And one of the very best of ANYTHING I've seen from TV of the era.
A car speeding past a procession of First Communicants in the early morning sunlight, its radio tuned to a reading of Psalm 23, seconds before the driver (a jury foreman entrapped in a web of evil) is assassinated by a hit-man in the back seat and crashes the car---all of which introduces us to a bitter, cynical, 17-year old girl (Suzanne Pleshette) who has herself descended into a world of sleaze and crime, and who miraculously survives the ordeal.
But our interest in her story has just begun, as we soon meet her loving father---formerly a highly respected attorney but now a reclusive, alcoholic derelict who must overcome his own self-destructive ways and, with the help of detective Adam Flint, begin the long journey back to rescue his daughter from the evil mob forces that are following her.
The script is expertly plotted and fascinating as it unfolds, as we watch its divergent threads pulled together right up to the final Grand Jury scene....an ending that is as morally compelling and emotionally moving as you will ever see. And it's the dignified, honest and self-effacing performance by Eric Portman, the distinguished English actor of stage and screen, that is the centerpiece of the story and which holds it together in brilliant, but understated fashion. It's just stunning to watch.
Almost EVERYTHING works perfectly in this episode. Horace McMahon is at his crotchety and whimsical best as he guides his department through the challenges of the case..which involves an imprisoned mob boss and his unknown hit-man on the "outside", who has already silenced the jury foreman and is now intent on eliminating the young lady who knows too much.
The show contains three BEAUTIFULLY written (and acted) scenes for Eric Portman:
1.) The scene in his junkyard-shack dwelling, as he "invites" Detective Flint
into the fantasy world of his former high-class life....
2.) His description of his young daughter's recurring dream, in which she sees her mother (Portman's wife) fly off with another, younger man....and the young girl's floating through the clouds in an attempt to follow. Soaring, magical, haunting imagery...
3.) Portman's final scene, as he addresses a Grand Jury in defense of his daughter, who at that moment is fighting for her life in a hospital bed. The nobility and sense of self-sacrifice which he conveys--and the way in which Adam secretly connects father and daughter at this crucial moment--- is nearly overpowering...thanks in large part to the superbly literate writing by Mr. Siliphant.
The Best of the Best.
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A few miscellaneous observations:
a.) The strength and depth of this script may be due in part to the fact that it was the first episode of the season (the pilot was filmed the previous winter), and likely benefited from substantial lead-time in preparation. Also, John Brahm's direction is superb (as it was in "Death of Princes" AND "The Rydecker Case" which are, unfortunately, the only 3 Naked City episodes he directed ).
b.) An additional emotional layer is provided by the friendship and mutual respect between Eric Portman and Murray Hamilton, who plays the District Attorney. Should the daughter's case go to trial, they will be the opposing attorneys. Also touching is the subtle reveal that the D.A. is the troubled girl's godfather.
c.) BIlly May's crass, brassy, tuba-laden music really gets annoying in these early episodes. Even the main title theme is garish and overblown. His specialty was the big, hard-driven jazz arrangements...which worked great in popular, commercial music of the day. Fortunately, when the sensitive touch was needed here (as in Portman's 3 big speeches), Billy dialed it back.
d.) For some reason, I just can't get into those obligatory "kissy-face" scenes between Adam and Libby...but I guess it works here as a momentary diversion from the intensity of the plot, especially when Horace enters with his fried chicken leg/thigh combo to break up the romantic interlude.
AGAIN, THIS EPISODE IS THE BEST OF THE BEST. LR
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