BURKE’S LAW “Who Killed Cable Roberts?” ABC, 04 October 1963 (Season 1, Episode 3). Gene Barry (Captain Amos Burke), Gary Conway, Regis Toomey, Leon Lontoc. Guest Cast: Mary Astor, Zsa Zsa Gabor, Paul Lynde, John Saxon, Lizabeth Scott, Chill Wills. Writers: Gwen Bagni, Frank D. Gilroy Director: Jeffrey Hayden.

   The gimmick in the series, as I imagine almost all of you already know, is that Amos Burke is a millionaire cop who solves crimes while being chauffeured to the scene in his Rolls Royce. The title of the series comes from his way of coming up with some pearls of wisdom to pass along to his underlings at the appropriate times.  Example: “Never ask a question unless you already know the answer. Burke’s Law.”

   And let’s not overlook a third major factor in the show. Amos Burke is absolutely irresistible to women, no matter their age or martial status. The only reason Gary Conway and Regis Toomey (his underlings) are on the show are to exchange knowing looks and fake commiseration for Burke’s plight whenever the latest female guest star flings herself upon him.

   Cable Roberts, the victim in this, the third episode of the first season, is one of those legends of the western world who combine being a writer, a big game hunter and a producer of documentary films with being as unlikable a man as he can possibly be. He’s also rich, or does that go without saying? Rich enough to have a lithe and very limber wife like Lizabeth Scott and a maid with the strikingly exotic looks of a Zsa Zsa Gabor, not to mention a personal secretary (Paul Lynde) and a son (a very young John Saxon) whom he is very definitely on the outs with.

   Plenty of suspects, that is one thing that is for certain, and all the screenwriters have to do is pick one of them to be the killer, and then figure out a way for Captain Burke to put the finger on him or her with only a few minutes to go. The end result is pleasant way to spend the better part of an hour, but also very much forgettable after that. Except, that is, for Lizabeth Scott.

   And more than that, no one could ask.

   My opinion? This may be a fun series to watch, but just because they call it Perry Mason doesn’t make it PERRY MASON.

BANSHEE “Pilot.” Cinemax. 11 January 2013. Antony Starr, Ivana Miličević, Ulrich Thomsen, Frankie Faison, Hoon Lee, Rus Blackwell, Ben Cross. Created and written by Jonathan Tropper and David Schickler. Director: Greg Yaitanes.

   This is a pilot that pretty much does exactly what it’s supposed to do. It sets up the characters and the situation, tell a story as it does so, and makes the viewer want to  come back for more. In this case, though, it takes the entire hour’s length of running time to squeeze everything in, and the average viewer  (me) will still have a lot of questions. I guess I’ll have to watch the next one!

   I’ll start with the characters, then, and maybe fill in the situation as I go. It’s rather complicated, but I’ll try to make things simple, if I can. A man (an appropriately tough-looking Anthony Starr) is just out of prison, and with the help of an old friend (Hoon Lee) he’s is able to find his way to the small Amish town of Banshee PA, where a former girl friend and (as it turns out) accomplice (Ivana Miličević), who is now married to the D.A. (Rus Blackwell), who trying his hardest to put a local mobster (UlrichThomsen) behind bars. On the ex-convict’s trail back in Manhattan is a crime boss (Ben Cross) who has a powerful reason for finding him.

   I hope you’re still with me, since the most outrageous piece of the plot line is yet to come – and this occurs early, so I’m not giving too much away, I hope – the convict manages to take the identity of the new sheriff in town before he can present himself to the mayor who has just hired him, sight unseen.

   That’s enough story line for a full season of ten episodes, wouldn’t you say? The show was, in fact, popular enough to be on for four seasons, probably based on that last gimmick, but I’ve resisted temptation and not looked that far into the future. Except an unnecessary focus at the results of some ultra-violence, I enjoyed this one and will go along for the ride, at least for now.  You might even say I’m hooked.

MARTIN KANE, PRIVATE EYE “Black Pearls.” NBC, 27 March 1952 (Season 3, Episode 27). Lloyd Nolan as Martin Kane, Walter Kinsella, King Calder. Guest Cast: Mary Alice Moore, Edith King, Eugene Baxter, Richard Purdy. Writer: Donald S. Sanford. Director: Frank Burns.

