“Dead Air.” From the CSI: Crime Scene Investigation series. Season 13, Episode 11. First broadcast: 16 January 2013. Regular cast: Ted Danson (D. B. Russell), Elisabeth Shue (Julie Finlay), George Eads (Nick Stokes), Paul Guilfoyle (Captain Jim Brass), Jorja Fox (Sara Sidle), Eric Szmanda (Greg Sanders), Robert David Hall (Dr. Robbins), David Berman (David Phillips), Wallace Langham (David Hodges), Elisabeth Harnois (Morgan Brody), Jon Wellner (Henry Andrews). Guest cast: Alex Carter (Detective Vartann), Daniel Roebuck (Fred Paulsen), Spencer Grammer (Ella St. James), Lenny Jacobson (Denny Jones), Abigail Klein (Rainy Days), Jacob Zachar (Chad Lane), Danielle Bisutti (Theresa Shea), Tom Choi (Director), Richard Blake (Robbie), Felisha Terrell (Competitive Reporter). Writer: Joe Pokaski. Director: Phil Conserva.

   Theresa Shea is a no-nonsense investigative reporter presently marking time as the anchor at a Las Vegas TV station. Until somebody murders her, she is hot on the trail of an arsonist who created chaos and death in the Vegas area seventeen years ago. As the CSI team will discover, Theresa was universally hated by everyone who knew her, meaning there’s no shortage of suspects.

   And her murder is no ordinary event: During a live broadcast during a major storm, while Theresa is alone in the broadcast room with only robot cameras, there is a power transient and the lights go out. When they come back on, after a moment she collapses across her desk — “really,” as they say in The Wizard of Oz, “most sincerely dead.”

   In the twenty seconds it takes to restore the lighting, somehow a murderer has crept up behind her and expertly shoved a knife blade into her neck, severing her brain stem and rendering her speechless until she dies a few seconds later. When the lights return, she’s sitting there convulsing until she finally falls over.

   Belatedly the director orders they cut to commercial, too late for the viewers at home. As head CSI agent D. B. Russell characterizes it, “We have a locked-room murder with a million witnesses.”

   But the “million witnesses” have really seen no more than the crew in the control room.

   Suspecting the blackout was no coincidence, Russell decides to track down the source of the power outage. Not far from the TV station he finds an exploded transformer, destroyed not by a lightning strike as is usually the case but by explosives triggered by a cell phone signal. “This,” he says, “took patience.”

   Add to the locked-room problem the twists and turns of lying field reporters, a brow-beaten assistant, an emotionally unstable TV station technician, and a code-breaking sequence (the code here being the outmoded Gregg shorthand system) and you have pleasant echoes of the Golden Age of Detection.

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IMDb.com

http://www.examiner.com

THE FIFTH CORNER. NBC, 1992. Tri-Star Television / John Herzfeld Production / Adelson and Baumgarter Production. Cast: Alex McArthur as Fifth Corner, James Coburn as Dr. Grandwell, Kim Delaney as Erica Fontaine, J.E. Freeman as Boone, and Anthony Valentine as The Hat. Creator and Executive Producer: John Herzfeld, Executive Producers: Gary Adelson and Craig Baumgarter, Supervising Producer: Bruce Zabel. Producer: Paul Pompian, Co-Producer: Robert Florio. Music by David Michael Frank.

   Over at YouTube I found a clip for the forgotten TV series THE FIFTH CORNER:

   As a fan of spy and noir fiction, I was hooked. The series itself was short lived with six hours filmed (two hour TV Movie and four hour long episodes). NBC cancelled it and took it off the air after its second week leaving three of the hour-long episodes unaired.

   I have found a copy of all six hours in the Collector’s market at sell.com.

   John Herzfeld (DR. VEGAS) created a flawed but delightful mystery, full of clues, red herrings, twists, macguffins, betrayals, sex and violence. His most serious mistake was taking the cynical hardboiled spy noir story and telling it with the emotional, express-your-feelings style of the early 90s.

   The man with amnesia had many names. His evil co-workers called him George, but to simplify things we will call him by the nickname they had given him, Fifth Corner. He was called the Fifth Corner because when there was no way out he would find one.

   Star Alex McArthur (RAMPAGE) played Fifth Corner like the typical early 90s male hero, the sensitive man, intense, emotional, not afraid to cry. Fifth Corner had been a top spy and ruthless killer but when he loses his memory McArthur’s version becomes an emotional wreck. This unlikely change for the character cost the character much of its appeal and believability. In his favor, McArthur seemed to find the character’s stronger side as the series progressed.

   Fans of Kim Delany (NYPD BLUE) will enjoy her wardrobe or lack of, as she does what she can with the stereotypical character of the beautiful, headstrong, independent woman who becomes the hero’s love interest. To add to her challenge her character, saxophone playing, NY Times reporter Erica Fontaine had some of the most out of place dialog in the series such as, “I never let down my guard, but with you I dropped it like a whore’s nightgown.”

   J.E. Reeder (MILLER’S CROSSING) was convincing as Fifth Corner’s sidekick. But the character was weakened by too many quirks, the lover of take-out food, comic book reader, AA member with a fear of bad breath who lives in the front seat of the limo. Attempts to comment of Fifth Corner’s problems by mirroring them with Boone’s problems from his past did not work. The bit with Boone being a former op of The Corporation who fell in love with the wife of the last man he killed was a gratuitous side-trip from the all ready complicated story.

   I am a fan of James Coburn (DAIN’S CURSE) especially when he is using his cool laid-back persona as he does here as evil billionaire Dr Grandwell, a man who never lets a life or country get in his way of making money. I do wish the story had spent more time with Grandwell and his mysterious beautiful, blind, female companion (Julia Nickson-Soul, BABYLON 5).

   Grandwell’s second in command “The Hat” (Anthony Valentine, CALLAH) might have worked as a noir character but the bit with the hat was too silly visually. His minions all had the proper noir background, the blonde femme fatale (Madchen Amick, TWIN PEAKS), the femme fatale’s killer boy toy (Mark Joy, DOGMA) the psychopath Cristoph Ohrt, (EDEL & STARCK), and the good solider (Voyo, RAMBO FIRST BLOOD PART 2).

