Tag: TV Series review

Telefilm Review: Cannon/Barnaby Jones: The Deadly Conspiracy

A young woman who works at an oil company calls a congressional staffer promising to blow the whistle on her employer. This is overheard by the head of public relations who plots her death. A wine delivery man with a record is set up at the patsy for raping and killing the woman.

Frank Cannon (William Conrad) is hired by the an attorney for the accused, while the Congressional staffer hires Barnaby Jones (Buddy Ebsen), thus setting up a rare crossover between two TV detectives. Cannon had appeared in Barnaby Jones’s first episode.  Both programs were produced by Quinn Martin who used Cannon’s presence to jumpstart Barnaby Jones. Here the two detectives have both been on multiple seasons and would in effect be sharing star billing and solving the case together. 

This is a good story. Like many Quinn Martin detective shows, it was not a whodunit. Who is pretty clear from the start. However, there are all kinds of mysteries to solve along the way such as why, and what the goal of the titular “Deadly Conspiracy” is.

I liked a lot about the conspiracy. Their goal is complex, but it makes sense and also seems realistic and believable. While the conspirators are willing to kill for their goals, unlike other villains, they don’t just kill. They’re able to throw roadblocks in front of our heroes in ways that don’t involve homicide, which I think makes for a more interesting plot.

Both Conrad and Ebsen are given a chance to shine, and overall the team is very well-balanced with both playing nearly equal parts in the action and detective work. The guest cast is a notch above the typical guest cast with a lot of recognizable  actors including Diana Douglas and Francis De Sales.  Barry Sullivan shines as the chief villain.

There are two versions of the story available. The Season 5 DVD of Cannon contains a modified version of the story that’s trimmed down to a single episode of Cannon with an alternate (and in my opinion inferior) ending. The Season 4 DVD of Barnaby Jones collects both episodes and I recommend that version. While several episodes of existing programs were backdoor pilots for possible detective programs, this was the only crossover episode for two established 1970s Detective programs. It does its job well and deserves to be seen in its complete form.

Rating 4.5 out of 5

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Streaming Review: Philip Marlowe, Private Eye: Season 2

In the 1980s, Powers Boothe starred in the HBO series Philip Marlowe, Private Eye, a series based on Raymond Chandler’s short stories featuring Marlowe (or other detective characters Chandler created who were indistinguishable from Marlowe.

The second season is available for viewing on Amazon Prime and features two stories that were released as Marlowe stories in the collection Trouble is My Business as well as four others.

Boothe plays the lead and delivers a solid performance. However, some great actors have taken on this role, including Humphrey Bogart, Dick Powell, and Gerald Mohr. I wouldn’t put Boothe in their league. There are moments where it  feels like he’s trying too hard to create an effect of being a hard-boiled private eye and those are the moments where I find myself taken out of the story. That said, there have been worse takes on Marlowe, and I think Boothe works more often than not in this season.

The rest of the cast was fairly solid and believable. The main guest stars turned in good performances (including a young Robin Givens) and the supporting players all felt authentic.

The costume designs are great and did a superb job of capturing the era. On the other hand, compared to other period productions of the era, the sets and cinematography are pretty unremarkable. Nothing takes you out of the story with obvious anachronisms from the 1980s in the 1930s sets, but they also don’t evoke the era. They feel more like settings that existed unchanged from the 1930s to the 1980s.

The real highlight for many are the stories by Chandler. If you want to see adaptations of most of these stories, this is the only way to see them. As far as I know, four of them weren’t even adapted to radio. What comes across as a bit of a cheap feel for most of the production does work pretty well in telling the stories of the mean streets that Chandler does.

So overall, this isn’t close to being the best on-screen Marlowe presentation or production, but the trappings do well enough to be able to communicate some great overlooked hardboiled tales from the pen of Raymond Chandler, which makes this series worth checking out for fans of Philip Marlowe.

Rating: 3.5 out of 5

Telefilm Review: Murder She Wrote: The Deadly Lady

In “The Deadly Lady,” some time has passed since The Murder of Sherlock Holmes as the episode shows Jessica has a proof copy of a new book and is working on yet another. Wealthy financier Stephen Earl is apparently killed in a storm on a boat with his daughters, who will each receive $25 million at his death. Sheriff Amos Tupper (Tom Bosley) suspects foul play and calls Jessica Fletcher in for her advice and he meets the man’s daughters, most of whom seem to have little love lost for him. At the same time, a drifter named Ralph (Howard Duff) comes to Jessica’s house seeking work and she gives him some work and befriends him.

