Prescription: Murder (1968 TV Movie) User Reviews

Columbo...#1.

[planktonrules · 8/10 · 10 August 2019]

If you look up "Columbo" on IMDB, this episode isn't listed. Instead, it's listed as a separate movie. Regardless, "Prescription: Murder" is the first appearance of Lieutenant Columbo.

The first 35-40 minutes are all things leading up to a murder as well as working to conceal it. Columbo himself doesn't make an appearance until later.

Dr. Flemming (Gene Barry) is NOT a particularly nice psychiatrist. It seems he's been cheating on his rich wife and is tired of the pretense. So instead, he murders his wife in an elaborate way and uses his lover as an alibi. However, despite the crime appearing like a simple case of a robber killing a surprised housewife, Columbo isn't convinced and seems to think through most of the film that Dr. Flemming was responsible. The problem is that Flemming is a cool customer...and getting him to confess isn't going to happen. So how will Columbo manage to prove that the grieving husband is, in fact, a cold-blooded killer?

This is a very good beginning for the series. The writing is very good and how Columbo tricks Flemming is pretty cool. Overall, well worth seeing--particularly if you love murder mysteries.

A prescription for future success!!

[The Welsh Raging Bull · 9/10 · 4 March 2005]

A baby-faced Peter Falk makes his first appearance in this 1967 TV movie as the world-famous detective Columbo, which was followed 4 years later by another TV movie and an exceptionally successful TV series.

An excellent, well-paced, cleverly-crafted mystery which spends a lot of time establishing and developing Columbo's characterisation - the dogged determination and persistence through seemingly trivial questions; the display of deceptive absent-mindedness and ineptitude; the constant references to his family etc. are all underpinned by the cigar, the mac and the generally scruffy appearance (although his overall appearance here is rather more tidy).

Undeniably, in hindsight, Columbo characterisation and Falk's performance is a little raw here, for it would take a little more time to fine-tune both things: nevertheless, Falk still does a great job with the complexities of the character and gives a smooth, unruffled performance.

The plot is purposely straightforward and relatively thin and there are not the plethora of accompanying clues and trivial pieces of evidence that invigorate the vintage episodes of the series, but you have to remember that this TV movies was the platform for the Columbo character.

Gene Barry gives a fine performance as the murderer: he certainly relishes his role; effortlessly displaying his character's cold-heartedness, self-confidence and smugness in equal proportions. His scenes with Falk have a marked air of tension about them, as Barry's character progressively shows disdain and arrogance towards the protagonist.

The ending is clever, especially as the murderer continually thinks that he has got away with his crime; the way Columbo unmasks him is superbly ironical.

The only problem watching this film is that most people encountered the Columbo TV series, prior to watching the "introductory" TV movies, so it can be a little unnerving, yet, on its own account, it's a very accomplished piece of work. Furthermore, the best detective to hit our TV screens was born!

Born running

[Grrrim · 9/10 · 22 September 2003]

Finally managed to catch the very first appearance of Colombo today and I must say my respect for the character and Peter Falk is not only supported but strengthened.

Looking back 35 years it's hard to think that this is in fact the first appearance. With most characters and shows there's some level of evolution, working out the flaws and building up the depth. But this is the first time I've seen a genesis of a character so purely defined from the very beginning.

Although the dirty long coat barely has a wrinkle, along with Falk's face, the man looks like he was born for the part. It's as if the character was thrust up from the earth already carved in granite.

Most of the time when an actor is so deeply associated with a role it is a pity he was not able to explore other characters and develop a broader identity as an actor. Most notably William Shatner, a great actor in the 60s who created a defining character for the next few decades but was never able to break from that limited role and instead largely wasted his given talents in the part. However Falk in his defining role cannot be considered to have wasted his skills. Instead redefining and refining the character to the point where it becomes as much as a living breathing person as fiction could be.

It is very fact that in this first appearance Falk is so suited to the role that you realise that the actor could not be wasting his time pursuing a role he was obviously born to play.

Everything is here for an excellent murder mystery, the perfect plan, the cunning criminal and the dogged detective. Very close to perfection.

Columbo still refining his technique

[vaughan-birbeck · 10/10 · 21 February 2005]

This is a fascinating early outing for one of the greatest TV characters ever created. Filmed about three years before the great man was given a regular series, in an uncanny way it both stands alone and acts as a guide to what was to come.