   David Michael Frank’s (ABOVE THE LAW) soundtrack was delightfully appropriate for film noir. The one exception was his original song, “Hold Onto That Feeling” (co-written with Robert Jason who performed it) for the episode “Home” that as a bad sentimental 90s pop song may have fit the melodrama of the episode, had no place in a spy-noir TV series.

         EPISODE INDEX:

“Trio.” (April 17, 1992) Friday, 9pm-11pm (Eastern). Written and directed by John Herzfeld. Guest Cast: Sergio Calderon *** A man who lost his memory finds himself tied to the murder of a woman and a larger conspiracy. He discovers he has many names, one of which is the nickname Fifth Corner. A beautiful redhead named Erica is on his trail. Everyone wants his mysterious diary (a laptop with details of all his assignments). His evil boss Grandwell wants him back working for The Corporation, which disappoints Fifth Corner’s rival The Hat who wants him dead.

   Each episode featured a self-contained mystery involving another persona of Fifth Corner. We began with the name Richard Braun, but then switched to George Thompson. The mystery was who killed the woman “Richard” woke up with in bed, and why she was killed. “George” switched our attention to Grandwell and the mystery of who the Fifth Corner was.

   The TV movie was fun, if flawed. As with most spy-noir fiction, the story was not overburdened with reality. The murder mystery was solved and Fifth Corner, Erica and Boone joined together to take on Dr. Grandwell and his evil corporation.

Ratings: 16 share. Opposite: ABC aired repeat DINOSAURS (20), repeat BABY TALK (20) and new 20/20 (27). CBS had a repeat of JANEK “Murder Times Seven (1990) (15). FOX had a new SIGHTINGS (13), repeat TOTALLY HIDDEN VIDEO (9) and turned 10-11pm over to local stations.

“Eva.” (April 24, 1992) Friday, 10-11pm Written by John Herzfeld. Directed by Albert Pyun. Guest Cast: Peter Kwong and Tim Thomerson. *** Fifth Corner (aka “George”) search for his wife Eva is interrupted when he is arrested as Jack Previn for the murder of a Japanese electronic genius. He is about to be extradited to Japan when the blonde who works for The Hat arrives and post bail.

   The new name is Jack Previn and the mystery is the death of a Japanese inventor and his missing amazing electronic gadget. The arc story of Fifth Corner’s search for his identity and Erica’s obsession about bringing down Grandwell continue as the series primary focus.

Ratings: 13 share. Opposite: ABC aired new 20/20 (26), CBS had repeat BURT REYNOLDS SPECIAL (15), and FOX turned the time over to local stations.

“Home.” (never aired). Written by John Herzfeld and Bryce Zabel. Directed by Sam Pillsbury. Guest Cast: Barbara Barrie and Chris Allport *** While Fifth Corner continues to search for his identity Grandwell has erased all evidence of Erica’s existence. Fifth Corner may have found his family and his name, John Avlean. The mob is moving in on John’s big brother’s restaurant. When the Fifth Corner and Boone take on the mob, things go wrong.

   This week’s name is John Avlean and the mystery deals with the mob’s attempt to take over John’s big brother’s restaurant.

   This episode suffers from too much emotional melodrama but the scene where Fifth Corner and Boone take on the mob was full of style and shocking surprises that made the scene one of the best moments of the series.

“Woman at Her Toilette.” (unaired). Written by Leslie Bohem and John Herzfeld. Directed by Gabrielle Beaumont. Guest Cast: Marina Sirtis, and Frank Stallone *** Grandwell wants the painting he had Anthony Parachini (Fifth Corner) steal for him. Fifth Corner can’t remember where the painting is, but finds yet another identity, Jean Michel, that leads him to it. To complicate things, a hit squad arrives to kill Grandwell, and Anthony and get the painting. To save Erica and get her life back, Fifth Corner makes a deal with Grandwell.

   Two new names are featured, Anthony who worked for Grandwell and Jean who lead a secret life from Grandwell. The mystery is where is the painting.

   Perhaps the weirdest episode of the series, highlighted by Marina Sirtis (STAR TREK NEXT GENERATION) doing an erotic performance art piece for Fifth Corner, Erica, and Boone that had nothing to do with the story or arc.

“Sword of Damocles.” (never aired). Written and directed by John Herzfeld. Guest Cast: Paul Cain and Tianna Thorpe *** Fifth Corner had agreed never see Erica again if Grandwell restores her identity. When Erica learns of the deal, she rejects it, even if it means she will be killed. Grandwell remains in his forgiving mood in regard to Fifth Corner, but The Hat finally convinces Grandwell to let him kill Fifth Corner. Grandwell expects and hopes The Hat will fail.

   The last episode spares us a new name or mystery as we rush towards the resolution of Grandwell and Fifth Corner arc story. The final gunfight is the perfect example of where this series went wrong, as everyone was busy self-analyzing each other that the actual shooting was almost an afterthought. The series ends with many of the questions unanswered including the real name of Fifth Corner.

   While I recommend this series, if there ever was a TV series that needs to be remade it is THE FIFTH CORNER. This spy noir series was a great idea that deserved better.

      SOURCES:

Epguides.com

Tvtango.com

IMdb.com

“The Strategy of the Scorpion” (“La strategia dello scorpione”). From the Don Matteo series. Season 1, Episode 5. First broadcast 21 January 2000. Regular cast: Terence Hill (Don Matteo), Nino Frassica (Marshal Cecchini), Flavio Insinna (Captain Anceschi), Claudio Ricci (Nerino), Nathalie Guetta (Natalina), Francesco Scali (Pippo), and Pietro Pulcini (Ghisoni). Writer: Carlo Mazzotta. Director: Enrico Oldoini. In Italian with English subtitles (MHz International Mysteries series).

