The enduring legacy of Perry Mason, the fictional defense attorney created by Erle Stanley Gardner, is most famously embodied by Raymond Burr in the original television series. While Mason's adventures spanned novels, movies, and radio, it was Burr's portrayal that cemented his place in popular culture, a role he revisited in a revival series decades later. Viewers fondly recall Burr's masterful technique of relentlessly questioning witnesses until they confessed, often with the dramatic exclamation, "All right, I did it! I killed him!"
The Quintessential Perry Mason Episode Structure
The early seasons of the original Perry Mason TV series, now available on DVD, typically follow a consistent and effective structure. The initial 15 to 20 minutes are dedicated to establishing a character whose objectionable behavior and numerous enemies make them a prime suspect when they inevitably turn up dead. This approach ensures that the audience and other characters are not bogged down by sympathy or emotional attachments, as the show prioritizes a complex puzzle over exploring grief, rage, or love as murder motives. Essentially, Perry Mason is less about character development and more about presenting viewers with intricate, fast-paced stories designed to intrigue and challenge.
The complexity of these narratives is such that they can sometimes strain credulity upon closer examination. The crime scenes often resemble busy thoroughfares like Grand Central Station, with characters narrowly missing each other or stumbling upon the victim. Paradoxically, it is always Mason's clients who, after discovering the body, are left with the murder weapon and their fingerprints all over it.
The Los Angeles police department and the District Attorney's office demonstrate remarkable efficiency in arresting and prosecuting innocent individuals. However, Perry Mason's role transcends mere doubt-sowing or evidence-puncturing; his primary objective is to unmask the true killer. This revelation typically occurs during preliminary hearings rather than jury trials. Notably, one episode from these early seasons does go to trial, and Mason's client is not only found guilty but is indeed the actual perpetrator. Mason manages to nullify this conviction by securing a mistrial due to a fraudulent identity, presumably ensuring he will not handle the subsequent retrial.
The Supporting Cast: Likable Automatons
The show's businesslike approach extends to its ensemble of regular characters, who are portrayed as likable automatons with a shared dry sense of humor. At the center is Mason himself, a phlegmatic, imposing figure distinguished by the prominent bags under his eyes. His repertoire of thoughtful glances and occasional eyebrow raises are characteristic of his demeanor. His efficient secretary, Della Street, is played by Barbara Hale. The lack of personal lives for Mason and Street is notable, as they are consistently depicted in the office late at night and sharing meals at restaurants with private detective Paul Drake (William Hopper). There are no romantic entanglements suggested between them, though in the revival series, Della marries Paul.
Della occasionally comments on attractive clients, perhaps as a way to engage Perry or even provoke him, but Burr's portrayal rarely conveys a wandering eye. A particularly memorable character is homicide detective Lt. Tragg, played by Ray Collins, characterized as a wily old fox with a penchant for wry sarcasm. The District Attorney who prosecutes most of Perry's cases is Hamilton Burger, portrayed by William Talman, whose disposition ranges from dyspeptic to grudgingly upright. Due to the varying locations of the cases, Burger and Tragg do not appear in every episode but are present in most.
The third season saw a temporary departure of William Talman, who was fired after an arrest at a party involving narcotics and nudity. Though acquitted, his reinstatement by CBS took time, aided by considerable public support, offering viewers a glimpse into the intriguing private lives of those involved with the show.
Writing and Directorial Talent
Despite its procedural nature, Perry Mason is undeniably entertaining, though it rarely reaches the heights of great drama or mystery writing. Some episodes are adapted from Gardner's novels, while many are original creations. Key writers during these seasons included Seeleg Lester and Jackson Gillis, who also served as associate producers and script editors. Additionally, the series benefited from the contributions of cult novelist Jonathan Latimer, known for his somewhat madcap style. Latimer penned two notable screenplays in 1948, "The Big Clock" and "Night Has a Thousand Eyes," and his comedic flair extended to "Topper Returns." He also wrote a subtly subversive episode for the second season of Columbo titled "The Greenhouse Jungle."
While Latimer's contributions to Perry Mason were significant, his episodes, such as "The Case of the Mythical Monkeys," "The Case of the Bashful Burro," and "The Case of the Crying Cherub," did not necessarily surpass those of other writers, though they sometimes featured curious details. His continued involvement throughout the series suggests potential for further development and engagement.
Visually, the show adopts a direct, flat, and bright style, as if truth emanates from every corner. Directors such as Arthur Marks, William D. Russell, Christian Nyby, Arthur Hiller, Laszlo Benedek, Andrew V. McLaglen, and Anton Leader contributed to the series. However, a standout directorial talent was Gerd Oswald, who, despite directing only a few episodes, brought a distinctive style that may have been too noticeable for the series' conventional approach.
