"Just one more thing...": Rewatching Columbo

[Angela Channing]

I'm so glad you liked this episode too and reading your review reminds me why it's my second favourite Columbo episode. I always think the best episodes are the one when Columbo and the murderer have a great chemistry and in this one they have it in bucket-loads. A significant part of every Columbo episode is the conversations between the lieutenant and the murderer so when they have a strong rapport it elevates the whole episode into something quite special. Add to the mix that Donald Pleasence created a fascinating, multi-layered and likeable character in Adrian Carsini and viewers are well on to the way of knowing this is one of the great episodes of Columbo.

Every scene that Peter Falk and Donald Pleasence have together is electric. There's another scene which you didn't reference in which Columbo give a great insight into how his mind works. When Carsini offers Columbo a glass of wine and the lieutenant stops him from telling him what it is. Columbo tastes it, come out with a lot a wine jargon before identifying it as being one of 2 possible wines. Carsini is astounded by Columbo's knowledge and then the lieutenant reveals he did it by knowing that Carsini only made certain types of wine and it wasn't the previous wine that he had tried so it was down to detective work rather than wine knowledge. It's a beautifully written and acted scene.

The plot itself has holes, some of which you have pointed out, but that doesn't matter because everything else is so good that I'm prepared to overlook the few shortcomings it has. That said:

why on earth would he risk spoiling his precious wines by switching off the air conditioner in the first place?

The temperature on the day in question was exceptional and only achieved a handful of times in history so it wasn't unreasonable for Carsini to assume that the wine would remain below the critical temperature above which it would go off but yes, it was a risk.

Then there’s the practical question of how he got a body into a wetsuit when it’s been dead for some five days. Wouldn’t rigor mortis have been an issue?

Rigor mortis is a temporary condition, it sets in a few hours after someone dies but wears off after a few days. That's not to say it wouldn't be difficult (if not near impossible) to put a dead body in a wet suit single handedly.

One thing that did bother me about the gotcha was why Carsini threw away all the wine. He said he was one of only a small number of people in the world who would be able to tell that the wine had been subjected to a high temperature so why didn't he sell it to one of the other billion plus other people who wouldn't know the difference? I guess he was such a wine snob and didn't want his reputation harmed that he wouldn't do such a thing.

Waiter and Maitre D’ at the posh restaurant who added a terrific finishing touch to one of the most memorable scenes in Columbo history with the synchronised rapid gibberish they spoke to one another (at the same time) after their customers had walked out which stopped instantly when Columbo returned. Then came that hilarious sip of the port and multiple lip smacks. Hilarious.

They were great and I think this episode is the first time that Vito Scotti (the maitre d') appeared in Columbo, he appears in several more roles in the original run and the rebooted series. I did wonder if Columbo or the LAPD eventually did pay for the meal in the end after all Columbo did supply the bad wine that was the reason for the bill being waived.

Donald Pleasence is an actor I associate with characters who are filled with an intense obsessive mania.

I first saw this episode of Columbo when I was a child and at the time I previously had only seen Donald Pleasence in TV adverts for Holsten Pils.

this final scene shows us a real depth to both characters, with great chemistry between the actors. It’s one of those episodes that I felt really sorry to leave, and so this final scene of Carsini accepting his fate, while feeling reflectively sad to leave the vineyard in other hands, was most bittersweet, quite touching and very welcome.

I can't adequately convey how much I loved the ending. The acting of the 2 principles was perfection. Carsini had caused his brother to died in what must have been a slow, uncomfortable and painful way, for which he showed no remorse, but I couldn't help but like him and feel sorry for him and that was down to the brilliance of Donald Pleasence. Every time he appeared in a scene, I felt we were watching an acting genius.

 

[Mel O'Drama]

I always think the best episodes are the one when Columbo and the murderer have a great chemistry and in this one they have it in bucket-loads. A significant part of every Columbo episode is the conversations between the lieutenant and the murderer so when they have a strong rapport it elevates the whole episode into something quite special.

Absolutely. This episode is a great example of that and it's easy to see why people like Robert Culp and Jack Cassidy were asked back for more. That kind of rapport is really hard to find, and I think my enjoyment of the episode is proportional to the energy that happens between Columbo and the murderer.