   Don Matteo is Italy’s answer to Father Brown. Terence Hill, who is most known to American audiences for his spaghetti Westerns, plays a parish priest with a knack for solving crime. Indeed, without Don Matteo many innocent people would be serving life sentences for murders they didn’t commit.

   Not that the police are idiots — they’re good at their jobs but basically lack the priest’s insight into situations.

   Take this episode, for instance. A prison inmate has evidently been murdered in his cell, with the valve handle from a boiler sticking out prominently from the middle of his spine. Since the dead man was known to have clashed with another prisoner (over, what else, a woman) and since this same man worked on the boiler, it looks like a simple case of murder for revenge.

   But for Don Matteo, the obvious discrepancies point in a different direction: the fact that the barred window of the victim was standing wide open in freezing weather; the upside down fingerprints on the window latch; the well-kept secret that the dead man had leukemia — all of these convince Don Matteo that this crime isn’t what it appears to be.

   Even after Don Matteo explains what actually happened, however, Captain Anceschi insists that without more solid evidence his solution will have to remain simply a theory.

   Such solid evidence is available, though, in the form of two eyewitnesses who can give the accused man an alibi — but if they do so, it will cost them dearly.

   If you know what a scorpion does when it’s in a hopeless situation (and I didn’t), you might be able to solve this one halfway through.

   Don Matteo has already run in Italy for eight seasons; a ninth one is scheduled for 2013. It’s a mixed bag: usually the whodunits are easily figured out, but on occasion they’re real head-scratchers. The humor is often forced, with the best by-play between the Marshal and the Captain.

   (Passing thoughts: Perhaps only in Italy could a priest enter a prison carrying a large sack of what he says are gifts and not be stopped for a search. As for the prison facilities: American criminals should have it so good.)

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IMDb series listing: http://www.imdb.com/title/tt0178132/

CBS has announced that the January 14th episode of HAWAII FIVE-0 will let viewers select the ending to a murder mystery. There will be three suspects to vote for live on each coast using twitter. This means the ending on the East Coast could be different from the one the West Coast picks. All three different endings will be available to see on cbs.com afterwards.

Deadline.com

Hollywood Reporter

NOTE: Thanks and a tip of the hat to Michael Shonk for the information above!

MISS FISHER’S MURDER MYSTERIES. Season One, 2012; 13 one-hour episodes; Australian Broadcasting Corporation / Every Cloud Production / Screen Australia / Film Victoria / All3Media. Cast: Essie Davis as Miss Phryne Fisher, Nathan Page as Detective Inspector John “Jack” Robinson, Ashleigh Cummings as Dorothy “Dot” Williams, Hugo Johnstone-Burt as Constable Hugh Collins, Miriam Margolyes as Aunt Prudence, Nicholas Bell as Murdoch Foyle. Based on the Phryne Fisher mystery series by Kerry Greenwood. Executive Producers: Fiona Eagger, Deb Cox, Carole Sklan and Christopher Gist.

   MISS FISHER’S MURDER MYSTERIES is a delightful traditional (not a cozy) mystery series that rivals the British visually and in quality of the production. Reportedly, the series’ budget was $1 million per episode, and it shows. Eleven of the thirteen episodes were adapted from books by Kerry Greenwood, who assisted and supports the TV series.

   The story is set in 1928 Melbourne Australia and the series attention to details of the time and place such as costumes, sets, locations, transportation, language and social customs is as obsessive as AMC’s MAD MEN for 1960s New York.

   The Canadian TV network Knowledge’s website has some interesting video features about the making of this series. You can find these same video extras and more at the YouTube channel phrynefishertv.

   In addition to the engaging mysteries, MISS FISHER takes a serious look at the social issues of the time, but with a sense of adventure and humor that makes the stories enjoyable to watch. The episodes are for mature audiences due to subject matter.

   Most of the episodes feature a stand-alone murder mystery, but there is an arc story running in the background that often surfaces. Phryne grew up in a poor but titled family. While in Phryne’s care, her little sister Jane disappeared, never to be seen again. Murdoch Foyle, the man Phryne blames for Jane’s disappearance, is about to get out of prison after serving his time for abducting another young girl. Phryne has returned to Melbourne after years abroad to make sure Foyle stays in jail until he hangs.

   Phryne is now rich, as all her rich relatives were killed during WW1, but she never forgets her past. Combine with her guilt over what happened to her sister, Phryne often takes on injustice, especially on the side of the lower classes. At the end of the first episode, after she had solved the murder of a rich businessman and stopped a butcher abortionist, Phryne decided to become a licensed PI. She realized she could help others while she searches for answers about her little sister.

   Essie Davis is a wonderful surprise capturing not only the look of the character in the books, but also the essence of The Honourable Miss Phryne (Fry-nee) Fisher, free-spirit, independent, young, beautiful, well dressed (during the series Phryne wore around 150 costumes), rich, female PI. Essie Davis described Phryne as “a cross between Sherlock Holmes in Guy Ritchie style, James Bond, and Wonder Woman.”

   The rest of the cast is equally talented and the characters appealing. Detective Jack Robinson slowly grows to respect Phryne’s ability as a PI, but never stops worrying about her recklessness as an action hero. The chemistry between Davis and Nathan Page is special.

   The romance between Hugh, the naïve young Protestant policeman, and Dot, Phryne’s young companion/maid and devout Catholic, adds a running subplot that can often be humorous while also illustrating the serious conflict between the Protestant and Catholics during this time period.

   Phryne encountered murder mysteries while traveling on a train, dancing in a jazz club, watching Gilbert and Sullivan on stage in Chinatown, a bookstore, and at the Circus. She dealt with drug smugglers, anarchists, Zionists, a ghost, blackmailers, an ancient Egyptian cult and delinquent teenage girls. She can fly a plane, drives a Hispano-Suiza automobile, can handle various weapons including her favorite gold, pearl handle pistol, and can challenge James Bond in number of lovers.