Thanks to a local newspaperman, she sees a picture of the financier and realizes it’s the drifter, which means he didn’t die in the storm,  clearing one of his daughters who confessed to the “murder.” However when his body washes up on the beach, Jessica has to find out who killed him and why.

What Works:

The scenes between Howard Duff and Angela Lansbury were just superb.  Stephen Earl/Ralph is trying to sell Jessica a false story, several in fact, so that he can stay on the down low in Cabot Cove, though Jessica uses her deductive skills to see through most all of them. She’s still very kind and empathetic towards him and genuinely likes him, which gives her some added to motivation to solve his eventual murder.

We meet our first two Cabot Cove recurring characters. Tom Bosley (Happy Days, Wait Till Your Father Gets Home) would play Sheriff Tupper for the first four seasons on Murder She Wrote before leaving the role to become the lead in The Father Dowling Mysteries. In this episode, Tupper is a solid small-town lawman who does what needs to be done and refuses to alter his ways for high-powered, wealthy out-of-towners who descend on the town in the wake of news of Earl’s death. 

This episode features Claude Akins’ first episode as fishing boat Captain Ethan Clagg, an irascible character who enjoys taking good-natured shots at his friends in Cabot Cove. Akins makes the character work which is a challenge because that type of character can easily become annoying.

Dack Rambo does a nice-turn as the sleazy, money-grubbing husband of one of the daughters. He’s one of those characters you love to hate and Rambo’s quite good at making the character come to life.

What You Just Have to Accept:

Cabot Cove is supposed to be a small town in Maine, but this introductory episode is a bit of a mixed bag in terms of feeling like it’s set there.  The actors attempt New England rural accents with varying degrees of success, and some exteriors shots look passable, although the eagle eye will notice several dead giveaways that this was shot in Mendocino, California. 

It’s the type of production issue that’s fair to acknowledge, but not fair to hold against the show. It was good enough for its time. I just needed to bring my own imagination and suspension of disbelief to buy this location as being in Maine.

What Doesn’t Work:

Sherriff Tupper calls Jessica in when he thinks there might be a murder, but then when he finds an important crime scene, the story implies he told a deputy to not tell her where he was. The deputy then takes a phone call right in front of Jessica,  revealing the location and Jessica goes out there, with Sheriff Tupper none to happy to see her.

The whole sequence is a bit of pointless padding that goes against Tupper’s character as we’d seen it in the episode.

While Murder She Wrote is sometimes criticized for having plots resolved with Jessica finding the solution but the audience isn’t let on until she gives the solution to others, this particular episode has the opposite problem. The clues and overall solution are too simple and easy.  Though that may not be  the worst thing for the first hour-long episode.

Overall Thoughts:

A murderer who crosses Jessica Fletcher’s path is in serious trouble, but it’s pretty much hopeless for the murderer who decides that Cabot Cover is a good place to commit a killing.  The murderer caught in this episode won’t be the last one to try that fool’s errand and suffer the consequences.

While the mystery is a simple affair, Angela Lansbury carries it often with style, helped by a great guest performance by Howard Duff. This story gets the regular run of hour-long Murder She Wrote episodes off to a fine start.

Rating:4.0 out of 5.0

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TV Series Review: Nero Wolfe (1981), Part Two

See Part One and my review of the 1979 Nero Wolfe TV Movie starring Thayer David which is included on the same DVD.

A Look at Nero Wolfe Episodes

Most TV versions, the two 1930s feature films, and the CBC radio series took the approach of adapting Nero Wolfe stories written by Stout. The Old Time radio versions of Nero Wolfe created original stories for Wolfe. The 1981 TV series is unique in that it chose to do both with six episodes based on Wolfe stories and eight original episodes.