When Carsini offers Columbo a glass of wine and the lieutenant stops him from telling him what it is. Columbo tastes it, come out with a lot a wine jargon before identifying it as being one of 2 possible wines. Carsini is astounded by Columbo's knowledge and then the lieutenant reveals he did it by knowing that Carsini only made certain types of wine and it wasn't the previous wine that he had tried so it was down to detective work rather than wine knowledge. It's a beautifully written and acted scene.

Oh yes - a great moment. It showed their two personalities and approaches perfectly.

everything else is so good that I'm prepared to overlook the few shortcomings it has.

Same here.

The temperature on the day in question was exceptional and only achieved a handful of times in history so it wasn't unreasonable for Carsini to assume that the wine would remain below the critical temperature above which it would go off but yes, it was a risk.

Yes. For such a control freak as Carsini it seemed unusual to switch off something that made things run so precisely and efficiently. But then he did have a body to dispose of, so he was under pressure to improvise. And I suppose he used what he knew.

Rigor mortis is a temporary condition, it sets in a few hours after someone dies but wears off after a few days. That's not to say it wouldn't be difficult (if not near impossible) to put a dead body in a wet suit single handedly.

Ah - thanks. That makes a bit more sense now.

I guess he was such a wine snob and didn't want his reputation harmed that he wouldn't do such a thing.

Yes. As I read your question about disposing of the bottles - and before I got to this part - this is exactly what popped into my head. He wasn't willing to risk losing reputation which he valued above all else.

I think this episode is the first time that Vito Scotti (the maitre d') appeared in Columbo, he appears in several more roles in the original run and the rebooted series.

Oh great. I'll see if I can spot him.

I did wonder if Columbo or the LAPD eventually did pay for the meal in the end after all Columbo did supply the bad wine that was the reason for the bill being waived.

Oh yes. That would have been a heck of a bill.

Speaking of LAPD, I wasn't sure about the scene in which Ric's fiancée came to see Columbo in his office. It broke the usual rhythm of Columbo arriving at the crime scene, and I didn't think it added anything much to the plot. I take the view that Columbo's office. like Mrs Columbo, is something probably best left to the imagination.

I can't adequately convey how much I loved the ending. The acting of the 2 principles was perfection. Carsini had caused his brother to died in what must have been a slow, uncomfortable and painful way, for which he showed no remorse, but I couldn't help but like him and feel sorry for him and that was down to the brilliance of Donald Pleasence. Every time he appeared in a scene, I felt we were watching an acting genius.

Yes to all this. He's a wonderful character, nicely brought to life. There are killers that are perhaps more justified or sympathetic when it comes to their murders and the reasons for killing. But Donald transcended all that and allowed us to connect with him despite his actions.

 

[Alexis]

I'm about to start season 5 of Murder She Wrote tonight and as much as I am enjoying the cosiness of it all I am in no way gripped the way I tend to be with Columbo. I think part of that reason is that there is no back and forth between the murderer and Jessica Fletcher the way there usually is with Columbo. Also the sheer number of episodes, and the fact that Jessica isn't a police officer just make it all the more far fetched. Columbo's shorter seasons, and sometimes feature length format make it all feel more real, heightened but real. Then of course he is an actual detective and not just a mystery writer who seems to know an awful lot of people and travel extensively and find death wherever she may roam.

If there are 22 episodes in a season of MSW and each episode takes place over the course of a week or a few days, then that means Jessica Fletcher spends about 6 months of every year finding death. Maybe there should have been a cross over episode where Columbo investigates Jessica Fletcher as America's most prolific serial killer?

 

[Angela Channing]

Speaking of LAPD, I wasn't sure about the scene in which Ric's fiancée came to see Columbo in his office. It broke the usual rhythm of Columbo arriving at the crime scene, and I didn't think it added anything much to the plot. I take the view that Columbo's office. like Mrs Columbo, is something probably best left to the imagination.

I forgot about this scene, it's a rare occasion when we see Columbo's office and I think we get another opportunity to do so in a future episode. It was a strange decision by the writer/director to show Columbo's workspace because normally the only things we know about Columbo is what he tells rather than by witnessing different aspects of his life.

 

[Angela Channing]

I'm about to start season 5 of Murder She Wrote tonight and as much as I am enjoying the cosiness of it all I am in no way gripped the way I tend to be with Columbo. I think part of that reason is that there is no back and forth between the murderer and Jessica Fletcher the way there usually is with Columbo. Also the sheer number of episodes, and the fact that Jessica isn't a police officer just make it all the more far fetched. Columbo's shorter seasons, and sometimes feature length format make it all feel more real, heightened but real. Then of course he is an actual detective and not just a mystery writer who seems to know an awful lot of people and travel extensively and find death wherever she may roam.