   Season One slowly introduced the supporting cast as they entered Phryne’s life, and the season ended with the solution of the mystery of Phryne’s sister. The writing was excellent with strong mysteries, exciting action, and delightful dialogue. In one episode, when asked if she has her gun with her, Phrynee replies, “Not with this dress.”

   The direction was equally well done and makes excellent use of the locations and sets with frequent use of master shots (when the director starts with a wide shot taking in the background and actors, then slowly moves in closer to focus on the actors and action).

   The soundtrack featured a mix of jazz music recordings from the period by artists such as Duke Ellington, Jelly Roll Morton and Paul Whiteman, as well as original music and theme by Greg J. Walker that fitted the time and place perfectly. If you enjoy 20s style jazz, you will want to listen to this series, especially the episode “The Green Mill Murder” set in a danc ehall. The soundtrack is available, but not yet here in America.

   Season One was a success and Season Two is planned. The series has aired in Canada and will air in the UK on Alibi. One can only hope MISS FISHER’S MURDER MYSTERIES will soon make it to America. The series has been released on DVD, but not in the American NTSC format.

   You can (for now) view full episodes at YouTube by searching for “Miss Fisher Murder Mysteries” (complete episodes in parts of fifteen minute or less) or click on the link for the full first episode (until YouTube takes it down) “Cocaine Blues.”

https://www.youtube.com/watch?v=_aQFTJm3dmE

       ADDITIONAL SOURCES OF INFORMATION:

Australian Broadcasting Corporation website: http://www.abc.net.au/tv/phrynefisher

Book series website: http://www.phrynefisher.com

Interviews with writers and Essie Davis

http://if.com.au/2012/02/22/article/HYTJJLBZTO.html

http://www.fancygoods.com.au/andrew/2012/03/23/interview-deb-cox-on-miss-fishers-murder-mysteries

THE NEW ADVENTURES OF BEANS BAXTER. Fox, 1987-88. CAST: Jonathan Ward as Benjamin “Beans” Baxter Jr., Jerry Wasserman as Number Two, Stuart Fratkin as Woodshop, Karen Mistal as Cake Lase, Elinor Donahue as Susan Baxter, Kurtwood Smith as Mr. Sue, Scott Bremmer as “Scooter” Baxter, and Rick Lenz as Benjamin Baxter Sr. Theme composed by Joseph Vitarelli, Trumpet solo by Maynard Ferguson. Opening animation by International Rocketship Limited– Marv Newland. Creator/Executive Producer: Savage Steve Holland. Producer: Anthony Eaton.

   Recently, I had put on my Indiana Jones hat and went off to explore a land of lost treasures … my storage locker. There I found some ancient Kodak Videotapes, one of which contained three episodes of a forgotten favorite of my past … THE NEW ADVENTURES OF BEANS BAXTER.

   It is 1987 and Fox network had just begun. It had placed a lineup that included 21 JUMP STREET and MARRIED WITH CHILDREN on Sunday prime time. The network then turned to Saturday. Originally, Fox had announced its Saturday lineup, that included spy sitcom THE NEW ADVENTURES OF BEANS BAXTER, would premiere May 30 1987, but that was delayed until July (BEANS premiered on July 18, 1987). In the June 8, 1987 issue of “Broadcasting”, “FBC” (what the magazine called the Fox network) President James Kellner claimed the reason for the delay was so the network could focus all its promotional efforts on the encouraging ratings of the Sunday lineup.

   The original order for BEANS was for thirteen episodes (“Broadcasting” 7/13/87). The 8/17/87 issue of “Broadcasting” reported Fox had renewed BEANS and ordered thirteen episodes. While only seventeen episodes were aired, BEANS would remain on the air in reruns from December 1987 until April 1988.

   Beans Baxter was a typical 16-year old boy with a sitcom family of a younger brother, Mom and Dad. Dad worked for the Post Office or so the family thought. Dad’s new position forced the family to move from Kansas to Washington D.C. One day Beans sees his Father killed, then learns that his Dad is a spy and still alive. Dad works for the American spy organization called The Network. He had been kidnapped by an evil organization called UGLI. Network’s “Number Two” agrees to let Beans help find and save his Father.

   Beans would receive his assignments in ways mocking MISSION: IMPOSSIBLE and GET SMART, from a master of disguise who turns up in such places as a toilet seat cover dispenser in a men’s room stall or the family toaster.

   The series was a one-camera sitcom that featured silly, absurdist humor with little concern for reality or deep thought. Creator Savage Steve Holland off beat humor has been featured in such films as BETTER OFF DEAD (85) and animated kid series EEK THE CAT (92).

   The cast was believable, a challenge considering the scripts and premise, but beyond that nothing memorable. The opening animation for the theme by Marv Newland (BAMBI MEETS GOZILLA, GARY LARSON’S TALES FROM THE FAR SIDE), and theme music fitted the fun off beat silly mood of the series.

      EPISODES WATCHED:

“Beans Runs for President.” (8/1/87) Written and Directed by Savage Steve Holland. Guest Cast: Karen Haber, Taylor Negron, and Adrian Darval *** Beans must interrupt his campaign for High School President to save the daughter of the United States President who had been kidnapped by some angry Clowns.

   Silly, brain-dead fun. The daughter is doing something she believes in as she joins an anti-nuclear protest … she believes it is a great place to find a boyfriend. It was 1987 and Clowns were just beginning to become clichés, yet even today the visual humor, such as the group of Circus Clowns armed with machine guns patrolling the hideout, holds up.

Ratings: 3.2

   Opposite BEANS was ABC’s Movie CHAPTER TWO (79) repeat: 5.4; CBS’s Movie STILL IN THE NIGHT (82) (rating unknown); and NBC’s 227 repeat: 11.6

“Beans & Satanical Backwards Masking Conspiracy.” (8/8/87) Written and Directed by Savage Steve Holland. GUEST CAST: Dee Snider, Tim Stack and Lorraine Foreman *** Mother approved music is turning teenagers into evil demons lounge lizards who play the accordion. It is all a plot by Mr. Sue and UGLI to take over the World. Can Beans, Dee Snider and rock and roll save the day?

