"You call this plain clothes…?" (Re)watching Cagney & Lacey

[Seaviewer]

I forgot to mention some interesting casting.

Fred Grandy, of course, trying to look not like Gopher with his menacing beard. He reminded me of Jack Bannon's post-Lou Grant appearances on Knots Landing and Falcon Crest but without the head shave.

And two from Star Trek - Wrath of Kahn's Bibi Besch and DS9's Armin Shimerman. Oddly I recognised the latter sans Ferengi makeup but didn't recall the former until seeing her name in the closing credits.

 

[Seaviewer]

A KILLER'S DOZEN

There's a really beautiful opening shot to this episode. It's an aerial shot of The Statue Of Liberty where we do a 360° view, ending on a held shot of the statue with the World Trade Center in the background.

It's impossible to recall what that would have felt like at the time. Watching it now, I knew where it was going to end because I've read that the WTC was deliberately built across from Miss Liberty I guess for just that effect. More recent history is now forever overlaid on that view.

This episode continues the style of the last with the strike and the case being used to reveal more of the relationships and backstories. It occurs to me that in that sense this season is really "the true beginning". Until now the characters may have been superbly drawn and acted but here is where they became real and we started to fall in love with them.

A couple of continuity nitpicks: Cagney needs the concept of a task force explained to her despite having headed one in "Beauty Burglars" and when she has to wear her uniform she says she had vowed never to put it on again, yet it didn't seem to bother her in "Jane Doe #37".

Conversely, it was nice to hear Isbecki say that he and Petrie had been partners for a year and a half since that tied in with my observation that they didn't seem to be together at first. A shame that there was no specific acknowledgment of their being teamed up.

 

[Mel O'Drama]

Watching it now, I knew where it was going to end because I've read that the WTC was deliberately built across from Miss Liberty I guess for just that effect. More recent history is now forever overlaid on that view.

Absolutely. And because of this, seeing it make an appearance in an older film or series now suggests to me - at least in that moment - that things are taking place in a different, somewhat more innocent era.

It occurs to me that in that sense this season is really "the true beginning". Until now the characters may have been superbly drawn and acted but here is where they became real and we started to fall in love with them.

Yes, and along the lines of your comment about the WTC, it's difficult to rewatch the earlier episodes without bearing in mind some of the character developments that took off here. I wonder what history would have made of C&L had it been cancelled for good after Season Two.

A couple of continuity nitpicks:

Well spotted. Those both passed me by completely.

 

[Mel O'Drama]

the rather spendid style of Bill Conti's iconic theme

Bill Conti's iconic theme, heard for the first time here. Ray Pizzi and Ernie Watts riffing for their lives on saxes.

And finally the sound and look of the opening titles completely encapsulates what's good about the show itself. Just look at how strongly the chemistry between the actors comes across (Chris thumping Mary Beth for distracting her while she's on the phone is so cute); the little character moments; the humour (Chris taking a good look at the flasher as they pass)

@Snarky's Ghost's posted video of Conti discussing the Falcon Crest theme led me on to another which covers the C&L theme. The psychology (and business acumen) behind choosing the jazzy style is a fascinating example of Rosenzweig's attention to detail:

 

[Seaviewer]

Rosenzweig's attention to detail

"I don't want anyone to think it's a cop show."

That more or less sums it up right there.

 

[Snarky Oracle!]

"I don't want anyone to think it's a cop show."

That more or less sums it up right there.

It always sounds to me like Phil DONAHUE's new theme when he moved from Chicago to NYC in 1984.

 

[Seaviewer]

VICTIMLESS CRIME

Not much in this one we haven't seen before. Chris and Mary Beth's reactions are consistent with their established personas by this time. I'm not sure if she's called herself Mary Elizabeth before, though. Possible psychoanalysis point with the Frenchman.

The "actress" in the film - a Farrah Fawcett lookalike

Kay Lenz, unfortunately best known for a brief marriage to David Cassidy.

 

[Seaviewer]

THE BOUNTY HUNTER

In a way this episode is a reworking of "The Grandest Jewel Thief...", showcasing Christine's obsessive personality. Victor's reaction is interesting, too, in a scene which gives an insight into his and Marcus's relationship. They are usually buddy-buddy enough but here, out of Victor's line of sight, we see Marcus despairing over Victor's envy of the bounty hunter's extra-judicial methods.