Murder She Wrote is another favourite show of mine but it's very different from Columbo because it's only about 45 minutes long (an hour with adverts) and that leaves very little time for character and plot development so it's difficult to compare the 2 shows.

If there are 22 episodes in a season of MSW and each episode takes place over the course of a week or a few days, then that means Jessica Fletcher spends about 6 months of every year finding death. Maybe there should have been a cross over episode where Columbo investigates Jessica Fletcher as America's most prolific serial killer?

I think there's an episode when Jessica is a suspect in a murder investigation and the police officer references the fact that murders seems to occur when she is around as evidence that she might be guilty.

 

[Mel O'Drama]

I'm about to start season 5 of Murder She Wrote tonight and as much as I am enjoying the cosiness of it all I am in no way gripped the way I tend to be with Columbo.

Oh great. I too love MSW but in a different way. Jessica's show for me is usually all about switching off and letting it wash over me. I do love the setting and the supporting cast.

I need to watch in full sometime. I think last time I watched to around Season Ten. I need to invest in the complete series set before my next watch.

I think part of that reason is that there is no back and forth between the murderer and Jessica Fletcher the way there usually is with Columbo.

it's only about 45 minutes long (an hour with adverts) and that leaves very little time for character and plot development so it's difficult to compare the 2 shows.

Yes. And on top of that, several minutes of the short running time have to be devoted to explain away why Jessica is coincidentally on the scene. It can feel a little more formulaic in a way that Columbo doesn't. Which is a bit strange considering they both have a specific formula.

If there are 22 episodes in a season of MSW and each episode takes place over the course of a week or a few days, then that means Jessica Fletcher spends about 6 months of every year finding death. Maybe there should have been a cross over episode where Columbo investigates Jessica Fletcher as America's most prolific serial killer?

Ha ha. Yes.

At school I remember it was impossible to mention MSW without it being pointed out how lethal it would be to be part of Jessica's social or friendship circles.

I think there's an episode when Jessica is a suspect in a murder investigation and the police officer references the fact that murders seems to occur when she is around as evidence that she might be guilty.

I'm glad this happened. Somehow having it acknowledged within the show makes the weekly murders seem slightly less ridiculous.

 

[Alexis]

I think there's an episode when Jessica is a suspect in a murder investigation and the police officer references the fact that murders seems to occur when she is around as evidence that she might be guilty.

I'm glad this happened. Somehow having it acknowledged within the show makes the weekly murders seem slightly less ridiculous.

Coincidentally this seems to be the first episode of season 5 which I am currently watching. But anyways... I think that's enough of my MSW distractions. lol

 

[Mel O'Drama]

Candidate For Crime

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The political backdrop to this episode reminded me very much of early Dallas. Or middle years Knots Landing. In fact, Nelson Hayward - a charismatic, corrupt high profile figure whose pampered, alcoholic wife knows all about his affairs - feels a little like a precursor to JR Ewing. With more than a touch of Larry Vaughn from Jaws, reflected in his calculating outlook; below-the-surface gruffness; gift for spin and politician’s rictus grin.

All of which would make him a prime candidate to be murdered. In a nice turnaround, he uses this to his advantage by killing his campaign manager, claiming it to be a case of mistaken identity after Hayward has received death threats. His reasons? Harry Stone had wanted Hayward to end his affair with his personal secretary, Linda, saying it was bad for business.

The strained professional working relationship between killer and victim reminded me of Murder By The Book. Deepening the similarities was the way Hayward manipulated Stone into going along with part of his alibi. In this case he persuaded Stone to switch jackets and drive Hayward’s car to Hayward’s beach house, shaking off Haywards security entourage on the way. Ostensibly, this was to allow Hayward to end things with Linda. But of course, Hayward was waiting at the beach house garage to shoot Stone dead.

There were some really nice touches which showed Hayward’s gift for guile. Like the way he was able to smuggle weapons past the rigorous security checks. Changing the time on Stone’s watch, which he then smashed. And the fact that he’d planned a party for his wife immediately after the shooting so he could show up, regale them with the amusing story of switching jackets with Stone and losing the security in order to sneak away to the party (that’s three variations of the same story). This also ensured he had an alibi and witnesses when Columbo showed up to break the news.