   Martin Kane, Private Eye, starring William Gargan, started on radio for Mutual on August 7, 1949, then began on TV for NBC on September 1, 1949. When the radio show moved to NBC  on July 1, 1951, Lloyd Nolan took over the title role for a year on both radio and TV. Lee Tracy followed up on the radio version until the end of its radio run on December 21, 1952.

   Following Lloyd Nolan on the television series were both Tracy and Mark Stevens. The last TV episode was June 17, 1954. (I hope I have all these dates, networks, and actors correct. It got a little complicated on me.)

   I remember the radio show when it was on Mutual. As I recall, it was on Sunday afternoon, just before The Shadow. I never saw any examples of the television version until just now, and I wasn’t impressed. Even though it was state of the art the time, it was cheaply produced, and I somehow found it doubly so by the inclusion of the sponsor’s ads (Sano cigarettes and a couple brands of pipe tobacco) right into the program itself.

   Nor was the story anything for anyone involved to feel especially proud about. Kane is sent $500 in cash to come disguised as a news reporter to a yacht in the Florida Keys. The note is unsigned, but the money is good. Not surprisingly, the only reason he’s brought on board to to be the fall guy in a frame-up in a case of murder and stolen pearls. What was interesting was how one of those new cameras that not only take photos but also develop them internally is involved.

   There is some effort by the part of the screenwriter to make all four people on board look as guilty as possible, but in at least one case, the plot he/she/they had in mind in never followed up on. I usually like Lloyd in either the movies or on TV, but in this particular instance he flubs his lines rather noticeably two or three times. All in all, Martin Kane, Private Eye was not one of the gems of the Golden Age of Television.

PHILIP MARLOWE “The Ugly Duckling.” ABC. 06 October 1959 (Season One, Episode One.) Philip Carey (Philip Marlowe), William Schallert. Guest Cast: Virginia Gregg, Rhys Williams, James Griffith, Barbara Bain, Addison Richards. Writer: Gene Wang. Director: Robert Ellis Miller.

   It is difficult to say for sure, since very few of the series’ episodes have survived (a second one can be found below), but this early attempt at adapting Raymond Chandler’s iconic character Philip Marlowe did not really have a lot going for it. The star Philip Carey has the right first name, and physically he looks the part, but he has none of the star power that was needed to push the series anywhere near the top.

   It is a young Barbara Bain, pitch perfect in her role of a golddigger “other woman,” who makes this first episode of the season worth watching. She has her hooks in nebbish James Griffith’s character, and won’t let go. Not even the $10,000 dollars Marlowe offers ger on the man’s wife’s behalf will make her change her mind.

   It comes as no great surprise the, that she is a mysterious killer’s first victim. There are enough people in the story for the deceptive fans watching to puzzle over, but the fact remains that (again based on only this first episode) that it need not have been Marlowe who was the detective. Any generic PI would do just as well.

NOTE: Michael Shonk covered this episode very briefly on this blog quite some time ago. The accompanying video disappeared from YouTube very quickly thereafter, but as you see, it has returned, at least for a little while.

   Michael later did a more complete overview of the series. You can read it here, and I strongly suggest you do.

FOUR STAR PLAYHOUSE “High Stakes” Dante’s Inferno #5. 26 January 1956 (Season 4, Episode 15). Dick Powell (Willie Dante), Herb Vigran, Walter Sande. Guest Cast: Frances Bergen, James Seay, Morris Ankrum. Writer: Richard Carr. Director: William A. Seiter.

   After reviewing one of the episodes of Dante starring Howard Duff, I found that Alpha Video had released four of the earlier Dick Powell episodes of them on DVD, and not only that, but I had a copy.  While I’ve indicated below which four of them (*) are on the DVD, there were a total of  eight that Dick Powell did, but as it turns out, the one I watched is available on YouTube as well:

   Willie Dante is the owner and manager of a nightclub called, fittingly enough, Dante’s Inferno; it’s successful enough, but for patrons who are in the know, he has a casino in the back room, which is even more successful.

   Based on this single episode, which is all I’ve watched so far, Dick Powell demonstrated a lot more gravitas in the part than Howard Duff did. To me, Duff seemed to have a secret twinkle in his eye in the role, while Powell is a lot more serious and solemn. He is in fact a hands on micro-manager of his nightclub, knowing for example, exactly how much money he should extend as credit to a customer and when to cut her off.