   A very funny Exorcist take off with Snider the perfect choice as the music Exorcist.

Ratings: 3.6

   Opposite BEANS was ABC’s THE ELLEN BURSTYN SHOW 4.8, CBS’ Movie GUILTY CONSCIENCE (85) repeat 6.8, and NBC’s 227 repeat 12.1

“Beans’ Wicked and Awesome Adventure at College.” (8/15/87) Written and Directed by Savage Steve Holland. Guest Cast: Ian Tracey, Amanda Wyss and Jennifer Stewart *** The Network is after a college student radical in search of information about UGLI. They want Beans to find out if the student radical’s ex-girlfriend and member of a college sorority know where he is.

   Cake is tired of Beans ditching her (due to his spy work) while they are on dates, so she decides to follow him. She becomes convinced he is gay. Confusion and misunderstandings cause much of the humor resulting in a weak stupid sitcom episode.

RATINGS: 3.3

   Opposite BEANS was ABC’s THE ELLEN BURSTYN SHOW at 3.3, CBS’ Movie CHASE repeat 10.6, and NBC’s 227 repeat 12.7.

   So does my old favorite hold up or disappoint? While THE NEW ADVENTURES OF BEANS BAXTER is nothing special, this mash-up of typical mindless 80s sitcom and spy thriller had enough moments to make me hope I have the rest of the episodes on tape somewhere in the forgotten areas of my storage locker. That maybe the only way to see them again as even the collectors market seems to have forgotten this one.

Additional Source: TvTango.com

“Not the Running Type.” From Alfred Hitchcock Presents: Season 5, Episode 19. First broadcast: 7 February 1960. Paul Hartman as Milton Potter, Robert Bray as Capt./Lt. Fisher, Bert Freed as Capt. Ellison, Wendell Holmes as Halverson, Herb Ellis as Lt. Hogan, O. Z. Whitehead as Mr. Newton, and Murray Alper as Ship Passenger. Based on a story by Henry Slesar (EQMM, January 1959). Teleplay by Jerry Sohl. Directed by Arthur Hiller.

   Capt. Fisher reminisces in a flashback about an old case he was assigned to as a new lieutenant. Milton Potter, a mild-mannered bank employee and just about the last man on earth anyone would suspect of doing such a thing, embezzled $200,000 from a bank 15 years ago.

https://www.youtube.com/watch?v=zzGLFcPDCMs

   Not long afterwards, Potter turns himself in, freely admitting that he took the money and still has it. What he won’t do, however, is tell the police where it is. Even after Capt. Ellison and Lt. Fisher offer him leniency if he’ll just cough up the boodle, Potter refuses and goes to prison.

   Back in the present, he has just been released — and only now does he tell the authorities where the money is.

   The final scene has Potter enjoying himself immensely aboard a cruise ship headed for the South Seas, where he will no doubt benefit from the nearly $200,000 he did NOT steal.

   All in all, an entertaining Hitchcock episode with zero violence content.

   Henry Slesar (1927-2002) had dozens of his stories adapted for TV and film, including 37 Alfred Hitchcock Presents episodes and 10 for The Alfred Hitchcock Hour.

The perfect theme and opening sets the mood, places the viewer in a time and place, and acts as a prologue to the series by establishing premise, characters and plot.

The primary purpose of any theme music is to establish mood. Arguably no one has done that better than PETER GUNN (Henry Mancini) and TWIN PEAKS (“Falling” by Angelo Badalamenti). The music from each are strongly identified with and continue to influence the soundtracks of a subgenre of mystery, PETER GUNN – the private eye

and TWIN PEAKS – the odd mystery with strange characters.

This is television not radio and visual images shown with the music matter. For example, THE WILD WILD WEST opening animation by Ken Mindie works perfectly with the music by Richard Markowitz.

https://www.youtube.com/watch?v=tu-8W-Sredo

RUBICON opening with the distinctive music by Peter Neshel and clue filled opening titles (Karin Fong, Jeremy Cox, Theodore Daley, and Cara McKenney) prepared viewers for the intelligent spy drama to follow.

https://www.youtube.com/watch?v=A-tvBjh8z7k

Themes can feature lyrics of an established song such as “Who Are You? (Composer: Pete Townsend, performed by The Who) for CSI: CRIME SCENE INVESTIGATION

or an original song created for the series such as ZORRO (George Bruns)

Some series have a closing theme such as BAT MASTERSON (Bart Corwin and Havens Wray).

This clip

from KING OF DIAMONDS is a trailer for the ZIV syndicated 1961-62 series starring Broderick Crawford. I believe, but can’t confirm, the song with the unforgettable lyrics was for the end credits. The on screen credit for the “Johnny King Theme” is hard to read but I believe it was William Donati. Here is a clip from the beginning of one episode:

https://www.youtube.com/watch?v=1rVqj0EK3pc

As for the role of the theme and opening to establish premise, characters, and plot, few did it better than REMINGTON STEELE with Henry Mancini’s music and Stephanie Zimbalist’s narration. (Surprisingly, there is no clip of this on YouTube, but you can watch a full episode for free at Hulu.com. I recommend any episode from Season One). Two other examples of this are PERSON OF INTEREST (JJ Abrams).

https://www.youtube.com/watch?v=WOnQ8CD3v4g

and PHILIP MARLOWE – PRIVATE EYE (“Marlowe’s Theme” by John Cameron and Samuel Matlovsky, performed by Moe Koffman, with Main Title Design by Maurice Binder).

Comedy mysteries openings often reflect the series comedy style such as THE ASSOCIATES (“Wall Street Blues” by A. Brooks, sung by BB King. A. Brooks is reportedly Albert Brooks)

and SIROTA’S COURT (composer: ?).

