Possibly one of the most versatile plot-lines ever to grace a television series, The Fugitive, starring David Janssen, details the various adventures of a 'man on the run' from the US judicial system, which has unjustly convicted him of murdering his wife.
The basic story concerns Janssen's portrayal of paediatric physician Doctor Richard Kimble, who's relationship with his wife is strained by her inability to bear children. Consequently, one particular evening, he and his wife Helen have an argument which results in him going out for a drive to let things cool down somewhat. Upon his return he witnesses a one-armed man fleeing his home. Going inside he discovers the lifeless body of his wife; a crime for which he himself is put on trial and subsequently sentenced to death at Indiana State Prison. However, due to the type of fortuitous intervention of fate which only tends to happen in fiction, his transportation to State Prison is interrupted by the derailment of the train on which he is traveling, permitting him to escape custody and head for the wide open spaces just in the nick of time.
So far - give or take a plot detail here and there - this will all be familiar to those who have seen the somewhat over-familiar 1993 movie starring Harrison Ford. But, due to the inevitable time constraints of a feature length movie, as opposed to a 120 episode television series, this is pretty much where the similarity ends. And, despite Harrison Ford's genial low-key acting style, David Janssen is, by comparison, positively somnambulist in the role. But, oddly enough, this is not a bad thing at all within the context of this particular role. Indeed it is Janssen's haunted portrayal of Kimble which is the motivating force behind the entire series. Put simply - this is the part he was born to play. So many other actors - particularly at that time - might have chosen to play it in more traditional movie hero style; which would have doubtless been popular anyway, but would have missed the point completely. But Janssen doesn't miss a trick with this. He understands the character perfectly, never forgetting that this is a man who must be forever looking over his shoulder, and can never trust anyone too much, as, with one wrong move, he will find himself on death row. Despite this ever-present risk of his true identity being discovered, strangely Kimble never sees fit to modify his appearance beyond dying his hair, thereby giving him the least convincing 'secret identity' since Clark Kent. Although a beard and perhaps spectacles would have made him virtually unrecognisable he fails to conceal his facial features at all, making him easily identifiable to anyone who happens to see his ubiquitous wanted posters or newspaper photographs. But, anyway, in true fictional tradition this massive oversight is never commented upon by anyone throughout the long-running series, as he flits from one small-town America to another, whilst adopting a different name and (surprisingly easily) a new occupation every week
Although various peripheral characters (local town sheriffs, vindictive women, degenerates of all description; and also just well-meaning honest citizens) attempt to return him back into the arms of the law, his central nemesis throughout the series is the ruthlessly pedantic, but also thoroughly upright, Indiana police Lieutenant Philip Gerard; as characterised in an equally remarkable performance by Barry Morse. Again, as with Janssen's portrayal of Kimble, Morse's Lieutenant Gerard could so easily have been the traditional one-dimensional cop-good-guy typical of that era; or even - given the dynamics of this particular situation - as the nasty vindictive bad guy. But Morse portrays a far more complex personality than might have been expected. He too is a deeply troubled character who bears an ongoing resentment - and also one suspects, an inferiority complex - due to the fact that Kimble was in his personal custody when the train wreck and subsequent escape of his prisoner occurred. His obsession with Richard Kimble is ultimately damaging to his personal relationships; particularly with his somewhat neurotic wife and, to a lesser extent, with his son; both of whom, by the type of remarkable happenstance which could only happen in fiction, experience encounters with Richard Kimble personally. The son is accidentally 'kidnapped' by Kimble (he's hiding in the back of a vehicle which Kimble uses for escape), and, knowing who this man is, initially distrusts him out of loyalty to his father; but comes to respect him on more detailed acquaintance. Incidentally, this particular episode ('Nemesis') also uncovers a remarkable facet of Lieutenant Gerard's view of his quarry. Despite knowing that his son is travelling with a convicted murderer he, at no time, considers the boy to be in any real danger. This actually reveals; not for the first or last time; that Gerard has some doubt as to Kimble's guilt of the crime for which he was convicted. However, as a dedicated servant of the law he does not permit himself to ask such questions. His job is that of lawman; not judge or jury; as he repeatedly asserts that it is 'the law' not himself which has delivered the verdict against Kimble. He considers that this is sufficient and does not allow that he personally has any right to pass judgement one way or the other. Gerard is not an easy man to like; but then again, it's difficult to entirely dislike him also. He and Kimble are opposite sides of the same coin; both are essentially decent men of unshakable integrity, who just happen to be temporarily on opposing sides as dictated by fate.