The Columbo formula is in place: immediate suspicion leads to the hounding of the suspect until Columbo's psychological pressure is too much to bear and the victim is helplessly trapped.

I like to think that Columbo spent the years between 1968 and 1971 refining his methods, becoming subtler and more suggestive in his probing while letting his appearance become dowdier and even less threatening. Certainly this is one of the few occasions when he loses his temper on a case. Even when Columbo loses his temper, he is generally working to provoke a reaction.

There are some nice directorial touches here, too, particularly a cut based on the murderer's hands, a hand hitting a piano keyboard with a discordant 'plunk' (very Hitchcock) and Columbo's reflection materialising in a broken mirror.

After years of watching Columbo I am surprised anyone in Los Angeles even thinks about committing a murder. Surely the man is a legend in the local media? What do you mean: 'He's not real'?

original Columbo pilot film--a must-see for fans

[django-1 · 9/10 · 22 September 2004]

Now that the original 1967 pilot film for the Columbo character, PRESCRIPTION:MURDER (based on Levinson and Link's play), is available as part of the new Columbo DVD set, I hope that many more Columbo fans will be able to see the original interpretation of the character. I had never seen this before, and I was quite impressed. About 85% of the elements that comprised the Columbo "formula" are there, but Mr. Falk's hair is shorter and neater, the overcoat is not rumpled (as much), and Columbo is a bit more aggressive than we are used to based on the later shows. It took a second pilot film three years later for Columbo to get picked up as a series, but the magic was there in 1967 for this film. Don't miss it. Gene Barry is a fine sparring partner for Peter Falk, and no fan will be disappointed.

Getting it Right the First Time

[gatebanger · 8/10 · 6 March 2005]

Peter Falk has done a lot of television over the past 45-plus years, but he is doubtless destined to be "Columbo" forever - not that this is a bad thing.

I recall seeing this, the first entry in the series, sometime in the 1970s, as a rerun, and thinking just how good it was. Watching it again over 30 years later, I find my opinion hasn't changed - this is a wonderful movie.

Most first efforts seem to vary widely from what a character becomes over time. Actors need time to grow into a role. Not, however, Peter Falk as Columbo - the man was obviously born to play this part.

Even if you've seen every episode of "Columbo" ever made twice, this one is well worth watching again. It's written to the same formula as the rest - you know who the murderer is and how the murder was done before the cops ever show up. The fun (and it is fun) is in watching Columbo figure it all out, sometimes with the unwitting aid of the murderer. And, as usual, there's "just one more thing . . ."

I do have to wonder, however, why a man who solves cases no one else can crack just can't seem to make Captain. Thirty-five years is a long time to be a Lieutenant. :-)

Very fine television murder mystery which introduced Falk's Lt. Columbo

[moonspinner55 · 7/10 · 24 March 2007]

A successful California psychiatrist plots the murder of his wife of ten years using his actress-girlfriend as a ruse; Lt. Columbo gets the case. Near-terrific yarn provided the introduction of Peter Falk in a role which soon became part of television legend. Writers William Link and Richard Levinson based their teleplay on an off-Broadway show of theirs, and they do not disappoint in this earliest incarnation of the wily, cigar-chomping lieutenant (Falk even says his famous line, "Oh, and just one more thing..."). The Universal production is smooth and spotless, the music score amusingly intense, and the performances couldn't be improved upon--particularly Gene Barry's as the too-cool, not-rumpled doctor. The only problems with Link and Levinson's script come late in the game, after Columbo gets uncharacteristically tough and mean with Barry's girlfriend and then plays a little dirty pool. The denouement is tricky and fun, if a bit unfair to the audience.

A strong start to a wonderful detective series

[TheLittleSongbird · 9/10 · 26 June 2010]

Prescription: Murder does have its slow moments and personally I think there were better entries in the series, nonetheless this is a strong start to a wonderful detective series. The story is not too hard to follow but it isn't exactly simple either with a fine denouncement, while the script is superb and allows the actors to have fun. The photography and locations are striking, the score is suitably intense and the direction is secure. The acting is very good too. The supporting players are good particularly Katherine Justice, but the two leads are excellent, Peter Falk owns the part of Columbo while Gene Barry is perfect as the smug psychiatrist who murders his wife. Columbo's methods of bringing down Fleming is somewhat haphazard, but it is still a delight to watch. Overall, a very strong start. 9/10 Bethany Cox

Enter Columbo

[bkoganbing · 7/10 · 13 March 2016]

The famous TV detective of whom we never learned the first name of makes his debut in this television movie. It was clear however that they were experimenting with the character although the formula about the dogged detective who always gets these well to do and noted perpetrators was in place.