The theme and opening is an effective way to reflect a change in style or cast such as the following CHARLIE’S ANGELS from Season One:

Season Two:

and the recent remake:

Perhaps the most innovative example of this is the theme for multi-universe SF Cop show, FRINGE. The series combined JJ Abrams’ theme music with a Main Title Design that uses changes in color and picture to indicate the Universe and time each episode takes place.

It is impossible to write about television series themes without mentioning the man who shaped the sound of TV mystery action series during the last quarter of the Twentieth Century, Mike Post. Sometimes with Pete Carpenter, the prolific Post wrote the theme for countless TV mystery series including THE ROCKFORD FILES, MAGNUM P.I., A-TEAM, NYPD BLUE, MURDER ONE, LAW & ORDER, STINGRAY, and my favorite of his work, HILL STREET BLUES.

Some of my personal favorites include T.H.E. CAT (Lalo Schifrin) (Part 1 of 3 for full episode, theme appears around 5:38)

ELLERY QUEEN (Elmer Bernstein)

https://www.youtube.com/watch?v=i8MLfQRJQ40

COWBOY BEBOP (“Tank” by Yoko Kanno)

https://www.youtube.com/watch?v=dWk-VpK4hJo

and F/X THE SERIES (Christophe Beck, Season Two)

https://www.youtube.com/watch?v=fYK0VfwcekQ

What are your favorite theme and opening from past and present TV series?

SOURCES:

YouTube

Wikipedia

Hulu.com

IMdb.com

Interview with RUBICON Peter Nashel

Review of ZORRO DVD

BAT MASTERSON THEME SONG

COOL MILLION , NBC / Universal, October through December 1972. Created by Larry Cohen. Cast: James Farentino as Jefferson Keyes.

   Jefferson Keyes was a World renown detective, trained by an unnamed secret agency of the American government, and able to charge one million dollars per job. But Jeff was quick to point out he paid for all his expenses, and guaranteed to solve the client’s problem or the client would owe him nothing. Also, Jeff always denied being a detective or PI, instead he saw himself more of a trouble-shooter. “I’m not a detective,” said Jeff in “Mask of Marcella,” “I simply look for solutions to rather large problems.”

https://www.youtube.com/watch?v=8n2JPO5SEhg

“Mask of Marcella.” (10/16/72) Executive Producer: George Eckstein. Producer: David J. O’Connell. Written by Larry Cohen. Directed by Gene Levitt. Guest Cast: Barbara Bouchet, Patrick O’Neal, John Vernon, and Christine Belford. *** TV Movie pilot. When a rich man is murdered, everyone is surprised to learn he had recently changed his will to leave his entire fifty million dollar estate to his daughter, Marcella…who had disappeared as a child and been missing and presumed dead for thirteen years.

   The child’s former teacher whose negligence lead to her disappearance has seen Marcella alive and wants Jeff to find her so he can find redemption (and get his teaching credentials back). The lawyers for the estate agree to hire Jeff to find the proper heiress. He has one week to find Marcella before the probate court turns her inheritance over to charities.

   Cohen’s pilot script sets up the character of Jefferson Keyes well. Jeff travels the world alone, solving people’s problems. Jeff makes no apologies for his fee or lifestyle, but he does care more about people than money. In this case, we learn he is a regular contributor to a London Children’s hospital, and he even gives one third of his fee to a person in need.

   NBC picked up the pilot and added it as one of three rotating series on NBC Wednesday Mystery Movie, sharing the time period with Banacek and Madigan. The series aired between 8:30 to 10pm and was opposite of ABC Wednesday Night Movie and CBS’s lineup of the last half hour of Carol Burnett, and Medical Center.

   Roy Huggins took over when Cool Million went series. Executive Producer George Eckstein stayed with his other TV Movie pilot Banacek. Producer David J. O’Connell at the time was the producer of Marcus Welby M.D. (where he won an Emmy in 1972). And Larry Cohen’s Bone (1972), the first theatrical film Larry Cohen directed (he also wrote and produced) had all ready been released. Black Caesar (1973) would soon follow.

   I should note here the episodes I saw were collector copies of the edited reruns aired on CBS Late Show, the credits where Executive Producer Roy Huggins and his company the Public Arts Production title would normally appear were missing, but there is little doubt Huggins was responsible for the series episodes.

   Huggins made some changes to Cohen’s original idea. Jefferson Keyes no longer wandered the world alone, now he had a staff to support as well as gratuitous over the top expenses such as a special car that is flown to him anywhere in the world.

   Receptionist Elena (Adele Mara aka Mrs. Roy Huggins) lived in a house in Lincoln, Nebraska where a hidden panel let you into a room full of the latest in computers. Mother of at least one small never seen child (a “Big Wheel” blocking the secret entrance in one episode), she spoke at least two languages — English and Persian. Jeff didn’t want to miss a call, so he established a trunk line in Lincoln where the lines were always clear. She would ask security questions of possible clients to confirm their id before notifying Jeff.

   Tony Baylor (Ed Bernard or Felton Perry) was the pilot for Jeff’s personal plane. In the pilot, Jeff flew commercial airlines or chartered a private plane he flew himself. Now, Jeff adds to the expenses and payroll with a smart-ass pilot.

“Hunt for a Lonely Girl.” (10/25/72) Written, directed, and produced by Gene Levitt. Associate Executive Producer: Jo Swerling Jr. Guest Cast: Kim Darby and Ray Milland. *** Rich spoiled Canadian businessman with anger management problems is on trial for murder. His lawyer hires Jeff to find proof of the man’s alibi.

   Worst episode. Levitt had no clue about who Cohen’s Jefferson Keyes was. In this episode Jeff did the work of a PI legman while repeatedly denying he was a PI and constantly whining about money.

“Assault on Gavaloni.” (11/22/72) Teleplay by Juanita Bartlett. Story by John Thomas James (Roy Huggins). Directed by John Badham. Produced by Jo Swerling, Jr. Guest Cast: Nehemiah Persoff, Pamela Franklin, Wilfred Hyde-White, Joanne Barnes, Ilka Chase. *** Sir Bryan Howard had lent a painting to a man so he could keep his ex-wife from getting it. But now the man won’t return it. Sir Howard hires old friend Jefferson Keyes to get it back.