The Adaptations

I’d split the six adaptations into three categories. The good, the bland, and the bad:

The Good:

This series features the only adaptations of “Might as Well be Dead,” and “Murder by the Book.” I enjoyed both of these novels, and was mostly pleased with the TV adaptation of them. The biggest challenge is the one hour format, which does lead to a lot of compression. Still, the essential story line from both books are transferred over quite nicely.

The Bland:

“Before I Die” was the only Nero Wolfe short story adapted and was an odd choice given the series’ contemporary setting. The original, “Before I Die” was set after V-E Day. In the heat of the war, Wolfe had patriotically refused to use black market meat. However, with the war all but over, rationing continued so enough meat could be provided for starving people in Europe. That didn’t seem like a good reason to skip his favorite cuts of meat to Wolfe, so he ends up becoming involved with in a dangerous dispute between two crime families to get black market meat. It’s a story with a lot of humorous and ironic moments.

Setting the story in 1981, that’s all lost and Wolfe’s involvement is more pedestrian. Thankfully, the underlying mystery has some pretty good twists, but it’s unflavored compared to the colorful original.

Death of a Doxy was adapted as, “What Happened to April?” where a woman with ties to one of Wolfe’s investigators is murdered. As Orrie Cather was not in this TV series and Saul Panzer was Wolfe’s only freelance operative on TV, the story was changed for TV to have Panzer accused. Unlike in the book, the relationship between Panzer and the murdered woman was strictly platonic.

Most of the key plot ideas from “Death of a Doxy” was carried over to the TV episode. However, the story was sucked of all of its flavor. The character of Julie Jaquette, one of the most interesting characters Wolfe ever met up with, is nowhere to be seen in the TV show.

I can understand why certain elements of the original story were changed as “Death of a Doxy” was a darker story. However, that doesn’t excuse the changes as they have chosen one of the many Wolfe stories that could be done justice on 1981 network television.

The Bad
Adapting In the Best Families was the weirdest decision made on this series. “In the Best Families” was the third novel in the Zeck trilogy. In it, after crime boss Arnold Zeck interferes with yet another Wolfe case, Wolfe leaves the brownstone, apparently retiring and ordering his home sold. Archie is ticked off by this and starts his own private detective agency and runs it until Wolfe returns, having lost a ton of weight, grown a beard, and infiltrated Zeck’s criminal organization in disguise.

The problems with adapting this story are multitude, particularly for this series. First, without the first two novels, the extreme nature of the housebound Wolfe’s actions are not justified. Those first two novels are vintage stories. One deals with an old time radio program, the other includes Wolfe exposing a Communist in part of his plan to catch the murderer. You would have to make a lot of changes to fit these into 1981. In addition, you have to get rid of the weight loss element since the actors old enough to play Wolfe will struggle to lose a large amount of weight quickly. Of course, to do this story right, you would need at least two episodes for this story as well as episodes to build up to it.

What we get instead is a one-hour adaptation of, “In the Best Families” where Zech’s character is renamed to Arnold Dorso. Like in the novel, after Dorso attacks the Brownstone, Wolfe abandons ship and announces his retirement. Since Dorso and Wolfe have no history, this makes little sense. However, instead of embarking on a cunning scheme to bring down Dorso, Wolfe goes undercover as a chef at his favorite restaurant, Rusterman’s.

Wolfe’s TV brilliant plan involves Archie pretending the hours that have passed since Wolfe abandoned him have made Archie willing to take on a life of crime. The story then continues mostly according to the basic plot of the book, but with all the changes, the plot is nonsensical and Dorso looks likes a colossal fool.

If “In the Best Families” succeeded at anything, it was making the mystery more interesting. In the book, after Wolfe left, the mystery of who committed the murder was put to the side and dealt with in a perfunctory manner at the end. However, in the TV adaptation, Wolfe’s ruse takes less time and is nonsensical, so the solution to the mystery is more interesting by comparison. In addition, Conrad does a bang up job delivering it. Both he and the murderer were standing (contrary to Wolfe’s typical M.O) but here it works like a charm as the shots are beautifully framed. The denouement of the episode was a nice end to what had been a train wreck of an episode.

“The Golden Spiders” started out well with the visit of a local neighborhood kid to see Nero Wolfe that found Archie letting the boy in just to annoy Wolfe. However, the boy has a tip on a potential case that gets Wolfe interested and Wolfe agrees to split any reward. The boy is hit by a car with clear evidence that he knew something. Wolfe begins to investigate and unravel the complex web of lies around the events.

