstable son
The TV movie rated very well in its premiere broadcast that ABC commissioned a total of 24 episodes for the 1970-71 television season. However, the network and Paramount Television decided to recast the lead character and remove one of the three young lawyers. Jason Evers was replaced by Lee J. Cobb, who plays David Barrett on the series. King and Pace were re-hired for the series, while Tom Holland was not hired.
The series premiered the same night as the first ABC Monday Night Football game, which meant that in the fall of 1970, "The Young Lawyers" would air at 7:30 PM Eastern/6:30 PM Central but air after the football game in the Mountain and Pacific time zones. Unlike MNF, which aired on ABC for 35 seasons, not many shows in the time slot before the game lasted very long and "The Young Lawyers" was no exception. I believe "The Rookies" and the original "MacGyver" were the only shows lasting longer than 2 seasons.
It also didn't help that the show was scheduled against several highly-rated TV series. On Mondays, it aired opposite "Gunsmoke" and "Rowan & Martin's Laugh-In." When the series was moved to Wednesdays in January 1971, it aired against "Hawaii Five-O."
In addition to poor scheduling, the series struggled to find its voice. For every 3-4 good to very good episodes, there were 4-5 segments that were not well-written. There were numerous writers-for-hire for the program, which may explain why the series was extremely uneven. I also thought that it was not fair that Zalman King was given more material throughout the season and the characters played by Cobb and Pace were not properly fleshed out. In a 1970 interview with the Seattle Times promoting the series, King agreed with that assessment.
A new character played by Philip Clark appeared in mid-season suggests that the decision to remove the 3rd young lawyer character introduced in the pilot was a mistake. A few more characters may have helped to balance the story lines and not have King's character carry the brunt of the story lines.
As of this posting, I'm viewing the made-to-order DVD of the series, which includes the 1969 pilot. Although the DVD has a disclaimer indicating that some segments may have been edited from the original network version, it looks like most, if not all, of the hour-long episodes averaged a 50+ minute running time. The prints have some dust and scratches but view-able. As with many made-to-order releases, there was no closed captioning and no extras.
Because of studio interference, network tinkering and poor scheduling; "The Young Lawyers" was never given a chance to grow and creatively thrive. Although I'm not as impressed with the series now that when I watched it as an impressionable 8 year old, I would recommend watching some of the episodes including "The Glass Cage," "False Witness," "The Outspoken Silence," and "The Whimper of Whipped Dogs" to show what the series could have been if the show was given a chance.
One more thing. The theme song composed by Lalo Schifrin has been in the back of my mind any time a Volkswagen Bus drives by.
Writing strictly as a biased fan of the original "Ironside" series, it
was nice for the entire cast, including a few performers that retired
for a number of years, to return for "The Return of Ironside," which
was one of the last projects starring and co-produced by Raymond Burr.
This competent mystery movie involves police officer Suzanne Dwyer (Perrey Reeves), the daughter of Eve Kendall (a still radiant Barbara Anderson). Dwyer may be involved in a possible conspiracy involving the death of the Denver police chief. Ed Brown (Don Galloway) is assigned to temporarily handle the duties of the deceased chief and asks Robert T. Ironside, who just retired consulting for the San Francisco Police Department, to help with the case. The request from Brown came just as Ironside was about to settle down with his wife Katherine (Dana Wynter, in her final performance) to their Napa Valley winery. Also helping in the investigation are former Ironside assistant and now court judge Mark Sanger (Don Mitchell, which, as of 2013, was his final acting performance) and retired officer Fran Belding (Elizabeth Baur).
As with most "Ironside" episodes, even if the mystery is not a total success, the presence of Burr and company makes the ride to the conclusion rather intriguing and not too much of a waste of time. I'm no fan of reunion movies/TV shows because I'd like to remember the original series and the people involved in the production. At the same time, after re-watching the TV movie for the first time on the web in nearly 20 years, I think this was Burr's way of letting his long-time colleagues and fans of the show say goodbye to Ironside and to Burr. He would appear posthumously in two more "Perry Mason" TV movies.