   Good episode capturing the style of the NBC Mystery Movies (over the top adventure with romance and high living backed by the signature soundtrack of the Universal music library). This was the only episode besides the pilot to handle the money gimmick well. Jeff puts his concern for a woman before the money and the case. He is reluctant to charge his old friend his fee until Sir Howard admits he has made a profit despite Jeff’s million-dollar fee.

“The Abduction of Baynard Barnes.” (12/6/72) Teleplay by Richard Morris. Story by John Thomas James. Directed by Barry Shear. Produced by Jo Swerling Jr. Guest Cast: Barry Sullivan, Danielle DeMetz, Sharon Gless, and Nico Minardos. *** Jeff is hired to rescue a kidnapped millionaire who had left orders never to pay ransom.

   Plot was typical 70s with a far-fetched rescue and long chase. The episode made good use of Jeff’s spy training and attempted to explain the need of Jeff’s fee with expensive gadgets and high priced help.

“The Million Dollar Misunderstanding.” (12/20/72) Teleplay by Juanita Bartlett. Story by John Thomas James. Directed by Daryl Duke. Produced by Jo Swerling Jr. Guest Cast: Elaine Giftos, Ina Balin, Joseph Ruskin, and John S. Ragin. *** After three months of work where he convinced a daughter of a President of a small Middle Eastern country to return home, Jeff gets paid, only to have the check bounce. Jeff wants his money and orders his pilot Tony (Felton Perry) to help him steal a two million dollar diamond from his former client and ransom it for his million.

   Jeff is at his most unlikable in this episode. He works for three months to convince his client’s daughter to return home, yet despite Elena and the computers security check, Jeff did not know his client was a deadbeat dictator hated by his people. So does Jeff worry about the young daughter? No, all Jeff wants is his money, and he is willing to risk others lives to get it. This was the last episode of the series.

   In Broadcasting (1/15/73) the ratings for all TV Movies from the beginning of the 1972-73 season until December 3, 1972 were listed. The NBC Wednesday Mystery Movie was ranked 23rd out of 66 shows with a 20.5 average. Each episode of NBC Wednesday Mystery Movie was also listed.

   Most popular of the three was Banacek with five episodes (during the period covered) rated (in order) 21.2 – 22.3 – 20.9 – 19.4 – 23.5. Madigan had three episodes: 21.4 – 20.3 – 18.9.

   â€œMask of Marcella” was shown on NBC Monday Movie (9-11pm) and received a rating of 20.4 to finish 25th in the ratings for the week, but finished last in its time period. “Hunt for a Lonely Girl” received a rating of 19.0 for 28th in the ratings. “Assault on Gavaloni” dropped to 17.5. I was unable to find the ratings for the final two episodes.

   During the 70s, PIs usually featured a gimmick to set them apart. “Cool Million” gimmick was Jeff’s fee. Too often in the series episodes Jefferson Keyes was a mercenary whining about expenses, risking others lives so he can collect his fee, and wasting too much money on unnecessary over the top expenses.

   For those curious about NBC Mystery Movies I recommend you check out J. Kingston Pierce’s work in progress at his “Rap Sheet” blog. I beat him to Cool Million, but I look forward to read what he can add. While we wait, read his posts about Madigan, Banacek and McMillan and Wife.

HARRY O. ABC / Warner Brothers. Season 2, Part 2. Midseason 1976, Thursday at 10-11pm. Cast: David Janssen as Harry Orwell, Anthony Zerbe as Lieutenant. K.C. Trench, Paul Tulley as Sergeant Roberts. Created by Howard Rodman. Executive Producer: Jerry Thorpe.

   For the rest of the credits and Part One of this review please click here.

   In 1975 Fred Silverman left CBS and became the head of the programming department of ABC. His midseason 75-76 changes to the ABC schedule had been a surprising success, and for the first time in the history of television ABC had a real chance to become the number one network in the ratings. ABC’s success would not be good news for Harry O.

   Meanwhile, Harry O began 1976 with one of my favorite episodes:

“Mister Five and Dime.” (1/8/76): A female classmate (Glynnis O’Connor) of Lester Hodges (Les Lannom) is arrested for passing counterfeit money and she asks him for help. Lester, of course, turns to Harry.

   Robert C. Dennis script featured a far-fetched plot and was laugh out loud funny. The script had enough twists to please Chubby Checker. What made the story so much fun was how Harry continued to get Trench into trouble with one federal agency after another. Director Richard Lang added some nice comedic touches to the jail scenes.

“Book of Changes.” (1/15/76): Jamie (Joanne Nail), a twenty year-old employee of a gambling club, witnesses the murder of her boss, Kate (Barbara Cason) during a robbery. Jamie runs, but does as Kate had earlier instructed her and delivers a tape addressed to: Harry Orwell, 1101 Coast Blvd, Santa Monica. On the tape the now deceased Kate hires Harry (Trench had told her Harry was the best PI in the business) to find her book of names she had for protection and for Harry to destroy it.

   An average Harry O story with little mystery, less logic, and made watchable by Janssen and Zerbe. Harry’s love life takes a twist as Jamie tries to get Harry into bed and Harry resists due to the age difference. Director Russ Mayberry adds a nice visual touch to the cliché TV fight scene at the end with an overhead shot that gave us a great look at Harry’s home.

   Trivia: Before he destroyed the book, Harry teased Trench by (pretending?) to read the name of K. C. Trench in the book. This is the only time K.C. was used, until then we wondered if Trench’s mother had named him Lieutenant.

“Past Imperfect.” (1/22/76): After spending eight years in prison, a conman turned killer (Tim McIntine) is out and looking for his old suitcase he had left with his now ex-partner (Susan Strasberg). Not knowing the old suitcase was important, she had left it behind in San Diego when she went straight and moved to L.A. Two mob-hired killers (Granville Van Dusen and Edward Power) and a mysterious man (David Opatoshu) also want the suitcase.