   And this is what gets him into trouble in “High Stakes,” as when her angry husband comes in with a gun ablazing, Dante stays cool, fires back, and ends up seriously wounding the man. What the police can’t figure out, though, is that there is no gun in the room, nor any bullet holes.

   It’s an excellent, tightly knit episode, showing that good defective stories on TV can be done in only 30 minutes, and still have time to let the star’s personality show through.
   

   

      The Dante series on FOUR STAR PLAYHOUSE —

“Dante’s Inferno” October 9 1952
“The Squeeze” October 1 1953 (*)
“The Hard Way” November 19,1953
“The House Always Wins” April 28 1955. (*)
“High Stakes” January 26 1956 (*)
“No Limit” February 16, 1956
“A Long Way from Texas” May 3 1956
“The Stacked Deck” June 28 1956 (*)

DANTE. “Dante in the Dark.” NBC, Four Star Producions. 13 Mar 1961 (Season 1, Episode 22.) Howard Duff (Willie Dante), Alan Mowbray, Tom D’Andrea, Bert Freed. Guest Cast: Marion Ross, Troy Melton. Created by Blake Edwards. Director: Richard Kinon.

   This late in the season – it lasted only for one and 26 episodes – there was no attempt by the screenwriter or director to fill in any of the general background for the series, but starting with this one, as I did, it was easy to fill in some of the gaps. Howard Duff plays Willie Dante, owner of a nightclub called Dante’s Inferno, and while he and Det. Sgt. Rickard (Bert Freed) obviously know each other well, the relationship is very much a rocky one.

   Which comes into play as a major theme in “Dante in the Dark.” When a customer is gunned down in front of his club, the police are very reluctant to tell either him or the dead man’s fiancée  anything about the case, or even to let the young woman (a most definitely not very matronly Marion Ross) see the body. Even more strange is that the police allow a previously unknown cousin take the body for disposal to a crematorium without telling her.

   All is eventually explained, and it’s a torturous and interesting path getting there, but the good old boys joking around at the end seems even more forced than usual. No matter. It is always good to see Howard Duff in action. I only have to close my eyes and here the sound and cadence of Sam Spade’s voice on the radio with no difficulty at all.

      —

NOTE: For much more background on the series, including a mention of this particular episode, see Michael Shonk’s in depth overview of the show posted here much earlier on this blog.

NEWTON’S LAW “External Forces.” Australia, ABC TV. 60 minutes. 09 February 2017. Claudia Karvan (Josephine Newton), Toby Schmitz, Brett Tucker, Georgina Naidu, Sean Keenan. Original concept by Deb Cox and Fiona Eagger. Director: Jennifer Leacey.

   Another country (Dicte, Denmark, and The Coroner, UK), and another divorced woman trying to make a go of it on her own in her chosen profession, all the while facing the challenges bringing up a teen-aged daughter. The one small difference this time is that the daughter is not into boy friends, but this may be something yet to come.

   Claudia Karvan, a well-known Australian actress, plays Josephine Newton, a neighborhood solicitor who is forced to go back to back to work for a large prestigious law firm, much against her wishes. It seems that her storefront office was bombed out by a former and thoroughly disgruntled client she unsuccessfully defended on arson charges.

   Her first case is kind of a set up one. She’s to defend the son of a client who is accused of pushing one of the partners of the firm off the top of their office building. Complicating matters is an eye witness, a nanny who saw the incident through the window of an apartment building across the way.

   It is up to Jane to uncover what was in the dead man’s life that may have contributed to his death, if indeed something is there. Which she does with all of the good humor and charm that a woman (and actress) in her mid-40s can have. The mystery and detective work are both good too. The series lasted only eight episodes, but the basis of this first one, I won’t binge, but I will see if I can’t watch all of them in short order.

MICHAEL SHAYNE “Marriage Can Be Fatal.” NBC, 31 March 1961 (season 1, episode 26). Richard Denning (Michael Shayne), Jerry Paris (Tim Rourke), Herbert Rudley (Lt. Will Gentry), Margie Regan (Lucy Carr). Guest Cast: Patricia Barry, Barbara Nichols, Michael Forest, Robert Harland, Nancy Rennick. Director: Walter Doniger .