Ostensibly Kimble's geographical locations (different in each episode) are dictated by his pursuit of the 'one-armed-man' whom he witnessed fleeing the scene of his wife's murder, believing that apprehending this man is his only chance of vindication. However, within the context of the show itself, this is more of a plot device to cast Kimble into various interactions, and often conflict, with certain locals of whichever small community he happens to be in at the time. Frequently he acquires a temporary 'love interest' of sorts; few of whom appear to be entirely mentally stable, which usually requires Kimble to act as a good Samaritan to help out the troubled soul concerned. Equally often, however, the neurotic woman develops an unhealthy obsession which results in an attempt to betray our hero to the law. The flip side of the neurotic woman theme is that of Kimble getting caught up with some dishonest, immature or irresponsible male protagonist creating all manner of other difficulties and dangers from which he must extricate himself, to avoid betrayal, and ultimately capture, by the ever-present and ominous figure of Lieutenant Gerard. Incidentally, in this context it is worth mentioning the extremely high standard of co-stars who actually appear in various episodes of the Fugitive; several of whom appear on more than one occasion, usually as entirely different characters from one episode to another. Viewing this series it can be quite entertaining just to spot actors - usually little known at that time - who became well established stars later on. To name just a few. Warren Oates, Bruce Dern, Kim Darby, Ron Howard, Sandy Dennis, Kurt Russell (and sometimes his dad Bing Russell), William Shatner, Brian Keith, Suzanne Pleshette, Leslie Neilsen, Pete Duel; etc., etc., The list is a long one.
From time to time the one-armed-man himself does appear - although not often - but always manages to evade Kimble's apprehension as surely as Kimble himself constantly eludes Gerard. Indeed it is remarkable that in a country of such vastness as the USA it is remotely possible to track someone who is not even a target of the law. In this regard Kimble is remarkably fortunate that this man has only one arm, because at least that gives him a distinctive physical characteristic which differentiates him from the other hundred million or so males in the country. Although I'm probably nit-picking a bit here, because, to be fair, this is all in the name of entertainment after all. Consequently a substantial degree of 'suspension of disbelief' is required to explain the myriad of coincidences, fortuitous occurrences, eccentric characters etc., which populate this series throughout. But, to greater and lesser degrees, this is equally true of all fictional situations in both movies and literature. And, as far as television shows permit, the Fugitive makes generous use of this phenomenon to great effect throughout.
Anyway; the fact is that, despite all the credulity-straining coincidences, and an unrealistic proportion of eccentrics, neurotics, annoying whining kids, narrow escapes etc., this is a thoroughly entertaining television series; although I perhaps should mention that there is no 'introductory' first episode as such. The story of how Kimble came to be a fugitive is simply related over the opening credits by a suitably grim-voiced William Conrad (later to have his own TV series 'Cannon', in the '70's). Consequently when viewing the very first episode ('Fear in a Desert City') don't think that you have missed something. The story of Kimble's origin as a fugitive is, however, seen in flashback style in a later episode.
Due to the period in which it was made (1963-1967) you will not be surprised to learn that most of it is in black & white; although the final season is in colour. Personally I don't mind black & white at all. In some ways it adds to the period atmosphere, and is particularly appropriate in this case, as it lends a suitably 'film noir' look to the whole thing. And, as all the episodes are in good condition, both visually and audibly; this should not deter most viewers from enjoying what is, in my view, one of the best television shows of all time.