In May 1966, the original "Perry Mason" series ended on CBS after 9
successful seasons. Seven years later, an ill-advised remake was
produced by some of the people associated with the original series.
Veteran TV actor Monte Markham won the role Raymond Burr made famous to the point that no one can ever associate the role of Perry Mason with anyone other than Burr. As far as I'm concerned, Markham did a credible job with the material given to him. I thought Harry Guardino as Hamilton Burger and Dane Clark as Lt. Arthur Tragg were OK in their roles as well. The less said about Sharon Acker as Della Street and Albert Stratton as Paul Drake, the better.
Brett Somers appeared in a few episodes as receptionist Gertie Lade and was a well-needed comic relief to some not-so-exciting mysteries.
This will probably be the only review which will acknowledge liking the theme music and who composed it, Earle Hagen (Andy Griffith Show, The Mod Squad, I Spy, among many others). As with Burr, Fred Steiner's Park Avenue Beat/Perry Mason theme will always be iconic. Hagen's stand-alone underscore serves its purpose and does not overwhelm the story lines.
So, why did the show flop? According to a New York Times article (September 26, 1973) no new shows appeared in the top 20 Nielsen ratings the week The New Perry Mason debuted. In addition, the original Perry Mason was in daily syndication in many television markets and Burr's other series, Ironside, was starting its 6th season. Considering that Burr would return to play Perry Mason in 1985, a decade after the failed remake, maybe the remake was just a case of terrible timing.
At least one YouTube user uploaded several episodes from the remake. Despite my agreement with many Perry Mason fans lambasting the remake, I thought it had potential but was painted in an unfortunate corner and was slated for a quick death.
Who did it? In my opinion, it was network executives who thought a remake was needed despite dedicated fans saying no.
From the 1960s and 70s, there were numerous detective series where the
lead character had a unique characteristic: wheelchair-bound Ironside,
trench coat-wearing Columbo, senior citizen Barnaby Jones, etc. In the
case of the watchable series "Longstreet", James Franciscus played the
New Orleans-based insurance agent whose was blinded by an explosion
that killed his wife and is determined to continue investigating cases
despite his affliction.
The priorities "Longstreet" developer/executive producer Stirling Silliphant had were similar to his earlier shows ("Route 66" and "Naked City", in which Franciscus appeared in the first season): character studies over plot. This is not to say that the show's plots were uninteresting. Franciscus' compelling performance kept my interest, as well as support from Marlyn Mason as assistant Nikki and Peter Mark Richman as Duke.
Most martial arts fans remember the series less for Franciscus and more for Bruce Lee, who played Li Tsung, Longstreet's Jeet Kune Do instructor for just four episodes. Lee made such a strong impression, it's a shame that the producers/writers were unable to incorporate Lee in more episodes. At the same time, if Lee were made a regular, he may have not signed on for "Enter the Dragon" in his tragically short film career.
"Longstreet" was an early success in the show's only season on ABC. Unfortunately, it was overshadowed in mid-season when NBC's "Ironside" moved into the same time slot. ABC canceled "Longstreet" at the last possible moment despite having better ratings than a number of ABC shows.
There are many short-lived series like "Longstreet" that deserve to be rediscovered. I hope CBS/Paramount will consider releasing the series from their large vaults to DVD and web streaming.
My memories of the gritty but not totally successful private eye drama
"P.J." are rather hazy and incomplete. As several other writers have
mentioned, the movie was heavily edited for television after the
movie's original release. Even as an impressionable kid, I wondered why
P.J. (George Peppard) was badly beaten up without knowing who did it
and what happened to the guy on the subway platform that threatened
P.J.'s life? The two sequences, as well as several others edited
scenes, made "P.J." on TV a rather bland and disjointed mess.
On a hunch, I was able to finally see an unedited, pan-and-scan version of "P.J." a few days ago. Regrettably, the movie was not as good as I remembered. This is despite good performances by Peppard and Raymond Burr, who probably relished the offer of playing a bad guy after many years as Perry Mason, as well as Gayle Hunnicutt as the femme fatale.
