The Columbo reputation, in and out of USA, has been built on episodes like this early one from the first season. (Dead Weight) represents the strong basis, the thorough elements, and the glorious peak that the show itself couldn't achieve for all the time.
As for the script, it can't get more perfect. It sets up everything rightly; the murder, the difficulty of proofing it, the invulnerability of the killer, the conflict that ignites when the sole witness falls in love with the murderer. The dialogue is another treat. It's clever; "Maybe you lost one battle, Mrs. Stewart, not the whole war" when the General talks about the unimportance of a divorce for a young woman. Wise; "In order to understand a man, you have to understand his past". Witty; "Some men, Lieutenant, do not wanna look like an unmade bed!". And slick with really entertaining double-meaning lines; "Find a different spot, or use a different bait, otherwise you're not going to catch anything" when the General advises Columbo about both fishing and investigating.
Extra merits here and there must capture your admiration too. For instance, in terms of suspense, the bewildering question of "Where did the victim's body go?!" had a unique answer, that was artfully delayed too. And in terms of characterization, scrutinize how Columbo subtly orders the young officer to search the general's boat. That was right after his arrival, before interrogating anyone, or being assured of an actual murder, and without fearing the so honored General in the same time. Moreover, see how the General was impressed by the witness's sight when they first met, so when he entraps her in his heart, it's not only for utilizing her emotional hunger to silence her afterwards; it's also because he saw her as a young attractive woman who could fit an aged lonely man. This is more human, a little bit dramatic, and leads to truthful "I'm sorry" in the end. Btw, in that very end, watch how the General's pride deters the policemen from holding his hands. These are little moments, but so eloquent. Maybe in my most rigorous moods, I'll refuse the General's lie about his gun, as not that smart from his side. But even that doesn't touch the writing's adroitness.
As for the acting, it gets A+. Peter Falk IS Columbo. The meticulous investigator who's after the truth boldly. And when he says 2 different names for his niece in the end, it's official; he makes up fake relatives to fool people, whatever the good cause is. Though, at that phase, I think the producers forced Falk to lower his right eyebrow to the utmost, so his glassy eye wouldn't appear clearly. That would end fast within the next seasons; however it was annoying, and felt fatiguing, whether for Falk, or for you as a viewer.
Although Eddie Albert's baby face nearly imprisoned him in nice characters, but certainly he had wider range. In (Dead Weight), that baby face made a well irony between his character as a beloved respected hero, and his fact as a rotten businessman and killer. His confidence and calmness made the best performance. Watch him in his first encounter with Columbo to savor that appropriately.
Suzanne Pleshette said that she did that part due to needing money back then. Nevertheless, we must be thankful for her bad circumstances whatever they were. Because what a beautiful character she did. She nailed that delicious woman, who has strong conscience, bad romantic experience, history of therapy, and good deal of frailty. It's one of the most memorable characters in the show's course, plus one of Pleshette's best. For me, I adore the moment when she meets the General face-to-face for the first time. She looked marvelous in that homey brocaded gown, putting the most charming, most upbeat, and most naive smile on her face. Even Kate Reid, as her funnily vexatious mother, was distinct despite her short appearance.
Gil Melle's music proved to be one of the show's finest scores. I remember, years ago, recording parts of the episode on a video tape, while one of its re-runs on TV, just to record the music later yet on a cassette tape. Yes, it is that good!
I read that during the first season, Falk was busy fighting with the writers and the producers. I suppose he wanted to establish a character of his own, and I mean Columbo as a special lead character, and Falk as an influential star too. So in "Emmy TV Legends" interview, Pleshette told stories about his behaving as a "bad boy" on the show, especially when his request to direct was turned down, which reached a stage where he didn't come to the set and stayed home instead. And how they had to act all of their parts without him, performing with a double who was reading his dialogue off camera. And when he showed up finally, director Jack Smight, or her hero as she said, refused to re-shoot the whole thing with him. However, when you watch the episode, you'll easily discover that they did re-shoot the whole thing. Because for all the time, Falk is in the same cadres with Pleshette and Albert. Sure all of these problems vanished when Columbo hit success, and Falk became a household name that, since 1989, would be written on the show's credits twice; one as the star, and another as an executive producer.
I believe that when trying to spot one defect in a movie is an agony for the reviewer; then this movie must be an ecstasy for him as a viewer. (Dead Weight) belongs to that case. It isn't only one of the excellent Columbo episodes; it's somehow a guidebook for the show's excellence as well.
