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Reviews
Ironside: The Past Is Prologue (1967)
There's only one version of the truth.
This is a classic episode from a classic series. Not a minute of unnecessary script. Ironside cannot waste a moment as he desperately tries to save a man's life by proving he was wrongly convicted 19 years earlier. Repeated great scenes as the chief, with his no-holds-barred, cynical questioning of all those standing in his way, manages to draw out critical info from his hostile witnesses anyway, while jabbing them for placing self interest above the truth. Even the manner in which he gets his friend, the former convict now facing death row, to speak and thus reveal his true innocence, is masterful. There are also a few delicious scenes in which he has his way with the Commissioner, and a few in which he shrewdly uses the media for his purposes. Fine, aw-shucks acting from Victor Jory (who sounds eerily close to Jimmy Stewart) in the starring role, and the extra pleasure of seeing a young Harrison Ford as the suspect's son. It is all topped off by superb detective work, that is almost stumped by a stubborn admission of the suspect that threatens to doom his defense, until Ironside breaks it with a brilliant solution in the middle of the night. Finally, a slew of great one liners from the chief. They don't make 'em like this anymore.
Ironside: Let My Brother Go (1967)
Good Brother, Bad Brother, and Ironside.
Highly satisfying episode. No really great sleuthing, but a heavy focus on the warm fuzzy side of the chief, as Ironside desperately seeks to protect the slum neighborhood kids from being dragged into the gangs by developing an after-school football program in the neighborhood, with football star Bart Masterson as the coach. However, he refuses to help because his brother, a parolee with a suspicious present, claims the police are after him for no reason. Things get messy on all ends, and the conflicting pressures of inner city life are played out very nicely and realistically, with the good brother/bad brother issues inside the family, the anti-police suspicions, the gangs not wanting any police programs to succeed, the youths afraid or unwilling to join these programs, and the good brother being pulled every which way as he must decide what is the correct way of being "good" to his brother, family and community. Very moving and real.
Ironside: The Wrong Time, the Wrong Place (1970)
Ed's Private Life Gets Complicated
Highly enjoyable. Involves some decent detective work and lots of conflicted thoughts and emotions as Ed falls for a gorgeous actress he is sent to investigate and protect - esp. because it revolves around her naive and extremely liberal view of cops as violent people because they carry guns and threaten to imprison people. The effect on her views as the story proceeds and she realizes the cop's true role, provides for an added backdrop to the story. Very strong acting by Tiffany Bolling in a demanding star role. Interestingly enough, her political views resembled her real life views. Sidebar: Meet Felix Petrie, a recurring guest on The Honemooners, whose role here is played in remarkably similar tone and style to his typical Honeymooner roles.
Ironside: Return to Fiji (1970)
Taking it on the Road
You might think that after a while, the team of writers would run out of ideas for scripts in which Ironside gets caught in dangerous and criminal capers while on vacation or overseas. Yet thus far in this series, every single one of these has been a gem, as they allow the chief to use his entire smörgåsbord of ingenuity, courage, brawn, shrewdness, and brains to survive and outwit his enemies while on the road. Moreover, while you know that he will obviously survive the ordeal, the range of ways that can happen is so much broader, that it allows for greater tension, excitement and surprises. Sit back (if you can) and enjoy the ride. Super fun.
Columbo: Murder with Too Many Notes (2001)
One of the most confusing and disappointing Columbo episodes ever made.
The murder plot is actually pretty ingenious, and the murderer, actor Billy Connoly, is quite interesting as Columbo's foil. But the writing is dreadful, as it leaves tons of stuff unexplained and puts in tons of stuff for no seeming purpose or connection to the plot. Early on, when Columbo drives the killer home in an endlessly long scene, it is obviously for some purpose, but that purpose is never explained. An extended focus on a certain aspect of the victim's clothing is likewise endlessly extended, but leaves it very unclear as to what Columbo is seeking to prove with it. Finally, in the final scene, he re-enacts the murder in a staged childlike manner, bringing up issues that seemingly have no connection to his proof, and offers a final "proof" that is one of the least convincing in Columbo history, yet the murderer smilingly gives up w/o any argument. And the final big clue is obtained after the medical examiner overlooked an obvious piece of evidence that would have cost any ME his job. What is most frustrating is that for long stretches of this movie, it is actually highly enjoyable, and with the fine acting of the murderer and the directing of the great Columbo contributor Patrick McGoohan, it could easily have been turned into a dandy episode, if only the writing was at more than a B-movie level.