For one thing though Peter Falk had his familiar raincoat he was quite a bit more kempt than we remember him. That was a touch to give him a bit of folksiness and more identifiable with the middle class audience that would identify with him. His hair was shorter and neatly combed, nothing rumpled about his character.

But when he got his suspicions aroused nothing deters him. In this case Gene Barry has worked out a really good scheme to murder his wife Nina Foch and he enlists the aid of mistress Katharine Justice to do it. That was also something not normally seen. Usually accomplices if there were any in the future were always dispatched by the main villain, the better to not be turned. In fact that proves to be Barry's flaw because in the case of Justice she does turn out to be an Achilles heel. Columbo also rather brutally grills her and that was unusual, he usually tricked admissions out of suspects with his folksy manner which was always dumbed down.

Another episode or two and Peter Falk got the character down pat, a character I enjoyed very much.

Uh...one more thing

[blanche-2 · 8/10 · 23 December 2005]

For the legion of Columbo fans, this is the one that began it all, "Prescription: Murder," a play about a sloppy, fumbling, genius detective that was to star Thomas Mitchell on Broadway. We can thank, sadly, Mitchell's sudden death for the fact that they play never made it and was turned into a teleplay.

This particular episode sets up the formula for future Columbos: A powerful, wealthy, and/or privileged person commits a clever murder, can't believe their luck that this idiot is on the case, and goes down in flames. The powerful, wealthy, and/or privileged person is psychiatrist Gene Barry, who kills his wife (the always excellent Nina Foch) and sets himself up with an alibi with the help of his young patient, an actress. Brilliant though his scheme may be, Columbo is on to him immediately. And, as usual, 'twas ego killed the beast.

It took a while for Columbo to actually become a series, but it eventually did, rotating with other shows on the NBC Sunday Night Mystery Movie. But this is where it all began, with a surprisingly youthful but ever sloppy Columbo matching wits with a criminal. A classic.

"The pilot episode for the long running series stands as one of the best."

[jamesraeburn2003 · 19 October 2003]

A shabby detective called Columbo sets out to prove that a smooth talking doctor murdered his wife for his younger mistress.

The pilot episode for the long running series which began four years later. This probably stands as one of the best with good performances and a neat twist ending which many subsequent episodes lacked.

The film is based on Richard Levison & William Link's Broadway show which starred Thomas Mitchell as Columbo.

Prescription Murder has been released on video in the UK paired with the Dead Weight episode.

Debut outing for a less-crumpled star

[Leofwine_draca · 6/10 · 3 November 2015]

COLUMBO: PRESCRIPTION MURDER is a 1968 TV movie that acted as a failed pilot for the future TV series. In this one, Columbo is a less developed character than he would be in the second pilot, 1971's RANSOM FOR A DEAD MAN; he's about 80% of the way towards the character we all know and love here, whereas in RANSOM he was 95% of the way there.

Still, PRESCRIPTION MURDER has much for the viewer to enjoy, not least Peter Falk's youthful appearance as the detective. He's very young-looking here, with short hair and smarter clothes, and his personality is different too: more steely, less laid-back, a little bit aggressive if I'm honest.

Where the storyline is familiar is in the spousal murder, perpetrated by guest star Gene Barry. It's an elaborate set-up and an enjoyable one too, with lots of clues and complexity for Columbo to delve into. Barry does well in a complex part, some of him likable and some of him completely ruthless and alien. The '60s stylistics and fashions are a lot of fun as well. PRESCRIPTION MURDER isn't quite COLUMBO as we all know and love it, but fans will enjoy it anyway.