The biggest change is one I can understand. Unlike in the book, the boy lives. In fact, not only does he live, he makes an appearance in the last episode of the series. I can understand you couldn’t broadcast a mystery in 1981 where a child is killed. It’s an upsetting idea, and it’s always a challenge when adapting The Golden Spiders.

However, this episode was the most hurt by the decision to adapt Nero Wolfe novels into one-hour episodes. The story is confusing and poorly paced, and includes a sex-related twist that wasn’t in the book and comes out of nowhere on TV.

The Original Stories

I much preferred the stories original to the TV series over the adaptations. I won’t list all of them, but they slot comfortably under the category, “Typical 1980s Mystery fare.”  Two episodes, “Gambit” and “Death and the Dolls” got technical Emmy Nominations.

I enjoyed seven of the eight of the original stories. The most interesting of them were, “The Blue Ribbon Hostage,” “Death and the Dolls,” and “Gambit.”

In “Blue Ribbon Hostage,” a burglar breaks into Wolfe’s orchid room and makes off with his most expensive orchid. He shows up to blackmail Wolfe into helping clear him of a murder charge in exchange for the return of the orchid. I love the concept of this story, it’s a plot I could imagine Rex Stout writing.  The mystery is clever and the relationship between the burglar and his ex-wife is kind of sweet. The story does have a somewhat unrealistic consequence of the kidnapping, but otherwise this is an exciting episode.

“Death and the Dolls” opens with a rich man getting on a yacht and it being blown up. The man’s daughter comes to Wolfe suspicious her father was murdered by his new young wife. (Christine Belford, Banacek) This is a clever story with a pretty surprising conclusion.

In “Gambit” (no relation to the Wolfe Novel of the same name, ) the Brownstone is taken over by a man who fought in Wolfe’s unit in World War II and who Wolfe had reported for betraying the unit. The man had gotten into the Brownstone several times by pretending to be various repair people and interacting with a different member of the household on each visit and going with a slight disguise (only one of which was obvious.) This is a suspense-filled episode as Wolfe’s own house is turned against all of its inhabitants and the episode does have a few nice surprises.

My least favorite original episode was, “Sweet Revenge”  which has a criminal that Archie and Wolfe put away back out and seeking revenge. After “Gambit” and “In the Best of Families,” this was the third episode in a fourteen episode series that featured someone coming after Wolfe or Archie which makes this repetitive. The key to the mystery is realizing the villain is wearing a ridiculous disguise. I give the episode credit for giving us a rare dose of real Archie-Wolfe tension even though the execution is only so-so.

Series  Evaluation:

Some TV shows are so bad, it’s painful to watch. Nero Wolfe isn’t one of them. While a lot in this series is not true to the books, this series can be enjoyed in the same manner as the 1951 radio series, which had many deviations from how Wolfe operated in the books.

In general, I find myself in agreement with Peter Boyer of the Associated Press, “I know, I know, the show pales next to The Rockford Files. But I’ve tried it a couple of times and I think there’s a good TV series there, obscured, admittedly, by some inane scripts.”

In his biography written by Charles Tranberg, William Conrad is quoted as saying, “I was really excited about doing a show called Nero Wolfe. I thought it couldn’t fail. Here we had one of the most popular characters in mystery fiction; everybody has read a Rex Stout novel. The books still sell, although they were written 50 years ago. But do you know how long we lasted? Just 13 weeks. Try to figure that one out.”

The  reason Nero Wolfe didn’t come back was it was broadcast in the 1980s. From the late 1960s on until the late 1980s, Americans were treated to many popular detective and police shows. The glut of options meant many fine detective shows didn’t make it due to the stiff competition. Good series like Ellery Queen and Hawkins only lasted a single season and those series had far fewer issues than Nero Wolfe. In addition, Nero Wolfe was  expensive to film, and it wasn’t going to get a chance to recover from a sub-par start.