As for the script, it can't get more perfect. It sets up everything rightly; the murder, the difficulty of proofing it, the invulnerability of the killer, the conflict that ignites when the sole witness falls in love with the murderer. The dialogue is another treat. It's clever; "Maybe you lost one battle, Mrs. Stewart, not the whole war" when the General talks about the unimportance of a divorce for a young woman. Wise; "In order to understand a man, you have to understand his past". Witty; "Some men, Lieutenant, do not wanna look like an unmade bed!". And slick with really entertaining double-meaning lines; "Find a different spot, or use a different bait, otherwise you're not going to catch anything" when the General advises Columbo about both fishing and investigating.
Extra merits here and there must capture your admiration too. For instance, in terms of suspense, the bewildering question of "Where did the victim's body go?!" had a unique answer, that was artfully delayed too. And in terms of characterization, scrutinize how Columbo subtly orders the young officer to search the general's boat. That was right after his arrival, before interrogating anyone, or being assured of an actual murder, and without fearing the so honored General in the same time. Moreover, see how the General was impressed by the witness's sight when they first met, so when he entraps her in his heart, it's not only for utilizing her emotional hunger to silence her afterwards; it's also because he saw her as a young attractive woman who could fit an aged lonely man. This is more human, a little bit dramatic, and leads to truthful "I'm sorry" in the end. Btw, in that very end, watch how the General's pride deters the policemen from holding his hands. These are little moments, but so eloquent. Maybe in my most rigorous moods, I'll refuse the General's lie about his gun, as not that smart from his side. But even that doesn't touch the writing's adroitness.
As for the acting, it gets A+. Peter Falk IS Columbo. The meticulous investigator who's after the truth boldly. And when he says 2 different names for his niece in the end, it's official; he makes up fake relatives to fool people, whatever the good cause is. Though, at that phase, I think the producers forced Falk to lower his right eyebrow to the utmost, so his glassy eye wouldn't appear clearly. That would end fast within the next seasons; however it was annoying, and felt fatiguing, whether for Falk, or for you as a viewer.
Although Eddie Albert's baby face nearly imprisoned him in nice characters, but certainly he had wider range. In (Dead Weight), that baby face made a well irony between his character as a beloved respected hero, and his fact as a rotten businessman and killer. His confidence and calmness made the best performance. Watch him in his first encounter with Columbo to savor that appropriately.
Suzanne Pleshette said that she did that part due to needing money back then. Nevertheless, we must be thankful for her bad circumstances whatever they were. Because what a beautiful character she did. She nailed that delicious woman, who has strong conscience, bad romantic experience, history of therapy, and good deal of frailty. It's one of the most memorable characters in the show's course, plus one of Pleshette's best. For me, I adore the moment when she meets the General face-to-face for the first time. She looked marvelous in that homey brocaded gown, putting the most charming, most upbeat, and most naive smile on her face. Even Kate Reid, as her funnily vexatious mother, was distinct despite her short appearance.
Gil Melle's music proved to be one of the show's finest scores. I remember, years ago, recording parts of the episode on a video tape, while one of its re-runs on TV, just to record the music later yet on a cassette tape. Yes, it is that good!
I read that during the first season, Falk was busy fighting with the writers and the producers. I suppose he wanted to establish a character of his own, and I mean Columbo as a special lead character, and Falk as an influential star too. So in "Emmy TV Legends" interview, Pleshette told stories about his behaving as a "bad boy" on the show, especially when his request to direct was turned down, which reached a stage where he didn't come to the set and stayed home instead. And how they had to act all of their parts without him, performing with a double who was reading his dialogue off camera. And when he showed up finally, director Jack Smight, or her hero as she said, refused to re-shoot the whole thing with him. However, when you watch the episode, you'll easily discover that they did re-shoot the whole thing. Because for all the time, Falk is in the same cadres with Pleshette and Albert. Sure all of these problems vanished when Columbo hit success, and Falk became a household name that, since 1989, would be written on the show's credits twice; one as the star, and another as an executive producer.
I believe that when trying to spot one defect in a movie is an agony for the reviewer; then this movie must be an ecstasy for him as a viewer. (Dead Weight) belongs to that case. It isn't only one of the excellent Columbo episodes; it's somehow a guidebook for the show's excellence as well.