Amazingly this isn't very good

[RussianPantyHog · 4/10 · 5 September 2005]

I'm one of the millions of Columbo addicts all over the world and just watched this,the episode that started it all, on British Channel 5. It IS fascinating to think what sprung from this so-so movie and I can only marvel at whoever spotted the massive potential of "Columbo" and added all the little touches that make it such a marvellous & classic series. That said, this particular movie is not as good as the rest (except for the embarrassing final episode & the patronising British episode). If Columbo had been made as per the original 'pilot' it certainly would NOT have gone on for very long, or be watched and loved world-wide. In this film Lt Columbo is smartly dressed, drives a normal car, has a partner, doesn't talk about his alleged relatives and comes across as quite aggressive. There's also none of the cat-and-mouse chemistry between Columbo and "the villain". Watchable, but only for the novelty of seeing how Columbo started out.

Easily the Best Columbo

[bkkaz · 10/10 · 4 September 2022]

As a series, Columbo was pretty good. Even the less impressive episodes were better than a lot of what's on TV, then and now. But this first episode -- really a TV movie -- is by far the best.

For starters, it has a crisp, colorful production that is as good as any theatrical film of the time. In fact, it's hard to believe it wasn't. Compare the look to, say, Frank Sinatra's The Detective or Richard Widmark's Madigan. This is simply a high-quality film, certainly much more than the TV movies that soon followed and became a staple of 1970s television.

Beyond that, though, the character of Columbo is better defined. He's not the rumpled, borderline-dementia-addled homeless guy he is for much of the series. Instead, he's a shrewd, careful man often one or two steps ahead of the villain. The snobbery presented by the bad guy here -- the almost impossibly elegant Gene Barry -- has less to do with Columbo's demeanor than he's a small, underpaid civil servant with a far lesser pedigree. It makes for a more accurate representation of real life snobbery.

Barry sets the tone for the villains that come after, too. Urbane, polished, and crafty, he is a thinking man's criminal. That is, he not only believes he has it all figured out, he does. It's not the plot that undoes him but the execution that relies on his girlfriend who makes mistakes and couldn't possibly have predicted the introduction of Columbo to the game.

The earliest Columbo episodes, such as Murder by the Book, retain many of these qualities, but Columbo would drift more and more toward Mr. Magoo-ish caricature as the series wore on. Characters do evolve, but it's interesting to imagine how much more memorable this great series would be had they kept Columbo acting and looking as good as it does with this first movie.

The TV-movie that introduced Peter Falk as "Columbo"

[garrard · 9/10 · 14 August 2010]

42 years ago, NBC aired a "movie of the week" featuring entitled "Prescription: Murder," a tight and engaging film that starred Gene Barry, Katherine Justice, William Windom, Nina Foch, and Peter Falk as "Lt. Columbo." Little did the producers or the actors know that this would be the film that would introduce one of television's most enduring characters.

Fans of the long-running series will notice a marked difference between Falk's Columbo in this film and his subsequent incarnation. In "Prescription" Falk is relentless, at times abrasive, and missing his trademark raincoat. That said, he still delivers and is equally matched by the suave and calculating Barry as the murderer.

Justice is effective as Barry's mistress who is the weak link in his murder of wife, Foch. Foch is also very good as the victim, showing why she had a long career in film and as an acting teacher. Windom plays Barry's best friend who threatens Columbo for the detective's pursuit of Barry.

Also, veteran character actress Virginia Gregg - who provided one of the voices for "Mother" in "Psycho" as well as gave life to "Tara" on the animated "Herculoids" series - has a small part as Barry's receptionist.

The jazzy Dave Grusin is another plus in a film that is a cut-above the norm of the period and stands as great television viewing, then and now.

First One- good as the others

[laci-5 · 8/10 · 25 March 2001]

I saw the first 'episode' of the series just now, after seeing about 40 further episodes. It was funny to see this very young Columbo with the really same personality as what he has now in the new movies. Only the last half hour was a bit more theatrical (but I don't wanna write spoilers), more dramaic - and our beloved Columbo was able to be more 'agressive' than usual. It was fun to see.

Columbo: Why It Matters

[ColumboCaseFiles · 9/10 · 7 March 2013]

I now have the entire collection, all 35 years, nearly 70 episodes in all, and I've seen each of them at least twice, most of them more than that, and a few favorites nearing 10 times apiece.

I've watched every episode again, and then again. I must confess — it is after all an essay about the truth and its tendency to will out — that this got harder, as I went. Because in watching closely to write the best guide I could, I had to look at the shows — writing, acting, and even Mr. Falk — differently. Among other differences, I looked more closely. And at a few points I grew weary; there was discomfort and dreariness.

But the tighter angles and heavier analysis also showed me why we watch.