Columbo: Strange Bedfellows (1995)
I'm surprised by some of the poor reviews. This is one helluva episode and a whale of a ride.
A little over the top, and might not fly 100% in reality, but still one of the wildest, funniest and wackiest of all the 69 episodes. Columbo is not the doddering old fool that he portrays in some of the later movies. He is serious, with a tinge of humor throughout. Although he seemingly goes on and on with his stories, in actuality few of his lines are wasted at all. In every line he drops some subtle allusion that is part of his grand design to ensnare his suspect. George Wendt will never be mistaken for a great actor. But he actually is well cast in this particular role - a lying, not too bright criminal, who nonetheless designs a brilliant, extremely complex murder/frame-up plan that only Columbo can figure out. Consequently, he is convinced that he is smarter than he actually is. So naturally he looks down at Columbo and keeps saying unnecessary things w/o realizing that Columbo is setting him up. Rod Steiger, in a brilliant performance as a mafia godfather, is hilarious and delectable (although even someone like me, who can't speak any Italian, can easily detect that his Italian diction is laughable, spoken like a true American of French, Scottish, and German descent might speak it). As for those reviewers who say this film is bad because Columbo is out of character, I respectfully disagree. He often uses questionable means to get the proof of the murderer's guilt, once he is convinced that he surely has the actual murderer. Yeah, it's a little overboard here, but it works because it is done with a sly smile, rather than in a purely serious manner. The final wild roller coaster ride seems finally to have entered the realm of the inconceivable, until the truth is revealed about what just happened and it gives you a big laugh. Hang on!
Columbo: Columbo Likes the Nightlife (2003)
In a nutshell: Why this was a fine send-off for the master detective.
The greatest detective series in history comes to an end with a fine send-off. What made many (though certainly not all) of the later Columbos disappointing relative to the early ones were a) the turning of Columbo into a caricature - making himself look dumb and comical, and explaining everything five times as if speaking to a two-year old; b) excessive tampering with the tried and true Columbo formula; c) poor writing, with far fewer of the subtle and comic quotes, less successful humor, and wasted stretches with silly chatter or events that have nothing to do with the main plot. Well, this last episode does not have much humor, nor some of the great dialogue between the murderer and Columbo that many of the great episodes had. But it makes up for it by providing a ton of real sleuthing by the master, as he solves the puzzles by noticing the types of things only he would notice, and brilliantly tying it all together. It is a tight and well-written screenplay, with Columbo getting right down to business from the moment he first arrives on the scene until the very end, with the only sideshow being a minor, well done and humorous mafia subplot. After quickly identifying that it is a murder, not a suicide, and finding the suspect through astute observation and a neat detective trick, he sets out to trap the killers - not by acting like a semi-senile old man, but simply by acting naive and acceptive of their explanations - so that they say things they might not have volunteered otherwise - while at the same time dropping subtle hints to make them scared and confused. And while the music and scenery is updated to fit the modernizing times, he stays true to his character throughout. Other than one or two far-fetched things he does in finding clues (like sticking his hands into a toilet bowl), the plots and clues, and the manner in which he solves them, are quite believable. Not one of the very best episodes, but still a highly enjoyable one that honors the series and has very few uneasy or boring moments.
Columbo: Columbo and the Murder of a Rock Star (1991)
Superb Columbo, but only if you don't miss a vital piece of info provided early on.