Dennehy was the actor of choice for The Bounty Hunter: not just the name of this episode, but also the title of the proposed Cagney & Lacey spin-off featuring his character, Mike MacGruder.

For some reason Brian Dennehy has always annoyed me as an actor, coming across as smarmy and generally unlikeable. Granted, these qualities are appropriate to the character but I'd be unlikely to want to see him on a weekly basis.

The B-story, with Mary Beth discovering that Michael can't read

Another example of multiple use of character names. Surely there was some discussion about this. I know people in real life can have the same name but in fiction it tends to be avoided. It's happened often enough that I'm thinking it's deliberate.

I mentioned that last episode's guest star Kay Lenz was married to David Cassidy. Coincidently, Laurie Prange (the ex-wife of the escapee) also has a connection to him, being the Albuquerque-bound runaway in the episode of The Partridge Family which includes the song "Point Me in the Direction of ...".

 

[Mel O'Drama]

In a way this episode is a reworking of "The Grandest Jewel Thief...", showcasing Christine's obsessive personality

Yes indeed. I always enjoy seeing this side to Chris.

Victor's reaction is interesting, too, in a scene which gives an insight into his and Marcus's relationship. They are usually buddy-buddy enough but here, out of Victor's line of sight, we see Marcus despairing over Victor's envy of the bounty hunter's extra-judicial methods.

They're a perfect pairing from a TV perspective. There's that regular kind of tension that comes from their very different outlooks and I like that they challenge each other now and then.

For some reason Brian Dennehy has always annoyed me as an actor, coming across as smarmy and generally unlikeable. Granted, these qualities are appropriate to the character but I'd be unlikely to want to see him on a weekly basis.

I know what you mean. I'm pretty ok with those qualities in him because I just get wrapped up in watching him work. I find him a fascinating actor. But he has a very intense presence, and if it's one that you find unattractive I can understand how that would make a series in which he plays lead far less attractive a prospect. Who's to say - maybe I'd feel the same way after half a season.

Another example of multiple use of character names. Surely there was some discussion about this. I know people in real life can have the same name but in fiction it tends to be avoided. It's happened often enough that I'm thinking it's deliberate.

This would be an interesting one to put to Barney Rosenzweig. I'm sure there's an official line and a good reason for it. I hadn't really noticed it, but now you've pointed it out I like that it goes against the unwritten law of TV.

 

[Seaviewer]

THE BABY BROKER

a "typical" Cagney & Lacey episode, not least in that both leads are pretty even here.

I've been trying to work out whether the "featured" star relates to which gets top billing that week but I don't suppose that would even be a workable proposition.

Chris's almost visceral reaction to Mary Beth taking in the abandoned baby, feeling it's unprofessional speaks to her character's motives: ever career minded but with concern for the emotional effect it could have on her partner and friend

Her career-first attitude is nicely illustrated in the opening scene. She runs out of her date in full evening dress, ostensibly to save a woman being harassed, but pushes roughly past two other women and asks the victim if she's okay without waiting to see if she is. It seems obvious her real motive is the collar; it's hard to say whether that and justice are one and the same.

the continuity is so implicit that I'm constantly rewarded as a viewer for spotting something in one episode that ties in with something I watched several episodes earlier or even half a season ago.

The Laceys were talking about having another baby sometime last season. It was nice to see that finally pay off here.

This would be an interesting one to put to Barney Rosenzweig. I'm sure there's an official line and a good reason for it. I hadn't really noticed it, but now you've pointed it out I like that it goes against the unwritten law of TV.

Yeah (the name thing). And it's not just that the Bounty Hunter was named Mike. It was in the very episode in which Michael was featured.

 

[Seaviewer]

PARTNERS

Chris getting shot felt like it played out quite realistically.

I couldn't help but be struck by the changes in technology since then. If this was being made now Mary Beth would have whipped out her mobile phone and called 911. It gives you an appreciation for just how much on their own they were back then.

It was also good to see Mary Beth pushed into a position with her replacement partner where she was forced to be the energetic one that pushes. Her chemistry with Chris is so good it was refreshing to see her working with this man she didn't get on with.