The musical score by Neil Hefti and the New York locations certainly set the mood. (Some of Hefti's interludes sounded a lot like his score from the movie "The Odd Couple". "P.J." was released a few months before "The Odd Couple".)
I don't consider "P.J." a classic because of some misguided creative decisions by the writers and director and production choices in which scenes that were obviously filmed on the Universal back lot took me out of the story on occasion.
However, I believe that movie studios are doing themselves a disservice to the public by not releasing this and other movies to the web or on DVD. There are horrible movies in the past few years that are on the web or released on DVD but a 1968 film that was not necessarily a classic and did not win any awards is shown illegally on a popular web page. To Universal, release the film on a widescreen format and let the public decide if the movie is worthy.
"Smash-Up on Interstate 5" goes the same path as any disaster flick
from the 1970s. The TV movie has a large, notable cast and multiple
story lines, which culminate into the title incident. In an unusual
move, the filmmakers chose to open the film with the same multi-vehicle
accident and flash back to the characters involved in the accident.
Because of this creative decision, I did care about some of the characters and their fates. The most heartbreaking storyline was the older couple played by Buddy Ebsen and Harriet Nelson (Hillard) in which one member of the couple is faced with a fatal medical diagnosis.
In addition, the stunt work and editing of the actual crash was very terrifying and effective.
As with many television movies, finding this item on DVD is challenging.
Several weeks before posting this review, I visited Boston for the
first time. While riding the city's MBTA Red Line across the Longfellow
Bridge, I could not help but hum variations of the theme song from
"Spenser: For Hire," which aired over 25 years ago. I never read the
Spenser books written by Robert B. Parker so I have no idea if the show
ever captured the essence of the novels. The series never ranked in the
top 20 and was switched to several time slots during the show's three
seasons. The show's major strengths were Robert Urich as Spenser, Avery
Brooks as Hawk and the incredibly strong on location production values
that made the show better than some current and past detective shows,
depending on the episode.
Some episodes, especially within season 1, had strong, intriguing plot twists that kept my interest. Three of my personal favorites were "The Choice," (which starred Patricia Clarkson and Sam Robards as thrill killers), "When Silence Speaks" (with Phyllis Frelich as a newspaper columnist who hires Spenser to locate a letter writer) and "Discord in a Minor," in which the teenage daughter of the city's symphony director tries to run away with the son of a local crime boss.
The show was far from perfect. Both of Spenser's love interests, Susan Silverman (played by Barbara Stock, seasons 1 and 3) and Rita Fiori (played by Carolyn McCormick, season 2) were generally thankless, underdeveloped roles. Arguably, both actresses tried their best with the material given but, more often than not, the dynamic between Spenser and Hawk was more interesting. In addition, several episodes depended more on chase scenes and stunts instead of correcting plot deficiencies, great stunt work notwithstanding.
I watched "Spenser: For Hire" on SlashControl.com and, as of this post, over 50 of the show's 65 episodes are available for streaming. Overall, the show was a nice diversion and a better-than-average detective series.
Update (6/14/2012): Sadly, with AOL ending SlashControl.com, Spenser: For Hire is not being streamed as of this update. I hope Warner Brothers will reconsider and stream and/or release the program on DVD in the future.
Update (2/3/2015): The WB Shop has released season 1 of "Spenser: For Hire" on a made-to-order DVD basis.
The 1978 film "The Swarm" was a major flop at the box office and was
justifiably panned by many film critics. The film was such an infamous
disaster, Producer/Director Irwin Allen refused to talk about the movie
in later interviews.
The short "Inside 'The Swarm'" will not change my overwhelming negative feelings about the film. Nonetheless, after viewing the short film, the one constant was the professional work ethic of Allen, the stunt coordinators and the unnamed stunt people. If more money was spent on the visual effects, less money on hiring Hollywood stars to presumably hook audiences to see the movie, and more time spent fleshing out a weak script, maybe "The Swarm" might have worked.