Why we watch at all, and why we keep watching — and why it matters — even if we can't say why, and don't need to know to like it more and more each time. The qualities that draw us in, and keep us there, are the ones that bloom, that burrow deep, without our even noticing.

*

It's because it's true.

The Columbo we love — and the Columbo we love to watch annoy hell out of the murderers, until some of them beg to be caught and taken away just so the questions will stop — all of it stems from the deep truths of stories — and about human nature itself.

There's the restoration of order of course, order of many kinds, and there's the reminder to the rich that the rule of the universe is you get what you need not what you think you deserve and that even money and power and your supposedly foolproof plan cannot protect you, if you kill.

There is how Lt. Columbo solves the crime, which we the eyewitnesses have seen: namely by gamely paying attention and asking questions. Those are deep practices not unrelated to love.

There is also his essential kindness: how even when he's tracking the killer — even we know he knows and that realization is slowly dawning on the murderer, too … he's unfailingly … nice.

He is nearly unfailingly good.

Lt. Columbo is — to use words said to be more in demand today than 40 years ago, but that are actually ever-welcome — genuine, authentic, and real. He actually is intrigued (to take an actual example, from Episode 1:2) about what to do when decorative soap sticks together after it's used.

When he notices stuff it's not that he's being annoying, or that he's weird. These are quirks, odd, whatchamacallit … idiosyncrasies … even to us … but that's because we're not that consistently questioning, caring, and kind.

I think he truly is intrigued, curious — even at times in wonder — about such things.

When in every episode, every … single … one … he notices at least a half-dozen details, niggling crummy little curiosities, it's because he really wants to know. Of course — at times he's showing the murderer the game is not only afoot, but that it's almost up.

But he also knows life isn't like that, or shouldn't be, and what we just saw just doesn't fit … and why not?

He knows it should be otherwise, and if it's not, something's wrong and needs to be righted.

And of course it's because the account of life the murderer gives — from who they blame for all their ills, to what they say, to how they leave the crime scene, to how they behave afterward, and the explanations they give for all of this — is utterly false.

*

The reason it works is because it's true and real and deep. And this is possible because the writers knew — know — Lt. Columbo, and everything about him.

The facts aren't as important as the truth. There are inconsistencies over the series in the show's telling of the man: whether he can cook, let's say, whether he drinks, and even about his beloved missus. But the truth, as ever, lives on well past the facts.

And so does Columbo.

The writers know everything about Lt. Columbo … Peter Falk knew … and now, at any time, we can too.

*

Peter Falk died June 23, 2011. The obituaries began June 24, 2011 — my fifth wedding anniversary.

Still married and still watching, I also confess to liking 1970s episodes the most: the ones I saw as a kid, the ones with all the kitsch. I may simply be too close to episodes from the 1980s and 1990s: too close to the parachute pants and mullets, too close to the technomusic.

Maybe an overacting killer embarrasses me when it's from the years I came of age. The 1970s just seem more like fun.

And Columbo is a joy to watch, no matter what the year.

And that's why we do.

Paul Hughes is a writer in Southern California. This essay is excerpted from The Columbo Case Files: Season One. Thank you for reading.

The Original Columbo TV Murder Mystery

[ShootingShark · 6/10 · 7 August 2005]

Dr Ray Flemming, a wealthy psychiatrist, hatches a devious plot to murder his wife by making her death look like the result of a bungled burglary and having his lover impersonate her to give him an alibi. He has not however reckoned with the tenacity and persistence of the Los Angeles Police Department's Lieutenant Columbo ...

This is the original Universal / NBC Sunday Mystery TV-movie featuring Falk as the iconic Columbo, adapted from their Broadway play by Richard Levinson and William Link. It's perhaps a little more straight-laced and melodramatic than many of the subsequent productions but this hardly matters - it's a fine thriller with some terrific twists, is extremely well made and features a career-defining performance from the brilliant Falk. Most of Columbo's foibles - his raincoat, his cigars, his pencil-stealing, his oh-just-one-more-thing routine and especially his play-dumb shrewdness are present here. It's important to note that cops in the movies at this time were almost all in the Steve McQueen / Clint Eastwood mould and Falk's complete contrast to them, both in terms of persona and acting style is what really makes this character special. Columbo is an unlikely American hero - a short, affable, methodical, unassuming, idiosyncratic man who uses brain not brawn. He's a treasure. Check out the hippy Dave Grusin score and the trippy Rorschach Inkblot-inspired title sequence.