She does like those little flattering moments, though. Harve picked up on that, much to her chagrin.

 

[Seaviewer]

CHOICES

Another Terry Louise Fisher written episode focussing on the frustrations of the legal system, with Georg Stanford Brown (Tyne Daly's husband at the time) as a rather pompous Assistant District Attorney.

The scene with Chris priming Mary Beth with how she thought the defence attorney would act made me think of Gless's later Trials of Rosie O'Neil series.

an emotional roller coaster for the characters - Chris in particular with her suspected pregnancy.

It feels like high quality soap opera.

Women who are cops, not cops who are women, I believe was how Rosenzweig put it.

This was also the episode where Chris said she wanted to be the first female police commissioner. I still think it's not too late to see that.

 

[Seaviewer]

Okay, I'm back after my self-imposed summer hiatus.

Season Four - Success At Last

CHILD WITNESS

In at the deep end with this season as it dives straight into the challenging subject of paedophilia.

the B-story where Petrie is assaulted by two uniforms who don't know he's a policeman, leaving the question of whether they reacted differently to him than they would have a white man.

Two issues which, sadly, still resonate today. Perhaps even more so.

the scenes with he and Claudia where they discussed it (there's a new actress here.

I thought that was a different Claudia.

Going unnoticed in the first interview scene was that fact that Cagney after saying that talking to children was Lacey's department ended up being the one to coax the girl to communicate - after refusing to talk about the incident or act it out with the doll she agreed to draw it, although they all seemed to forget that she had already provided a drawing which was the reason the police had been called in in the first place.

John Reilly, who played the father, was instantly recognisable from roles in numerous shows of the 70s and 80s. I particularly remember him romancing both the bionic woman and Wonder Woman in their respective series.

 

[Mel O'Drama]

I'm back after my self-imposed summer hiatus.

Yay!

You've been missed, but I have to admire your willpower at taking a break between seasons.

Going unnoticed in the first interview scene was that fact that Cagney after saying that talking to children was Lacey's department ended up being the one to coax the girl to communicate - after refusing to talk about the incident or act it out with the doll she agreed to draw it, although they all seemed to forget that she had already provided a drawing which was the reason the police had been called in in the first place.

John Reilly, who played the father, was instantly recognisable from roles in numerous shows of the 70s and 80s. I particularly remember him romancing both the bionic woman and Wonder Woman in their respective series.

Good spots on both counts. Looking at John Reilly's CV on IMDb I would have seen him in numerous shows from the Seventies through to the Nineties. Love getting more information about these supporting players.

 

[Seaviewer]

HEAT

I couldn't remember specifics about the episode. What I can remember though, is the feeling that I had watching it. I can remember feeling gripped and completely invested.

Unlike you, I don't remember watching this before. That may be true of most of the episodes from this point. I was already a fan by this time but since they were never repeated they've all sort of blurred into a general affection.

a sweaty Lance Henrikson is back with a much meatier role as Sergeant King whose role is to negotiate with the bad guy.

Henrikson in these roles is remarkably un-creepy compared to his signature turns in Aliens and Millennium. I wondered whether King was his real name or a nom de guerre adopted for its dominating inferences.

KING: “Good. Good. Jim - I think we’re gonna play this a totally different way. I like the fact that we got a woman down there working him full time.”

There's been a subtle change in the way the female cops are being treated. Without making a point of it, Chris and Mary Beth's abilities are no longer being questioned. In earlier seasons someone might have suggested that the predicament was some fault of theirs but here even Isbecki pitches in for his colleagues without any derogatory comment. And in the scene where Chris visits the scene of the robbery, she finds a female detective in charge. Again, nothing is made of it.

The task force’s anticipated moves are discussed with Chris in depth (and the audience).

This sequence reminded me of the Knots Landing season 5 finale. We know what's supposed to happen and events tick off until the unforseen twist.

The horror of the moment when the SWAT men take their shots comes across strongly. There’s no messing about with these guys. No holding back.

In fact, one them is also a woman. Again unremarked.

The episode ending goes from heat to pure warmth. As is proper, it’s about the chemistry between these two women. Daly is convincingly traumatised-but-relieved, and shows some subtle disorientation which honours the experience her character has been through. It’s satisfying without any kind of schmaltz the cinematic feel is built on by continuing the action over the end credits.