The actor playing Stone looked familiar. A quick search this morning tells me I probably know him best as Fame’s Principal Morloch. Speaking of familiar faces, I forgot to look out for future Peg Bundy/Leela/Harlette Katey Sagal. Fortunately her role - while small - was memorable enough as her character - a secretary at the campaign office - was quite dismissive of Columbo.

The episode was directed by Katey's Dad, Boris Sagal, whose own death the following decade would be as bizarre as anything seen on Columbo.


Some nice Columboisms in this episode included Columbo's car failing a police inspection for numerous reasons (including an indicator not working and a missing windscreen wiper which "Must've come off in the car wash"). This required a trip to the garage, where Columbo balked at the price and showed his police badge in order for them to accept a cheque - only to find he'd forgotten his chequebook. Naturally, this led to his stock response when asked if he'd considered getting another car (about his wife's car being "Nothing special. Just transportation"). And we also saw Columbo visit a Beverly Hills tailor where - after a bit of measurement and conversation - he was quickly sent packing with the suggestion that he could buy his new jacket from a department store. Earlier on there'd been a nice, spontaneous bit of banter with Hayward where they'd discussed coats, and Columbo had pointed out that there was still plenty of wear in his raincoat. Jackie Cooper's perplexed but quickfire response was excellent.

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[Mel O'Drama]

Candidate For Crime​

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Like @Alexis, I am curious how decisions were taken about which episodes were to be feature-length. Like Any Old Port In A Storm, this is a two hour episode. This instalment lacks some of the cinematic grandeur of earlier extended episodes. It felt as though there were a lot of interior scenes. All the same, the story feels like it benefits greatly from the breathing room, with plenty of space to explore Hayward’s world. I'd say this was a slow burner. It took a while for me to fall into its rhythms as a viewer. But a slow burn can be the most satisfying kind of story, and this was beautifully constructed.

Again, this is not a showy episode and Boris Sagal doesn’t feel like an auteur who puts his mark all over things. It’s just very nicely filmed and made to look effortless. One shot which was probably quite tricky for its time shows Hayward speaking on TV, then suddenly a frame appears at the edge and there’s a zoom out into the room where characters are watching it. It probably wouldn’t register with a younger audience, as it would be easy to pull off today, but I’m sure this took some setting up.

Jackie Cooper (he’ll always be Perry White to me) has a great connection with Peter Falk and their battle of wits feels particularly engaging. The scenes between Columbo and Hayward had a very interesting psychology to them. After a couple of these scenes, Hayward seemed to mimic Columbo’s idiosyncrasies, which felt very much like a way of him saying that he knew what game Columbo was playing and he could play it as well. In particular, there was a scene where Columbo came to Hayward’s office, and Hayward welcomed Columbo into his office and pointedly took him to a seat and made sure he was comfortable. Then he interrupted Columbo mid-sentence to say he was going to fix himself a drink. It felt almost as though Hayward had the upper hand.

This seemed to push Columbo to raise his game, and there’s that terrific scene where Columbo arrives to Hayward’s garden as he’s shooting a campaign video, pretending to be unfazed by Columbo’s presence. Columbo then starts talking to Hayward’s wife within his eyeline, and you can see flickers of concern on Hayward’s face. Finally they move off to a different part of the garden and Hayward becomes completely distracted by what he’s doing. It’s a masterpiece in gaining the psychological upper hand.

The Gotcha is a particularly winning one, with Hayward getting too cocky and trying to be too clever by faking an assassination attempt. Once again, he smuggles a gun into his hotel suite, fires through a window from a ledge outside in the direction of his desk using a silencer. Then covers the holes before sneaking the gun out again. Later on, when others are present, he uses a firecracker to imitate a gunshot.

Columbo arriving and producing the bullet he’d dug out of the wall three hours earlier is one of those moments that made me feel excited almost to the point of wanting to stand up and cheer. The reactions of the other characters, too, helped really sell it. Jackie Cooper, of course was terrific. Joanne Linville as Vickie Hayward gave a particularly great performance as the reality of her husband's crime dawned on her. There were echoes there of Blythe Danner's character in Ètude In Black. A great episode can hinge on the strength of the Gotcha, and this one was definitely a great one.

