Word: raymonde
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Dates: during 1970-1979
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...Raymond Chandler's Philip Marlowe is the cowboy of El Dorada. Chandler, using the West again as a frontier, with an unfamiliar lifestyle, offers a similar formula. Marlowe operates out of a unique, a personal system of value. Consequently, he is only nominally legitimate. His world is as moral as he makes it, but, on the highest levels, he is an intensely moral man. Marlowe is certainly his own man. He has codes of morality, justice, legitimacy. And he is comfortable in an urban, mechanized world. Even though the same essential things happen in each succeeding Chandler novel, the character...
...Raymond Chandler every time I turn on the television. In Perry Mason reruns, in Frank Sinatra as Tony Rome, Peter Falk as Columbo, or brand new episodes of Cannon there are elements of Philip Marlowe. Somehow, (using Bogart, perhaps as media image, because we watch television now for the same kind of entertainment our parents looked for in the movies 25 years ago) someone has turned Marlowe into the average American, leading the slightly above average American life. And therefore into a cultural hero, because you should only be slightly above average. Marlowe is more viable than Ford...
...Perry Mason is, of course, defeated by the memory of Raymond Burr--by his forceful presentation, by his impressive physical presence, the slightly aloof wit he could direct toward Burger and Tragg, the consistency of his presentation. Monte Markham tries to badger witnesses in the Mason style. He tries to intimidate Hamilton Burger. But when a witness cracks, or when Burger allows Mason a point, Mason seems to have won only by edict of the script. Monte Markham doesn't win his cases; they're granted him by CBS decree...
...Raymond Burr made about a million dollars a year during the last three years the series...
...Mason should be an easy money-maker, CBS must have thought. I hope they're wrong. I hope the new show fails before it molds Perry Mason and his colleagues into forgettable characters. The Mason created in 1933 by Erle Stanley Gardner was a volatile, often unscrupulous lawyer-sleuth. Raymond Burr toned the man down, but added a dynamism of his own which made Mason the sort of fascinating static character best suited to an hour-long TV show. Monte Markham, though somewhat better in the second episode than in the first, appears to have whittled Mason down further without...