First-rate Gunn, from throbbing opening to downbeat close. The classic series elements are here as Pete tries to untangle a suicidal woman, from a snooty rich guy, from an eloquent barfly, and all from an underworld dead guy, with the help, of course, of detective Jacoby.
Catch the features that made this cutting-edge TV, early 1960's—the steamy session with Edie, the noirish lighting and tricky camera set-ups, an actual Ladies Room (restrooms weren't seen on 50's TV), and the colorful street characters, along with the great jazzy score.
Note too, the imaginative intro to rich guy Considine. Now the director could have done something routine like having the butler usher Pete in. But no, instead the director (Barrett) has moneybags clanging swords with his attendant in an energetic sparring session. It's a great attention-getter and the kind of detail that separated the series from the rest of the TV pack. All in all, a slickly done entry, courtesy the innovative Blake Edwards.
Catch the features that made this cutting-edge TV, early 1960's—the steamy session with Edie, the noirish lighting and tricky camera set-ups, an actual Ladies Room (restrooms weren't seen on 50's TV), and the colorful street characters, along with the great jazzy score.
Note too, the imaginative intro to rich guy Considine. Now the director could have done something routine like having the butler usher Pete in. But no, instead the director (Barrett) has moneybags clanging swords with his attendant in an energetic sparring session. It's a great attention-getter and the kind of detail that separated the series from the rest of the TV pack. All in all, a slickly done entry, courtesy the innovative Blake Edwards.