As heart-warming as the freeze-frame of the two women was, I was disappointed that we didn't see Mary Beth's reunion with Harve. When the unusual end credit continuation started I thought we might see it then but the view was too far away to be sure.

 

[Seaviewer]

INSUBORDINATION

OLD DEBTS

Barry Primus is back as Dory McKenna

I had quite forgotten that Dory returned, although having said that, I did have the nagging feeling during the season 2 episodes that there had been more to his story than that. Still, I was surprised to see him added to the opening credits three episodes into this season.

With Barry's inclusion in the opening titles, a longer version of that Season Three end variant now plays over the Season Four opening. It sounds familiar enough that some may not even have notice the difference.

I actually was noticing that the theme sounded different and seemed to be taking longer to get to the point when Primus's picture popped up, solving that puzzle. But I don't think the new arrangement is an improvement.

Speaking of the opening credits, I've become increasingly intrigued by the two women who walk out in front of the stars on the footpath - one of whom is noticeably pregnant.

Do you have any information on how and where the sequence was shot? I'm wondering whether they are paid extras or if Gless and Daly were genuinely walking through the open street. Even if the latter, one would presume any identifiable passers-by would have to have signed some sort of waiver for their images to be used.

 

[Mel O'Drama]

Speaking of the opening credits, I've become increasingly intrigued by the two women who walk out in front of the stars on the footpath - one of whom is noticeably pregnant.

Yes - I'd noticed the pregnant woman too. My favourites, though, are the gawping couple walking in the opposite direction at the same time. The ones that stop and turn as though they've recognised one of the actresses. I can't tell if that's the case or if they're looking at (or pretending to look at) something else. They're immortalised in the still used for the closing titles - as are pregnant woman and braless girl - and I can't see them without smiling. I've always assumed they were shot on a real street with non-actors.

Do you have any information on how and where the sequence was shot? I'm wondering whether they are paid extras or if Gless and Daly were genuinely walking through the open street. Even if the latter, one would presume any identifiable passers-by would have to have signed some sort of waiver for their images to be used.

Barney Rosenzweig has talked a little about creating the scenes for the opening credits, but there's no detail about where they were shot and who the passers by were. Like you, I'd love to know more.

 

[Seaviewer]

Barney Rosenzweig has talked a little about creating the scenes for the opening credits, but there's no detail about where they were shot and who the passers by were. Like you, I'd love to know more.

Interesting stuff. Now I'm going to have to look out for Barney drinking his coffee.

 

[Seaviewer]

FATHERS AND DAUGHTERS

The dual meaning of the title becomes apparent as the episode progresses but the key relationship is actually that of the mother and daughter - another strong performance from Gail Strickland and also from Dinah Manoff who I almost didn't recognise, being so different from her daffy signature role in Empty Nest.

‘BRUSQUE!!’ I've never been brusque in my life!"

This is where playing it straight proves funnier. The angry edge Gless gives Cagney in her response; her incensed delivery; raising her voice at all the right points. This scene made me laugh harder than anything else in the series so far.

I also had to smile at the scene where Cagney and Lacey discuss playing "Good Cop Bad Cop" and both claim they don't care who plays what, when it's quite obvious which one is more suited for which one.

Now I'm going to have to look out for Barney drinking his coffee.

It turns out that he's not hard to spot when you're looking for him. He's one of the passengers on the train. It's amazing how many times I must have seen that with no idea that he was there.

 

[Seaviewer]

TAXICAB MURDERS

Back to the standard version of the credits (minus Dory) and an onscreen episode title. Not sure if this is the start of a trend or a one-time thing.

The taxi cab plot feels like a bit of a Macguffin.

Yeah, except for Chris's efforts at supplanting the undercover assignment with "real" detective work, a fairly ordinary procedural. It's Michael's reaction that is the heart of the story.

There’s a really sweet little scene with just Chris and Michael talking to each other in her apartment that’s so cute.

I remembered that scene and the reference to James Cagney but was surprised to see that the actual "Blood on the Sun" poster was not seen until later and then only in an obscure background shot so that you would have to be looking for it to notice. Karen Arthur's direction? There must be clearer views in later episodes.