A provocative, well-written murder "mystery".

[Hey_Sweden · 8/10 · 23 August 2020]

Peter Falk first introduced his iconic character of Lieutenant Columbo in this memorable TV movie, scripted by Richard Levinson and William Link from their play. Columbo is on the case when eminent psychiatrist Ray Flemming (Gene Barry) murders his wife (Nina Foch) and sets up the perfect alibi, with the help of his actress lover (Katherine Justice). Flemming is so convinced that he's committed the perfect crime that at first he doesn't mind the persistence of the detective. But Columbo is not going to be denied in his search for answers, as he obsesses over the little details and nuances of the case.

What made the character of Columbo so great is how well he hid his savvy and intelligence underneath that slovenly, seemingly slow-witted exterior. He *counted* on criminals underestimating him, and the psychiatrist is naturally perceptive enough to pick up on this. In fact, there's one key dialogue sequence where the two men converse, and it's clear that we're watching some sort of game between two well-matched opponents. Flemming is a calm, cool character, unflappable in the extreme, who never loses that cool even when faced with Columbo's repeated probing for the truth.

As we can see, the story is not a matter of "whodunit". It's one of those situations where we wait and see how soon the detective can ascertain what everybody in the audience already knows. And we don't mind the wait. As Flemming points out, Columbo is inherently likeable, often attempting to put suspects and interviewees at ease with references to his own home life and whatnot. We can see that Columbo is no dummy, so we eagerly anticipate that moment where he can finally trip up the criminal and get them to reveal themselves.

Falk is extremely winning in the lead, with strong support from a great cast that also includes William Windom, Virginia Gregg, and notable screen bad guy Anthony James. Produced & directed by Richard Irving, this debut outing for the detective is clearly derived from a stage play, but it's compelling and holds your attention all the way.

The series would begin in earnest three years later, beginning with another feature length episode, 'Ransom for a Dead Man'.

Eight out of 10.

Prescription: Murder

[Prismark10 · 6/10 · 8 April 2018]

Prescription: Murder was shown in 1968, the Columbo mystery movies for television followed later in 1971.

There is an economy in the storytelling here. Within the first opening minute we gather Dr Ray Flemming (Gene Barry) is an extremely clever man. He is celebrating his wedding anniversary and he is a talented psychiatrist. Over the next few minutes we see Dr Flemming leave his wife to have a dalliance with another woman and we can guess the murder victim is going to be his wife as she makes her displeasure known to him when he returns home.

Levinson and Link have adapted their own stage play for this film. Peter Falk is a younger and more neater in appearance. He is still an irritant and maybe a little darker here but still cunning.

Dr Flemming may have thought he has planned a perfect murder with the help of his mistress who is also a part time actress. However Columbo turns the table on him with a clever use of bait and switch.

The stage play origins are visible in a few scenes where it comes across as a bit too wordy. The formula was very much there for the rest of the Columbo films.

"Prescription: Murder" (1968)

[Wuchakk · 9/10 · 8 January 2019]

PLOT: An arrogant, nonchalant psychiatrist (Gene Barry) murders his wife and uses his naïve actress girlfriend to get away with it (Katherine Justice), but Lt. Columbo strongly suspects the therapist and steadfastly works to obtain evidence. William Windom is on hand as the doctor's loyal professional friend.

COMMENTARY: This was the first of two pilot movies for the Columbo series (1968-2003). It featured the inverted detective story, which starts by showing the murder and the murderer; and then focuses on HOW the perpetrator is ultimately caught and exposed. Because this format has no "whodunit" element, these shows/movies are sometimes referred to as a "howcatchem."

Since Falk was 40 during shooting, it features the youngest version of the detective (Falk was 75 when his last episode was shot in 2002, "Columbo Likes the Nightlife," 69 installments in all). All the notable quirks of the famous detective are here, although some aren't as pronounced yet. As he ages they would naturally become more prominent in future segments, like his disheveled appearance.

This is easily one of the best Columbo episodes ever (which are actually TV movies). The script, cast and acting are of top caliber, which makes the story gripping despite the fact that it's all drama and no violence beyond the original murder. It helps that the antagonist is a psychologist because he accurately psychoanalyses our beloved expert sleuth and by the end we feel we know and understand the Lieutenant, which lays a strong foundation for the forthcoming series. Katherine Justice is a winsome beauty and a highlight.