The basic story concerns Janssen's portrayal of paediatric physician Doctor Richard Kimble, who's relationship with his wife is strained by her inability to bear children. Consequently, one particular evening, he and his wife Helen have an argument which results in him going out for a drive to let things cool down somewhat. Upon his return he witnesses a one-armed man fleeing his home. Going inside he discovers the lifeless body of his wife; a crime for which he himself is put on trial and subsequently sentenced to death at Indiana State Prison. However, due to the type of fortuitous intervention of fate which only tends to happen in fiction, his transportation to State Prison is interrupted by the derailment of the train on which he is traveling, permitting him to escape custody and head for the wide open spaces just in the nick of time.
So far - give or take a plot detail here and there - this will all be familiar to those who have seen the somewhat over-familiar 1993 movie starring Harrison Ford. But, due to the inevitable time constraints of a feature length movie, as opposed to a 120 episode television series, this is pretty much where the similarity ends. And, despite Harrison Ford's genial low-key acting style, David Janssen is, by comparison, positively somnambulist in the role. But, oddly enough, this is not a bad thing at all within the context of this particular role. Indeed it is Janssen's haunted portrayal of Kimble which is the motivating force behind the entire series. Put simply - this is the part he was born to play. So many other actors - particularly at that time - might have chosen to play it in more traditional movie hero style; which would have doubtless been popular anyway, but would have missed the point completely. But Janssen doesn't miss a trick with this. He understands the character perfectly, never forgetting that this is a man who must be forever looking over his shoulder, and can never trust anyone too much, as, with one wrong move, he will find himself on death row. Despite this ever-present risk of his true identity being discovered, strangely Kimble never sees fit to modify his appearance beyond dying his hair, thereby giving him the least convincing 'secret identity' since Clark Kent. Although a beard and perhaps spectacles would have made him virtually unrecognisable he fails to conceal his facial features at all, making him easily identifiable to anyone who happens to see his ubiquitous wanted posters or newspaper photographs. But, anyway, in true fictional tradition this massive oversight is never commented upon by anyone throughout the long-running series, as he flits from one small-town America to another, whilst adopting a different name and (surprisingly easily) a new occupation every week
Although various peripheral characters (local town sheriffs, vindictive women, degenerates of all description; and also just well-meaning honest citizens) attempt to return him back into the arms of the law, his central nemesis throughout the series is the ruthlessly pedantic, but also thoroughly upright, Indiana police Lieutenant Philip Gerard; as characterised in an equally remarkable performance by Barry Morse. Again, as with Janssen's portrayal of Kimble, Morse's Lieutenant Gerard could so easily have been the traditional one-dimensional cop-good-guy typical of that era; or even - given the dynamics of this particular situation - as the nasty vindictive bad guy. But Morse portrays a far more complex personality than might have been expected. He too is a deeply troubled character who bears an ongoing resentment - and also one suspects, an inferiority complex - due to the fact that Kimble was in his personal custody when the train wreck and subsequent escape of his prisoner occurred. His obsession with Richard Kimble is ultimately damaging to his personal relationships; particularly with his somewhat neurotic wife and, to a lesser extent, with his son; both of whom, by the type of remarkable happenstance which could only happen in fiction, experience encounters with Richard Kimble personally. The son is accidentally 'kidnapped' by Kimble (he's hiding in the back of a vehicle which Kimble uses for escape), and, knowing who this man is, initially distrusts him out of loyalty to his father; but comes to respect him on more detailed acquaintance. Incidentally, this particular episode ('Nemesis') also uncovers a remarkable facet of Lieutenant Gerard's view of his quarry. Despite knowing that his son is travelling with a convicted murderer he, at no time, considers the boy to be in any real danger. This actually reveals; not for the first or last time; that Gerard has some doubt as to Kimble's guilt of the crime for which he was convicted. However, as a dedicated servant of the law he does not permit himself to ask such questions. His job is that of lawman; not judge or jury; as he repeatedly asserts that it is 'the law' not himself which has delivered the verdict against Kimble. He considers that this is sufficient and does not allow that he personally has any right to pass judgement one way or the other. Gerard is not an easy man to like; but then again, it's difficult to entirely dislike him also. He and Kimble are opposite sides of the same coin; both are essentially decent men of unshakable integrity, who just happen to be temporarily on opposing sides as dictated by fate.