After over 30 years, my feelings about this laughably horrible film has never changed.
The two-part episode, "A Continual Roar of Musketry", originally aired
on NBC in November 1970, six months after the Kent State shootings.
The Retro Television Network (RTV) reran the episodes May 1 and 2, 2010 in several U.S. television markets. Despite a few questionable creative choices, the episodes are still very potent.
Senator Hays Stowe (Hal Holbrook) heads a three-person committee investigating the shooting of demonstrators at a college by the state's National Guard, in which two students were killed and at least four were injured.
As with other episodes from the shamefully short-lived segment of "The Bold Ones", David W. Rintels' script still has some significant resonance even after forty years. Obviously inspired by Akira Kurosawa's "Rashomon", the episodes show several different viewpoints on the shootings. They include: the governor (John Randolph) who commissioned the investigation, the college chancellor (Laurence Luckinbill) who understood the protesters' concerns, the local mayor (John Marley) who wants to protect his town's reputation, the young protesters and the officer who may or may not have order the shooting.
I think the second hour was better than the first. The strong cast of familiar character actors (Edward Binns, Paul Stewart, John Marley, Noam Pitlik and the other actors mentioned previously) had the unenviable task of essentially playing two different roles. Unfortunately, I wished some of the performances, specifically in part one, took a "less is more" acting path.
In a 2006 interview, Randolph Mantooth mentioned that he got the role of paramedic John Gage in "Emergency!" from this episode. His performance as a fellow college student given the unfortunate responsibility of protecting the college from protesters, was very effective, showing that the character was not a robot who may have ordered the shooting of unnamed targets.
Also effective was Pamela McMyler as the girlfriend of the lead protester (Robert Pratt), who finds herself as the only person willing to talk to the commission about the shooting from the student protester's perspective.
Holbrook's powerful performance as the well-intentioned, idealistic senator was the strongest quality thought the entire series. As mentioned in a posting about the series, it has been nice to rediscover "The Bold Ones" and the segment "The Senator".
I must have been 8 or 9 years old when "The Bold Ones" first premiered.
The fact that the show aired on NBC Sunday nights at 10:00 meant that I
should have been asleep for school the next day. I do remember that the
subject matter of all four segments ("The New Doctors", "The Lawyers",
"The Protectors" and "The Senator") was definitely for mature TV
audiences. Considering the era of the late 1960s-early 1970s, when
several TV programs started to evolve and created entertaining stories
with some social significance, I can see why "The Bold Ones" was a
partial success, at least by some critics but not to the general
public. The series never ranked in the top 20 and two segments, "The
Protectors" and "The Senator," lasted just one season.
In the past few months, the U.S. digital channel Retro Television Network (RTN) started to air numerous TV shows from the Universal/Revue television library. I'm very glad to rediscover "The Bold Ones" and, specifically, the multiple Emmy award-winning segment "The Senator" with Hal Holbrook playing the fair-minded, idealistic junior U.S. Senator Hays Stowe from an unidentified state.
As of this posting, I had a chance to revisit two episodes after over 38 years since their last airings. In "George Washington Told a Lie", a dam project proposed by Sen. Stowe is on land that would displace a group of Native Americans. In "The Day the Lion Died", Stowe confronts a fellow senator who might be suffering from a serious mental condition. With both episodes, especially the latter, which features an award-worthy performance by Will Geer as the eccentric senate member, I got the sense that the story telling quality was raised a few notches. The pace may have been slow but, at the same time, literate, deliberate and it did not insult my intelligence.
Looking at "The Senator" in 2008, it reminds me of some of the strong qualities of the more successful "The West Wing". It does make me wonder if Sen. Hays Stowe became candidate for U.S. President, would he still have that idealism or would he be corrupted. It is interesting to note that both shows won Emmys for best drama series. Once in a while, quality does triumph over quantity.
Update (July 2, 2015): "The Bold Ones: The Senator: The Complete Series" was released on DVD by Timeless Media/Shout! Factory.
|Page 1 of 13:||          |