Superb episode. Extremely difficult frame-up by brilliant defense lawyer picked apart step by step by Columbo, until he is stumped by a seemingly foolproof alibi. The way he cracks it, and the manner of proving it provides for one of the most shocking and fabulous Columbo finales of all. Dabney Coleman is really good as the murderer, who thinks he can arrogantly get away with anything because of his unbeaten record as a murder defense lawyer and his powerful connections in the system. It seems to give Columbo an extra desire to get him, and you can hear the joy in his voice when he finally gets the last laugh and nails him. However, I do wish Falk had not included his wife Shera Danese in six episodes. If ever there was a case of nepotism, this was it. As superb as he was as an actor, that is how bad she was as an actress. But if that was the price to pay for enjoying Falk's immense talents in 68 Columbo episodes, I'll gladly pay it. However, after reading the other reviews, I realize that many people missed the main clue (e.g., eralan_uk), which ruined the whole episode for them. Without including a spoiler here (as I have carefully avoided them in all my reviews, so viewers can have advance notice of the quality of the episode beforehand), allow me to add this critical info. If you miss one cryptic early allusion to it, you will not be able to figure out how a person can create a complex fake alibi for a murderer, yet not suspect him as the murderer until after the fact. The answer is that the person unwittingly created the alibi, thinking it was for some other purpose, and only put two and two together after the fact. So pay careful attention when that person first reveals their suspicions to the murderer, as she briefly explains what she had been asked to do earlier, and how that led to her current suspicions. The full meaning of her cryptic comments only become clear later on, when the fake alibi is revealed.
Columbo: Caution: Murder Can Be Hazardous to Your Health (1991)
Good Columbo plot and formula covers up dreadful writing.
Like the other reviewers, I generally enjoyed this episode, which pretty much sticks to formula and has a decent murder plot with lots of real sleuthing for the good detective to figure out. However, there were two aspects that I think really kept it from being great - neither of which anyone else has mentioned. Firstly, I never was a great George Hamilton fan. Not only did his crazy tanning efforts totally disfigure his truly handsome face of the early years, he simply was not a very good actor. I think he was more truthful than humble when he said that he was a movie star, not an actor. There are none of the subtle changes in facial expressions and tone that the true stars like McGoohan and Cassidy implemented so well. He either smiles to Columbo, or loses his temper. There are none of the subtle in-between expressions, where you smile while indicating irritation or discomfort. Secondly, I thought the writing was dreadful. I have a simple test for the quality of a Columbo episode: see how many enjoyable quotes there are. The great ones had tons of funny quips about Columbo's quirks, and subtle hints by the detective that revealed his train of thought and suspicions. This movie had exactly one decent line (which I submitted to the site), when the victim chokingly states he can't breath, and Anders quips, 'I told you those things will kill ya.' There was not a single other line that I could rate as even half decent. All attempts at humor, which usually add so much to this series, were dreadful here, such as the infantile and overly extended scene where Columbo crashes into Anders' car, or the one where he picks up 'dog' from the pedicure, or when he asks about the cost of Anders' shirt and wonders why his own shirt is so much cheaper even though it 'travelled just as far.' Pullease. Can professional writers do no better than that? Finally, as in many late Columbos, instead of making the detective sound quirky and old-fashioned, it makes him speak like an old dimwit, who explains everything as if to a three year old - such as the demonstration with the typewriter pages being pulled out, or when showing Anders the cigarette butts. It just makes you wince. In this episode, it is the overall plot and the old Columbo formula that saves matters and makes it enjoyable - despite all its faults.
Columbo: Rest in Peace, Mrs. Columbo (1990)
So who said none of the late Columbo episodes were good?
To all those who disregard or disdain every one of the late Columbos, I hate quite a few of them too. In fact, this one plays with the format as well, which is what caused so many of the others to be dreadful. But surprise, surprise, it not only worked this time, it turned into one of the greatest of all episodes, top 5 in my book. For starters, we have the old Columbo, reserved and serious but with a bunch of funny character quirks. None of the speaking like a senile old man, or explaining things like one does to a 3 year old child. The great dialogue is back. The french restaurant scene pitting Columbo against the Matre D' is hilarious and priceless. So is the chili scene with the waitress Gracie. The plot is brilliantly original, realistic (yes, there are psychopaths like that in the real world too). Helen Shaver, always underrated, is superb, grabbing every minute of her unusually long screen time and killing it. Her cat and mouse with Columbo is superb. And Columbo not only gets to do his usual great stuff as a sleuth, but also has to become a prime time actor, and does it splendidly. Finally, Roscoe Lee Browne is splendid as Dr. Steadman, and the scene in which he and Columbo do a dance act to get the necessary info without violating doctor/patient confidentiality is a joy to watch. If all that wasn't enough, the final two scenes are just riveting. Oh, did I mention that I really liked this movie?