 

[Angela Channing]

Another great review @Mel O'Drama. I also really liked this episode of Columbo even though I think it is mostly only an average episode elevated to something better by a cracking ending. That might be a harsh assessment but there are few stand out moments and plot twists in the episode which keeps it from being one of the greats. It is however a well written and well acted episode of the series.

The gotcha reminded me a bit of Suitable For Framing even though it was totally different but in both Columbo was one step ahead of the murderer and a devastating last minute revelation completely deflates the killer.

 

[Mel O'Drama]

I also really liked this episode of Columbo even though I think it is mostly only an average episode elevated to something better by a cracking ending. That might be a harsh assessment but there are few stand out moments and plot twists in the episode which keeps it from being one of the greats.

Yes, I can understand where you're coming from with this. It's perhaps especially noticeable directly following Any Old Port... which is a very difficult act to follow.

It did feel a bit more workaday than some of the other longer episodes and I'd say it lacked the feeling of event. For me, it was also partly down to the aesthetics, as it felt like there were not many eye-catching exterior locations.

It is however a well written and well acted episode of the series.

Agreed. Like I said, I enjoyed the slow burn of the pacing and the dynamic between Peter Falk and Jackie Cooper.

For me, I liked the unhurried first act and especially that Gotcha.

The gotcha reminded me a bit of Suitable For Framing even though it was totally different but in both Columbo was one step ahead of the murderer and a devastating last minute revelation completely deflates the killer.

Absolutely. There are definite parallels.

 

[Alexis]

Candidate For Crime isn't one that I seem to remember, even reading about it here didn't jog my memory. So I guess I see what you both mean about it not being a great episode, even though it was well written etc. I think the really great ones just stick in your mind.
I have such an itch to re-watch the show. but I don't want to start that just yet. I think I may do it around winter time. I did though watch Peter Falk's Inside The Actors Studio from 1999. It's on YouTube if any of you are interested, and it's lovely. I didn't know he was such a talented artist.

 

[Mel O'Drama]

I have such an itch to re-watch the show. but I don't want to start that just yet. I think I may do it around winter time.

Oh great. I imagine I'll have finished the series by then so anything you post will keep my withdrawals at bay.

I did though watch Peter Falk's Inside The Actors Studio from 1999. It's on YouTube if any of you are interested, and it's lovely.

Thanks. I have a feeling I'll explore some of this kind of material at the end of the rewatch, so I'll make sure to watch this one.

I didn't know he was such a talented artist.

Last week I came across this really cute picture of him sketching in between takes. It looks like it's at the Stahl House, which narrows down which episode it might be. It was used for several episodes, but going on the length of his hair I'd sayThe Most Crucial Game, perhaps?

 

[Mel O'Drama]

Double Exposure

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This episode was the one that earned the series one of its Emmy wins. Outstanding Limited Series suggests this episode was nominated as representative of what this series does best. And it certainly is.

What makes it so good?

For starters, it’s great to see Robert Culp back for his third outing - his final time as the killer. I’ve enjoyed all three of his episodes greatly because there’s such an intensity to his scenes with Peter Falk. Their scenes just crackle with excitement.

In my discussion of that episode his Season One debut, Death Lends A Hand, I said that I’d be on a hiding to nothing ranking all the Columbo episodes due to each having their own strengths. All the same, on some level I couldn’t help comparing Double Exposure with Robert Culp’s two previous outings.

Of the three, I found The Most Crucial Game the weakest, despite its wonderful cast, impressive settings (the stadium and the Stahl House) and clever murder weapon. It was let down for me by some plot holes, from the conspicuous ice cream van to the ambiguous motive of the killer to the “wouldn’t hold up in court” Gotcha.

Double Exposure, as it turns out, is possibly my favourite of the three. Certainly it’s right up there with Death Lends A Hand for its battle of wits.

The use of technology in this episode is particularly innovative. The subliminal inserts to put Norris in the right place at the right time is a bit of a stretch, but with this writing I trusted that Keppel’s understanding of the practice and of his target was rooted in research and experience. He was also comfortable enough in technology to leave a recording of his narration standing in for him before a live audience while sneaking away to commit a murder. That really takes some chutzpah. And he’d given thought to the CCTV - something very few people would have done in 1973. There was also the calibration converter on the gun, allowing Keppel to wave the offending weapon under Columbo’s nose with impunity.