The series is worth watching for fans of Nero Wolfe. You get to see the best representation of Wolfe’s orchid room on film, adaptations of two Nero Wolfe stories that haven’t been done elsewhere, and assorted Easter eggs. In addition, the original to the TV series episodes represent new Nero Wolfe stories, some of which are good. Give the DVD set comes with a made-for-TV movie adaptation of The Doorbell Rang, the DVD is a solid buy.

If you don’t care much about Nero Wolfe, but like TV detective shows from this era, this isn’t a bad series, but there are too many better ones to buy.

Overall, I’ll give the DVD box set a dual rating of satisfactory and a numeric rating of 3.5 out of 5.

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TV Series Review: Nero Wolfe (1981), Part One

The 1981 Nero Wolfe TV series is a controversial topic. For many fans, this fourteen-episode series is bad, with the critically acclaimed A Nero Wolfe Mystery making the series look even shabbier. Others have fond memories of the series, and it may even have been their introduction to Nero Wolfe.

I’ve wanted to watch the series for some time. After many years of waiting, we finally have an official DVD release. I have finally seen the whole series, and I’m ready to wade in with my opinion. This will be a long review as we take a look at many aspects of the series.

Key Adaptation Decision

Probably the most critical decision made with Nero Wolfe was to make it a contemporary program. This sets it apart from the period setting of A Nero Wolfe Mystery. It’s a perfectly defensible creative decision because Rex Stout had been writing Nero Wolfe up until six years previously and he’d always set the books in contemporary times.

This helped the series in some ways but hurt it in the look of the show, the way characters were portrayed, and the challenges of adapting stories that happened decades previously as if they occurred in 1981.

Casting

While the cast is not as good as the 1979 TV Novie’s, it’s solid. William Conrad has some good moments as Wolfe. Critics point out Conrad was shorter than Wolfe and  wore a beard plus Conrad’s usual mustache. Wolfe only wore facial hair in one book. Personally, the height’s not a big deal, and I like the beard. It distinguishes Wolfe from Frank Cannon and it makes him look distinguished which actually helps me buy him as Wolfe.

To be sure, I have problems with the way Wolfe’s portrayed, but it comes down more to writing than to acting. There was not a scene in all fourteen episodes where I thought, “This would’ve been better with another actor.”

Lee Horsey as Archie Goodwin is the best asset the series has. He makes a good 1980s take on Archie Goodwin. Because of the era, his performance is different from the book, but Horsey maintains the character’s charm and humor while still being a solid legman.

The one casting choice which doesn’t work is Allan Miller as Inspector Cramer. In the books, Inspector Cramer has this working-class, almost rumpled feel to him. He walks around chewing a cigar. Allan Miller is too smooth, polished and dapper to be Inspector Cramer regardless of the era. If they wanted the characterization Miller brought to the role, they would have done better to give Wolfe an original-to-TV police foil.

Adaptation Positives

There are some good touches for the series. Good effort went into building the set.  An April 3, 1981 story in TV Guide details how Art Director John Beckman flew out to New York, studied how Browstones were built, and paintstakingly created the facade on the Paramount lot. They built a four-story oak spiral staircase as well as a four-story working elevator that cost $175,000 (or half a million dollars today.)

On top of that, you have the crown jewel of the series, the Orchid Room. This is the one area where Nero Wolfe outdoes a Nero Wolfe Mystery, a lot of thought and effort went into creating a beautiful orchid room with 2,655 plants brought in. It’s a beautiful set and seeing it is a highlight of the series.

I also have to give the series credit for taking one of my favorite Nero Wolfe moments from The Rubber Band where Wolfe hides a client from the police in the orchid room under plants and working it into an original story even when that novel wasn’t adapted.

The series does have some good scenes with Wolfe arguing with people over cooking and orchids. Those scenes are true to the spirit of the character.

I also have to give them credit for keeping Wolfe house-bound for all but two of the fourteen episodes. It’s a far better ratio of housebound to not than the New Adventures of Nero Wolfe or even the original stories.

In researching the series, I learned from Charles Transberg’s book William Conrad: A Life and Career that Conrad had strict working hours in his contract and if the filming went past his time for departure, they’d have to finish filming without him. That’s the sort of thing Nero Wolfe would have in his contract if he ever became an actor.

Adaptation Negatives

There are a lot of issues I could take with this series, ranging from the trivial to the really serious flaws. I’ll start with the lesser ones and work to the big ones. I’ll save a look at issues with specific episodes for Part Two.