   One of the worse episodes of the series as it was one stupid illogical scene after another. In between pointless scenes of violence, Harry beds another client, this time rudely rejecting Sue (Farrah Fawcett-Majors). Trench nearly gets the client killed in the most inept stakeout in Harry O history. And the solution to the mystery of what is in the suitcase is obvious to any student of mysteries.

“Hostage.” (2/19/76): Richard (John Rubinstein) robs a liquor store where drug dealers were scheduled to purchase a large amount of heroin. But the buyers were late, and instead of the cash there is only drugs in the safe. To make matters worse, cops spot the hold-up and one of them is shot, creating a hostage situation that is televised live. Harry has to find Richard’s junkie girlfriend (Ayn Ruymen) before the young man starts killing the hostages: Trench, a rich politician’s beautiful daughter (Collen Camp), and the drug-selling storeowner (George Loros).

   A serious social problem (drugs) turned into a simplistic TV melodrama made entertaining only because of the cast. Paul Tulley as Roberts has more to do than usual and does it well.

“Forbidden City.” (2/26/76): A friend of Harry’s, PI George Dillard (Jerry Hardin) phones Harry for help (interrupting Harry and Sue’s “quality” time). Dillard asks Harry to meet him in Chinatown but is killed before he gets there. Harry learns how difficult it is for an “outsider” to find answers in Chinatown.

   Entertaining mystery but with few surprises.

“Victim.” (3/4/76): A woman (Cynthia Avila) hires Harry to prove two of her co-workers (Michael Lerner and Cal Bellini) raped her.

   Predictable as it sounds, the only scenes worth watching feature Harry, Trench and Roberts, who does a great Trench impression.

“Ruby.” (3/11/76): Prostitute and one of Harry’s contacts, Ruby (Margaret Avery) asks Harry for help. She has changed careers to Nurse after she took in her nephew (Stanley Bennett Clay) when his father died. Now the nephew is in jail for stealing a car and killing a cop in a car accident. In a wasted Charles Dickens inspired twist, a mobster (Joe Ruskin) has a gang of poor young men stealing cars for him.

   Typical TV drama with some terrible dialog and obvious twists, but the episode was a good example of how PI (hunch player) Harry and cop (just the facts) Trench worked together, with Trench handling the “by the book” procedural side and Harry doing the PI “without rules” side.

https://www.youtube.com/watch?v=LmDZ0KqsZRg

“The Mysterious Case of Lester and Dr. Fong.” (3/18/76): Old rich man (Dean Jagger) gathers his family together to announce he has hired Harry to find out which one of them has threaten to kill him. He then dies…of natural causes. But one family member, Lester Hodges believes the old man was murdered. Lester convinces famous criminalist Dr. Creighton Fong (Keye Luke) to look into the death, and the good Dr. Fong finds evidence of poison.

   Janssen had a reduced but important part in this backdoor pilot for a possible series featuring Lester and Dr. Fong. Trench was thrilled to work with the brilliant and respected Dr. Fong even if it meant having to deal with the aggravating Lester. Every time Fong found evidence that lead Lester to convince Trench to arrest a suspect, that suspect would die.

   Lester and Fong were two supporting characters in need of a lead character strong enough to carry a series. By the end of this you will realize how much of the success of the characters Trench and Lester were due to Harry Orwell and David Janssen.

“Death Certificate.” (4/29/76): Young widow (Denise Galik) and her demanding mother (Ruth Roman) had filed a malpractice suit over the death of her husband. The widow had been beaten and ordered to drop the suit. They go to Harry for help. Harry finds little to help the malpractice suit, but all the threats and violence makes him (and Trench) wonder if the husband had been murdered.

   As usual, we are more interested in what happens to Harry and those around him than the case itself. Harry’s car again fails him, this time with tragic consequences.

   While David Janssen and the chemistry of the cast and characters are the primary reasons for us remembering Harry O as one of television’s best mystery dramas, the series had other virtues as well.

   In Television Chronicles #10 (thanks again to Randy Cox for the copy), Ed Robertson quoted executive producer (who we today would call the series “showrunner”) Jerry Thorpe about the different visual style of Harry O. “…I began to stage exclusively in forced perspective – that is, ‘up and down stage,’ as opposed to ‘stage left and stage right.’”

   This reduced the need for wide angles and master shots. It was a style Thorpe learned from Sidney Furie’s The Ipcress File (1965). Among the series directors, Richard Lang was the best at using the style and directed eighteen of the series forty-four episodes.

   The writers, starting with Howard Rodman and followed by Robert Dozier, Michael Sloan and the rest understood the importance of David Janssen. They focused on how to exploit the talents of Janssen, and (in the Santa Monica episodes) the relationship between Harry and Trench by using a delightful mix of humor and situations hidden inside, at first Rodman’s darker nourish tales, then the ABC approved average TV melodramas. As a result, the series gave us two of TV’s most entertaining and memorable characters, Harry Orwell and K. C. Trench.

   To the surprise of many, ABC cancelled Harry O at the end of the season.

   Jerry Thorpe explained in Television Chronicles #10, “(Silverman) was looking for shows that he thought had the potential to be runaway hits. That was his philosophy. He didn’t want to settle for the ‘average.’ He wanted to take chances with shows that could really elevate the network’s standing-which was exactly what ABC needed to do at the time.”

   The article mentioned the series’ ratings had dropped by one point from the first season but was “still winning its time slot on a consistent basis.” It also noted Variety (April 1976) reaction that while Harry O was the best series of those cancelled, ABC felt Harry O’s ratings would not get any better.

   It is a shame that because of ABC sudden rating success there was no longer a place for Harry O, and we never again got to watch Harry drink the last of Trench’s coffee or hear Trench scream “Roberts!” as he followed Harry out of his office to question the next suspect.

   Now if only Warner Brothers would release the second season on DVD.

      Links to the rest of my series of Harry O reviews:

GERTRUDE

SAN DIEGO

SEASON ONE, PART TWO