Ostensibly Kimble's geographical locations (different in each episode) are dictated by his pursuit of the 'one-armed-man' whom he witnessed fleeing the scene of his wife's murder, believing that apprehending this man is his only chance of vindication. However, within the context of the show itself, this is more of a plot device to cast Kimble into various interactions, and often conflict, with certain locals of whichever small community he happens to be in at the time. Frequently he acquires a temporary 'love interest' of sorts; few of whom appear to be entirely mentally stable, which usually requires Kimble to act as a good Samaritan to help out the troubled soul concerned. Equally often, however, the neurotic woman develops an unhealthy obsession which results in an attempt to betray our hero to the law. The flip side of the neurotic woman theme is that of Kimble getting caught up with some dishonest, immature or irresponsible male protagonist creating all manner of other difficulties and dangers from which he must extricate himself, to avoid betrayal, and ultimately capture, by the ever-present and ominous figure of Lieutenant Gerard. Incidentally, in this context it is worth mentioning the extremely high standard of co-stars who actually appear in various episodes of the Fugitive; several of whom appear on more than one occasion, usually as entirely different characters from one episode to another. Viewing this series it can be quite entertaining just to spot actors - usually little known at that time - who became well established stars later on. To name just a few. Warren Oates, Bruce Dern, Kim Darby, Ron Howard, Sandy Dennis, Kurt Russell (and sometimes his dad Bing Russell), William Shatner, Brian Keith, Suzanne Pleshette, Leslie Neilsen, Pete Duel; etc., etc., The list is a long one.
From time to time the one-armed-man himself does appear - although not often - but always manages to evade Kimble's apprehension as surely as Kimble himself constantly eludes Gerard. Indeed it is remarkable that in a country of such vastness as the USA it is remotely possible to track someone who is not even a target of the law. In this regard Kimble is remarkably fortunate that this man has only one arm, because at least that gives him a distinctive physical characteristic which differentiates him from the other hundred million or so males in the country. Although I'm probably nit-picking a bit here, because, to be fair, this is all in the name of entertainment after all. Consequently a substantial degree of 'suspension of disbelief' is required to explain the myriad of coincidences, fortuitous occurrences, eccentric characters etc., which populate this series throughout. But, to greater and lesser degrees, this is equally true of all fictional situations in both movies and literature. And, as far as television shows permit, the Fugitive makes generous use of this phenomenon to great effect throughout.
Anyway; the fact is that, despite all the credulity-straining coincidences, and an unrealistic proportion of eccentrics, neurotics, annoying whining kids, narrow escapes etc., this is a thoroughly entertaining television series; although I perhaps should mention that there is no 'introductory' first episode as such. The story of how Kimble came to be a fugitive is simply related over the opening credits by a suitably grim-voiced William Conrad (later to have his own TV series 'Cannon', in the '70's). Consequently when viewing the very first episode ('Fear in a Desert City') don't think that you have missed something. The story of Kimble's origin as a fugitive is, however, seen in flashback style in a later episode.
Due to the period in which it was made (1963-1967) you will not be surprised to learn that most of it is in black & white; although the final season is in colour. Personally I don't mind black & white at all. In some ways it adds to the period atmosphere, and is particularly appropriate in this case, as it lends a suitably 'film noir' look to the whole thing. And, as all the episodes are in good condition, both visually and audibly; this should not deter most viewers from enjoying what is, in my view, one of the best television shows of all time.
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