Columbo: Columbo Cries Wolf (1990)
Please don't call this a 'Columbo' movie.
I must say I was shocked at how many reviewers gave this a fine rating. And I say this as one who does not despise every episode from the later Columbos. Despite the overall downgrade in quality, and the ridiculous and failed attempts to change the formula in many, I still think there were quite a few superb episodes, including the two with McGoohan, the Faye Dunnaway and Dabney Coleman episodes, the one with the dental filling, 'R.I.P Mrs. Columbo,' and the very last episode - just to name a few. However, this one, like most of the others that changed the formula, fails miserably in my opinion. Basically, it is extremely good in the final fifteen minutes, and downright awful for the first 75 - when one is suffocated by dreadful soap opera acting, endless shots of bathing beauties, and the kind of infantile detective work that one finds in a typical cable channel movie of the week whodunit. Only when all this is mercifully gone, is the great Peter Falk allowed to shine again. Moreover, the entire plot and sleuthing in the first 75 minutes have no connection whatsoever to the Columbo style, and the clues he discovers are downright childish by his standards - such as the creamer clue upon which he builds his entire case. Basically, it is nothing more than a bit of good luck that any lousy detective could fall into, w/o requiring any of the Columbo ingenuity and brilliance to notice or decipher. When you stick to the formula, even if the actors and script are mediocre, you can at least enjoy Columbo and his inimitable acting and comments. In this film, you have neither. Just look at the list of 'Quotes.' There is not even a single line worth repeating. Likewise, no dog, car or raincoat jokes to laugh at. Humor in this flop amounts to Columbo getting splashed with water, or sitting in a limo with 6 bimbos. God have mercy on me.
Columbo: Grand Deceptions (1989)
Can a Columbo episode be utterly boring? Surprisingly, the answer is yes.
One of the most mediocre of all 68 Columbo episodes, as nearly every aspect thereof is unimaginative and boring. The killer is an utterly uninteresting character, who cannot arouse an ounce of sympathy for himself since he is not only a coldblooded murderer, but also one who betrays both his handicapped boss (a decorated war hero) and the woman he is having an affair with. He is also a mediocre and monotonous actor, who cannot make his role exciting in any way. The woman in the story is also played by an average actress who cannot arouse much interest in her character. There is almost none of the typical humor by or about Columbo. The one comment about his car falls flat; when Columbo happens on a group of people shaking funny cans on the floor it is not allowed to develop into anything; there is nothing about his dog or raincoat; and not one person mistakes him for anything but an ordinary detective. The murder plan is not particularly brilliant, and the alibi is simple and rather unimaginative. Furthermore, Columbo's proof that the alibi does not really exist is not nearly as foolproof as he makes it sound. Plus, the manner in which the false alibi was achieved, is highly unrealistic, and no explanation is given as to how a company would make such a mistake. Finally, there is hardly a single good line in a 90- minute episode of a series that is usually loaded with great lines. Did I leave out any other weak points?
Columbo: Sex and the Married Detective (1989)
First rate Columbo from start to finish.
I am quite surprised at how many negative reviews I have seen here. I happen to think this is one of the best Columbo episodes around. I personally don't like the choice of music, because it is synonymous with cheesy sexual films. Other than that, however, I think this episode is first rate. Lyndsay Crouse does a superb job as the murderer. Columbo is not turned into a senile caricature, as in some of the later episodes. He retains his dignity throughout, with the occasional comic responses and scenes. The brief bathroom scene, and the longer scene in which he plays psychologist are both hilarious, and his embarrassed expressions and comments when the topic of S-E-X comes up are very endearing, and in line with his old-fashioned character. As for those critics here who have pointed out the incredible 'luck' in finding clues, I don't think that is the case at all. He finds them primarily because of his extraordinary awareness and astute recognition, not because of luck. Most other people simply would not notice a tag hanging from someone's clothing. His cat and mouse games with the suspect are highly enjoyable. As always, he accords respect for an esteemed person even after he suspects them of murder, and is more apt to put off any direct suggestions of guilt until he pretty much has it all in the bag. Finally, his manner of setting her up in the final scene, as well as her concerns regarding what he thinks about her and his eloquent and sensitive response, introduce an interesting psychological layer to the story. Thoroughly entertaining and absorbing.