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[Mel O'Drama]

Double Exposure


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Columbo putting the pieces together bit by bit was great fun to watch, and the relationship between he and Keppel was the main attraction. Robert Culp makes Keppel so airily dismissive at times with his tolerance wearing thin fairly early on. It comes across strongly that he doesn’t suffer fools gladly and he initially views Columbo as just that. There’s an interesting moment where Columbo takes the “honey” approach and produces Keppel’s books and you can see that it genuinely seems to stoke Keppel’s ego, luring him to continue to indulge Columbo, even though he seems to mistakenly think it’s simply out of amusement.

What I especially loved about Double Exposure was the plotting was so clever and efficient that each time I thought I’d spotted a potential plot hole it was addressed. Vic Norris conveniently leaving the screening is an example of this. Despite his heavy set and his excessive consumption of salty caviar, it seems almost too convenient that Norris alone would respond to the subliminal messages on-screen and leave. After all, everyone was made uncomfortable by the heat, and everyone had been eating beforehand. Then, some time later, Culp’s Dr Bart Keppel points out to Columbo that everyone else in the cinema were Norris’s subordinates and none would have dared walk out of a screening and we see that he’d been meticulous in thinking out the logistics based on who was to be present.

This attention to detail extended to the Gotcha, but especially as there was a bit of a fake-out Gotcha right before it. The golf course scene in the penultimate act was just top-hole (forgive the not-quite unintentional pun). But as Columbo presented his conclusions to Keppel, along with his conviction that he was sure Keppel was the killer, I really thought that was going to be it. And what he had was fairly circumstantial.

But then Keppel did what several of the killers could have but didn’t: he named it for what it was. He told Columbo that he had no concrete proof and he walked away free. What’s more, he all but told Columbo that he was right. My absolute favourite Robert Culp moment came during this game, where, having been put off his game by Columbo he removed his golf ball from some long grass at the base of a tree, saying he was going to move it, before looking Columbo in the eye and lowering his voice to say “And no one will ever know”. It’s an exhilarating moment of pure, unadulterated taunting menace. Perfectly written and played, it's the most perfect “almost” Gotcha. As a moment where the killer feels untouchable, it’s entirely convincing and had me excited to see what would come next.

It's also a cracking scene in its own right. Not only does it deliver dramatically, it's also hilarious. Watching Columbo fly into the path of the focussed golfers shouting from his little buggy can't fail to charm.

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[Mel O'Drama]

Double Exposure


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This episode feels like it has everything. The blackmailed killer’s inevitable forced second murder was carried out with the degree of precision I’d expect from this character. The careful framing of poor Mrs Norris was nicely done and she was even set up more convincingly after the second murder. I loved the scene where Columbo visited her and she said she didn’t have an alibi. He pointed out that she did, but “I didn’t say it was a good alibi”. His reason for believing her was pure Columbo: because if Columbo’s wife was going to kill him, she could come up with a more convincing alibi than the one Mrs Norris has.

Then there’s pure Seventiesness everywhere. From the awe at the concept of CCTV to the supermarket scene filmed before a huge display of thousands of cigarette packets conspicuously placed at the end of an aisle. Columbo even references “embossed Christmas cards” as an aspirational status symbol.

The icing on this delicious cake is the Gotcha itself, in which Columbo uses Keppel’s modus operandi against him. Columbo has photographs taken of him snooping round various spots in Keppel’s office and has these cut into a film Keppel is due to watch, subliminally telling Keppel that his hiding place has been found. This prompts Keppel to dash to his office, straight to the lamp where he’d hidden the calibration converter, where he is photographed by Columbo’s guy.

Culp's reaction as Columbo's method sinks in is truly incredible. He goes from shock to appreciation and back to ego as his sanity seems to snap (pointing out that Columbo couldn't have caught him if not for his technique). It's an unexpectedly fragile moment, and there's even a tear on his face. I really don’t think I could have asked for anything more from a Gotcha.

Dare I say, this is a contender for my favourite episode of the entire series.

 

[Angela Channing]

Dare I say, this is a contender for my favourite episode of the entire series.

Wow, that's high praise indeed. I agree it's a great episode and I agree it's the best of the 3 in which Robert Culp is the murderer although I do have a fondness for Columbo Goes To College but plays a role that isn't the murderer in that one. Personally, I would put it in my top 10 favourite episodes but I'm not sure it would make my top 5 because there are some really good ones which I like that much more.