   As I’m sure you will recall, I reviewed an earlier episode in this series a while back, that being “Spotlight on a Corpse,” number 15 in this one season show. I expressed some disappointment with the story itself, so I thought I’d try another, one that’s on the same Alpha Video disc of the series.

   I think the story let me down again this time, but not in the same way, and I”ll get to that in a minute. In between the earlier one and this one, there was some shuffling of personnel around. Lucy Hamilton, Shayne’s secretary was apparently being phased out in the earlier show, as she did not appear. She’s been replaced by a new actress (Margie Regan) to play someone named Lucy Carr instead. Tim Rourke has a new cub reporter to mentor (why I don’t know, since Paris has few enough lines of his own), and Will Gentry has a subordinate I don’t remember from before, but who has a part maybe even bigger than Gentry’s. Neither made an impression on me, and they’re not listed in the credits above.

   [WARNING: SPOILER ALERT] The story is a lot more interesting, but as a mystery, it has its flaws. First when a profligate son hears that his father has been taken ill and is in the hospital, he is asked to call the man’s doctor. He starts to, then doesn’t, and calls a lady friend named Topaz McQueen (Barbara Nichols) instead.

   He has a surprise for her: he proposes, and overcome with joy, she accepts. Now what’s wrong with this is that in order to inherit, the son has to be married when his father dies. Well, OK, but why wouldn’t he have called the doctor first anyway, in the hopes he can keep the father alive long enough to get himself married? I sure would, if it were me.

   Then later on, a vital clue (remember the Warning) has to do with a glass door to a gun cabinet being broken into. Turns out, Mike deduces, out of thin air, that it was done by someone using a woman’s shoe, and remembering that a woman must have changed shoes because the new ones didn’t match her outfit, he pins the killing on her. But do we the viewer see the mismatched shoes? The answer is yes, but in only a briefest of shots. I had to go back and look, and yes, it’s there, but I call that a cheat, no way around it.

   The star of the proceedings, I think, is Barbara Nichols, who had her role in movies down pat, that of a brassy blonde bimbo who (at least in this one) shows herself to have totally human feelings too. I also noticed the direction as having a “soap opera” sort of flair to it, so I checked out Walter Doniger ‘s resume on IMDb. I was right. Something like 173 episodes of Peyton Place also to his credit.

MICHAEL SHAYNE “Spotlight on a Corpse.” NBC, 13 January 1961 (Season 1, Episode 15). 60 minutes. Richard Denning (Michael Shayne), Herbert Rudley (Lt. Will Gentry), Gary Clarke (Dick Hamilton). Neither of the characters Lucy Hamilton or Tim Rourke appear in this episode. Guest Cast: Herbert Marshall, Robert Lansing, Constance Moore, Ruta Lee, Alan Hewitt, Jack Kruschen. Based on characters created by Brett Halliday. Director: Sidney Salkow.

   Found murdered on a movie set is the associate producer-writer who also happens to be a notorious womanizer. Mike Shayne is hired by the producer who wants his own investigation done, but the thing is, his current would-be investor actually likes the idea of all the publicity a killing such as this would produce. A killing in more ways than one?

   I wonder how many viewers at the time found the story line interesting. The money and the problems thereof that are involved in putting a movie together isn’t the sort of thing that people even bother to read about in their daily newspaper, much less in a sit-back-and-relax sixty minute TV show.

   Or is that only me?

   What I found far more watchable was a subplot involving the acting pair of Constance Moore (the elderly female lead) and Herbert Marshall (her former director now relegated to being her dialogue coach), who as a team are completely at odds with the young director (Robert Lansing), who thinks their way of making films are completely outmoded.

   As for Richard Denning, he doesn’t fit my picture of Michael Shayne very much at all. He’s doesn’t have the build for it. He’s too cerebral. He’s too pleasant, and as written, too agreeable. He made a great Mr. North, but as Mike Shayne, the tough Irish detective, he’s a complete lightweight. In my opinion.

      —

PostScript: The credits, I believe, claim this episode was based on a Mike Shayne novel. I don’t recognize the story line, but then again, I haven’t read them all. Anyone?