GRADE: A

the original columbo

[gorytus-20672 · 6/10 · 8 May 2022]

May 2022

So this was made in 1968 as a stand alone tv movie featuring Peter Falk as Lt Columbo, i must confess i dont believe i have ever seen it before just watching it now as i have the box set.

I personally didnt really like it that much, it was a bit overlong and Peter Falk was not quite the likeable character he would later become, in fact he grills a lady suspect in quite a harsh way, something i dont think we would ever see again to that extent.

Average but certainly worth seeing if you want to watch them all

6 raincoats out of 10.

Colombo's first name.

[nicki_stovall · 9 July 2004]

As always, Colombo jumps on the suspect (Gene Barry) immediately, saying, "Sir, I notice you didn't call out to your wife when you came in". Colombo always knows who did it. . . so it's more of a 'howgetim' than a 'whodunit', and it's always truly entertaining. Peter Falk is perfect as the scruffy detective - - - AND- According to Trivial Pursuit, Colombo's first name is Phillip. Now I hear that the 'Phillip' name is a hoax! Well. . . no matter. Peter Falk may be knocking on 70 or so, but, so what?! He'll always be a gem whose acting skill will thrive in TV/Motion Picture cyberspace. His best pieces? Griffin and Phoenix, The Cheap Detective, Columbo, The Princess Bride, or The In-Laws, which is a top-ten funniest comedy of all time. If you haven't seen it- run to Netflix and order it ASAP. Even his bit part in "It's a Mad Mad Mad Mad World. The man is a class act and deserves every dose of praise he gets.

A police procedural written by someone who knows very little about police procedure

[JamesHitchcock · 3/10 · 8 June 2022]

"Columbo" is the Marmite of detective series; you either love it or you loathe it. I loathe it (for reasons which will become clear later) but my wife loves it, so for the sake of domestic harmony I have to agree to watch it sometimes.

The character of Columbo (who originally had the surname Fisher) was created by the writers Richard Levinson and William Link in a short story which they later elaborated into a television drama and a stage play. The play served as the basis for this TV movie, which marked the first occasion on which Peter Falk played Columbo; he had been played by Bert Freed in the first TV drama and by Thomas Mitchell and Joseph Cotten on stage. The film, like the play on which it was based, was entitled "Prescription: Murder", although after the detective had become the hero of his own television series it was broadcast as "Columbo- Prescription Murder".

Dr Ray Flemming, an eminent psychiatrist, murders his wife Carol so that he can be with his mistress Joan and avoid the cost of a divorce. Joan, a young actress who is also one of Flemming's patients, helps him by impersonating Carol in a complicated scheme to provide Flemming with an alibi and make it look as though Carol was killed by a burglar.

You may think that the contents of the last paragraph amount to a spoiler, but only if you have never actually watched a Columbo film. It would be virtually impossible to write a spoiler about a Columbo film. They virtually always invert the standard whodunit formula whereby the identity of the killer and his or her motive for the killing are withheld until the end of the movie so that Sherlock Holmes or Hercule Poirot or whoever can provide the solution. According to the standard Columbo formula this information is always provided at the very beginning; the only mystery lies in how Columbo will trick or badger the killer into confessing or giving away vital evidence. (Levinson and Link should perhaps have kept the name Fisher, because he is always fishing for information).

This inversion of the standard formula is one of the two main reasons why I dislike the Columbo series; telling a murder mystery story this way round seems to rob it of all its excitement and tension. (The standard method can lead to some dull, formulaic movies, but it can also be used as the basis of films as good as Branagh's recent "Murder on the Orient Express"). The other reason is that the Columbo films are police procedurals seemingly written by people who know very little about police procedure. If a real-life detective behaved like Columbo does, interviewing suspects in a badgering, wheedling manner, forever trying to trick them into betraying themselves without informing them of their Miranda rights to remain silent and to have a lawyer present, he would no doubt be sacked from the force and any prosecution based on such evidence would be thrown out of court by the judge on the basis of gross police misconduct. Columbo eventually "solves" the Flemming case by staging a phony "suicide". I dread to think that the real-life courts would say about such a perversion of justice. 3/10.