What makes this episode so good is the brilliance of the murder plan, the interactions between Columbo and Robert Culp's character and the superb gotcha. I did wonder why he left the converter in his office where it could be found instead of disposing of it but that's a minor quibble in an otherwise excellent script.

 

[Mel O'Drama]

I do have a fondness for Columbo Goes To College but plays a role that isn't the murderer in that one.

I'm looking forward to that one, but it's going to be a long old wait to see Robert's fourth episode.

What makes this episode so good is the brilliance of the murder plan, the interactions between Columbo and Robert Culp's character and the superb gotcha.

Definitely. And these are the three key ingredients. If any two of them are great enough it can make a very watchable episode, but with all three done so well it's an absolute winner.

I did wonder why he left the converter in his office where it could be found instead of disposing of it but that's a minor quibble in an otherwise excellent script.

Good point. I must confess I was so caught up in it that it didn't even occur to me, which I suppose means that the writing worked for me, even with a flaw.

 

[Mel O'Drama]

Publish Or Perish

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I wonder what it is with Jack Cassidy and literary Columbo stories? Once again, he’s plotting too murder an author, but this time Jack is publisher Riley Greenleaf.

With its echoes of Murder By The Book, perhaps my expectations of this were a little high. I cannot tell a lie: the first act felt like a drag for me. Right from the opening shots - all big bangs and freeze frames - I felt this episode wasn’t going to be for me.

The murderer using a hitman might have added a new twist to the proceedings, but it made the murder feel impersonal which lowered the stakes for me. It also ultimately felt like a cheat. Riley setting up his alibi was fun enough, but it didn’t really matter what he did because he didn’t have to work out a way to be in two places at once the way other killers do.

Alleviating the disinterest was a creatively shot split-screen sequence of the hit which showed between two and four different things happening concurrently (the unsuspecting victim at work; the hitman approaching; Riley setting up his alibi). It created a sense of suspense and excitement and harked back to the stylishly eye-catching visuals of earlier episodes.

Once Columbo became involved things became more engaging. It was quite compelling to watch Greenleaf setting himself up with only his fingerprints on the gun, the dropped key at the murder scene and him claiming to have no memory of the previous evening. The drunken night out Riley had staged to give him the alibi of being in police custody at the time of the murder was enjoyable due to its bile as he insulted the staff and patrons of a bar then - after deliberately crashing his car into a camper van - the milquetoast driver and his pushy harridan wife. When the woman threatens to call the police due to Greenleaf’s (drunken) condition, he retorts with a grin “Madam, in your condition I should call a plastic surgeon”.

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[Mel O'Drama]

Publish Or Perish​

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As Greenleaf’s alibi came out into the open and Columbo appeared to be buying what he was being sold, I found myself second guessing both of them, and their interactions were great fun.

Because of this, moments of doubt became even more important. Like Columbo pointing out that Riley had referred to the people whose car he hit with the plural form “they”, despite him not yet being supposed to know that there were two occupants in the car instead of one.

It was nice to see Mariette Hartley, who I know best from her Emmy-winning performance in The Incredible Hulk. This episode’s glorious glasses alert (oh - I love seeing all these Seventies specs) comes from Alan Fudge’s character David Chase - Greenleaf’s personal lawyer - who wears a classy pair of tortoiseshell Tart Arnel type frames.

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Classic Columboisms galore come in the form of the impromptu lunch at Chasen’s restaurant, with Columbo horrifying the waiter by ordering chilli, crackers, ketchup and iced tea. It’s a joy to behold. Incidentally, despite the waiter’s incredulity at being asked to serve such a dish, Wikipedia tells me Chasen’s was famous for its chilli. Columbo himself says it’s good, so perhaps he started a trend.

Can a Columbo episode be too clever? You’d think not. All the same if this episode has an Achilles’ Heel it’s just that. It’s all very nuanced and multi-layered, and the plot doesn’t seem to follow a linear path. Instead, we garner fragments of information here and there. There’s a lot of information to take on board and work with and the episode demands more attention than I gave it.

Had I been more prepared for this episode I’d probably be marvelling at its ingenuity. As it was, I watched this one later than I usually would. It didn’t end until 10:20pm which, for me, is too late an hour to maintain such concentration. Consequently, the Gotcha almost went over my head until I'd dug deep to review what I'd already seen.

All of which means the fates conspired to make this episode one of the less impactful one, even though I admire the craft that went into its complex structure.