Sam McCloud is a Marshal from Taos, New Mexico, who takes a temporary assignment in the New York City Police Department. His keen sense of detail and detecting subtle clues, learned from his experience, enable him to nab unsuspecting criminals despite his unbelieving boss.
Follows Sergeant "Pepper" Anderson, LAPD's top undercover cop. A member of the Criminal Conspiracy Unit, Pepper works the wild side of the street, where she poses as everything from a gangster's moll to a streetwalker to a prison inmate.
Sam McCloud is a town Marshal from Taos, New Mexico. He goes to New York to find an escaped criminal, and there falls for reporter Chris Coughlin, who is the cousin of the deputy police commissioner. After he tracks the criminal down, Chris convinces her cousin to request that Sam be assigned to temporary duty with the NYPD to learn modern police methods. He is assigned to the detective bureau headed by Chief Peter B. Clifford, who is less than thrilled with having McCloud under his command and gives him nothing but menial duties. Sam always winds up deep in homicides, drug busts, and various other major crimes. He is often helped out by Sgt. Joe Broadhurst, and solves them using a combination of good police work and good old country know-how.Written by
Brian Washington <Sargebri@att.net>
For the first two seasons, music (including the theme) was composed by David Shire in a strongly country music fashion. During the third season, there was no regular composer, with four different closing themes used in five episodes. The main title theme used in most openings and all closings from season four, episode one, "Butch Cassidy Rides Again", was never given screen credit, but its resemblance to other scores in the fourth season suggests that Frank De Vol (My Three Sons (1960), The Brady Bunch (1969), and Fernwood Tonight (1977)) composed all, or most, of the theme. The theme is somewhat similar in a driving beat to others which Series Producer Glen A. Larson composed for later series, such as Switch (1975) and Sword of Justice (1978). See more »
McCloud's accent is totally wrong for someone supposedly from Taos New Mexico. Taos is located in northern New Mexico, and Anglos there do not speak in that sort of accent, but rather more or less a general American accent. See more »
Only the first season featured hour long episodes (47 minutes plus commercials). The pilot and subsequent seasons were 90 minutes or longer. For repeats, the six episodes of season one were edited together in pairs of two to form three 90 minutes installments. These were given the new titles 'Man from Taos'; 'Manhattan Manhunt'; and 'Murder Arena'. Some additional voice-overs by the main cast was added to imply connections between the story lines where originally there had been none. See more »
Although I think that the original inspiration for the McCloud series came from Clint Eastwood's film Coogan's Bluff which involved a New Mexico sheriff in New York, Dennis Weaver certainly made Marshal Sam McCloud his own character and certainly was a lot less stiff than Eastwood's Joe Coogan.
The premise had Sam McCloud of Taos, New Mexico in New York to take some training in new law enforcement techniques. But it seemed that in every show he was teaching those New York City slickers a thing or two about criminal apprehension.
He was the bane of the existence of Chief Clifford who was played by J.D. Cannon. Cannon looked like he was about to let an ulcer get the better of him in each show. A bit more patient was the NYPD babysitter Terry Carter who played Sergeant Joe Broadhurst. Weaver even got a little romance going with reporter Diana Muldaur. Weaver was good for scoops at least.
And there was McCloud's eternal catchphrase. Whenever the New Yorkers finally got whatever he was doing it was always "There Ya Go". Weaver was always springing country aphorisms which he had to translate.
Weaver really made this show click. He hated playing Chester in Gunsmoke, always thought he should have been the marshal.
I'd say he proved it with McCloud.
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