First of all is the office set. My first big annoyance is the set lacks a “red leather chair,” the most important piece of furniture (aside from Wolfe’s own chair) in the novels.  However, a bigger issue with the office furniture is just how cluttered the office looks.

The TV Guide article revealed that $250,000 was spent in to fill the Brownstone set with antiques. There’s some nice pieces, but it doesn’t look particularly well-put together and seems a bit busy. It looks a lot like my desk, with various and sundry things seemingly where they are at random and it shouldn’t. Based on the amount of order and rigor Wolfe puts into the house, you imagine its very orderly,  and not like the great detective needs a decluttering consultation with Marie Kondo.

A more serious blunder was choosing to adapt whole novels into one-hour episodes. A Nero Wolfe Mystery had the right idea when they did novel adaptations in two episodes and short stories in one. Doing it in the way Nero Wolfe does it ends up with many plots feeling rushed and important moments are missing.

The series also tended to have a clumsy approach to introducing aspects of the Wolfe world and/or Wolfe’s eccentricities. The story pauses briefly to show us the set designer bought a big globe like the one in the novels. Another story has an entire brief scene where Wolfe guzzles down a glass of beer and tosses the bottle cap in the drawer with no one else around.

The worst introduction of a part of Wolfe lore came in the thirteenth episode, “The Blue Ribbon Hostage.” In the novels, Wolfe insisted others be seated so that their eyes would be on the same level as his. Throughout the first twelve episodes of the series, this was not an issue at all as others stood while Wolfe sat or Wolfe stood while others sat with no mentions of “eyes at level,” until thirteen episodes in they decided to have him do it.

You simply can’t have Wolfe inconsistent on his eccentricities. To quote Wolfe in his first novel, “I understand the technique of eccentricity; it would be futile for a man to labor at establishing a reputation for oddity if he were ready at the slightest provocation to revert to normal action.”

However, the biggest issues with the series come down to the character of Wolfe himself.  Nero Wolfe eliminates most of the character’s less likable habits.  Wolfe is never lazy and never has any hesitation about taking on work. He doesn’t have the mercenary sense of Wolfe in the book.  The one negative trait he’s left with is his opinionated nature on orchids and cooking. Other than that, if he’s not dealing with a murderer, he’s a large teddy bear of a man who is actually called “sweet” in one episode.

The problem with that is it’s not true to the nature of Nero Wolfe. It’s like the opposite of today’s “grim and gritty” reboots  where instead Wolfe is relieved of the burdens of his faults and rough edges. Yet, the decision calls to mind G.K. Chesterton’s warning, “Do not free a camel of the burden of his hump; you may be freeing him from being a camel.”  The way the character is written, there’s a whole lot less Nero Wolfe to him.

Rex Stout wrote Wolfe as a fully developed human being, replete with flaws. In the course of the books, Wolfe does have many great moments where he surprises you and you get see more his sense of honor, his kindness, and his appreciation for different parts of his family. Yet, it’s done in a way that’s understated and true to Wolfe’s approach to life.

Since the series gets Wolfe wrong, it hurts the most important relationship in the books, that between Wolfe and Goodwin. In the books, the two men have gifts and talents that compliment each other and have an almost symbiotic relationship. However, they also tend to clash because of their differing personalities, with Archie providing his unique interpretation of Wolfe’s actions and beliefs.

While Wolfe is technically the employer and the boss, Archie is the one who balances Wolfe’s checkbook and often times has to spur  Wolfe to work when he would rather sit around and read all the day long when he’s not eating or tending his orchids. Several times, Archie has to deal with Wolfe losing interest in a case and his “relapses” into a semi-depressed state.

It’s an interesting state of affairs that provides for lots of interesting plots in the books. In the TV series, the two work together with little friction at all. The only exceptions are a book-accurate scene  in The Golden Spiders and a scene in the final episode where Wolfe orders Archie not to go to a meeting that Wolfe feels is a trap and threatens to fire Archie. Archie chooses to quit instead. It’s not great, but this conflict is as close as the series get to capturing the nature of these two characters.

Next week, we’ll finish up and talk about the individual episodes and my overall thoughts on the series.

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