Oswald, a former child actor and son of silent film director Richard Oswald, was a notable figure from the German refugee community in Hollywood. His extensive television work includes "The Forms of Things Unknown" from The Outer Limits, widely regarded as a masterpiece of television fantasy. Film critic Andrew Sarris categorized him under "Expressive Esoterica" for his work on crime films like "The Screaming Mimi" and "A Kiss Before Dying."
One of Oswald's Perry Mason episodes, "The Case of the Jaded Joker," set against the backdrop of Hollywood's faded dreams, is particularly noteworthy for its emphasis on mood and character, deviating from the show's usual plot-driven structure. This episode features atmospheric scenes, stylish zooms, and the debut of a "special guest star," Frankie Laine as a washed-up comedian. The episode also explores unusual living arrangements and interpersonal dynamics within the comedian's household, including a beatnik pianist and a pugnacious hanger-on, offering moments of genuine emotion and intriguing dialogue.
Oswald's directorial prowess is also evident in two episodes exploring the art world: "The Case of the Lost Last Act," focusing on the theatre, and "The Case of the Purple Woman," which delves into the realm of art forgery. These episodes, characterized by gratuitous zooms and memorable supporting performances, showcase Oswald's unique visual flair.
Another visually striking episode is "The Case of the Glittering Goldfish," which opens with dramatic silhouettes, chiaroscuro, and distorted imagery, eschewing character faces for expressionistic close-ups. The introduction of a character via off-screen dialogue before the camera reveals them further adds to the episode's distinctiveness, reminiscent of films like "The Lady from Shanghai." The episode also features a scene-stealing performance from Cecil Kellaway, who, despite the script, spends his entire role inebriated.
The Unsung Heroes: Background Regulars and Guest Stars
Beyond the main cast, a crucial element of Perry Mason's world was its roster of background regulars and semi-regulars. While Hamilton Burger typically served as the District Attorney, judges rotated among a consistent group of actors, often unnamed but recognizable. Figures like S. John Launer, Kenneth MacDonald, Willis Bouchey, Morris Ankrum, John Gaulladet, and Grandon Rhodes made frequent appearances. George E. Stone, the bespectacled court clerk, was a familiar face, receiving credit primarily when he had spoken lines. Charles Stroud and Jack Gargan also frequently portrayed this role, as did the court reporter, Paul B. Kennedy, who earned three credits in the third season for reading testimony.
Connie Cezan appeared as Perry's receptionist, Gertie, a ditzy Brooklynite. Sgt. Brice, Lt. Tragg's right-hand man, was consistently played by Lee Miller, though occasionally by other actors. Various coroners provided medical testimony, with Michael Fox being the most frequent, often credited as Dr. Hoxie despite generic "Autopsy Surgeon" credits. Other actors, such as Pitt Herbert, also appeared in medical roles, highlighting the fluid nature of background casting.
While Perry Mason featured large guest casts, it eschewed the all-star casting approach of shows like Murder, She Wrote. Instead, it provided a platform for character actors, second-stringers, and future stars. Notable guests during the first three seasons included Angie Dickinson, Darryl Hickman, William Schallert, Cyril Delevanti, Barbara Eden, Malcolm Atterbury, Francis Bavier, Sarah Selby, Nancy Gates, Whit Bissell, Doris Singleton, Minerva Urecal, Carl Betz, L.Q. Jones, Carl Benton Reid, Shepperd Strudwick, Dabbs Greer, Jeanette Nolan, Denver Pyle, Claude Akins, Werner Klemperer, Marie Windsor, Johnny Mack Brown, Ruta Lee, Charles Lane, Yvonne Craig, Fay Wray, Ann Doran, Nancy Kulp, Bruce Bennett, Heather Angel, Eduardo Ciannelli, Nita Talbot, Elisha Cook Jr., Barbara Luna, Max Showalter, Jesse White, Edgar Buchanan, Mel Blanc (voicing a parrot!), Barton MacLane, Hugh Marlowe, Marion Ross, Benson Fong, John Agar, Raymond Bailey, Dick Foran, R.G. Armstrong, Ellen Corby, Mala Powers, Betsy Jones-Moreland, George Takei, Arthur Franz, Jacqueline Scott, Madlyn Rhue, Simon Oakland, Bethel Leslie, Jeanne Cooper, Marshall Thompson, Dennis Patrick, J. Pat OâMalley, Barbara Bain, Beverly Garland, Louise Fletcher, Norman Fell, Allison Hayes, H.M. Wynant, Elvia Allman, Bert Convy, Edward Platt, and Francis X. Bushman. The clarity of these filmed episodes, likely due to digital restoration, surpassed their original broadcast quality on 1960s televisions.
Raymond Burr: More Than Just Perry Mason
Raymond Burr's dedication to his craft was profound, even as he battled cancer during the filming of the final Perry Mason episodes in 1993, a fact largely unknown to his colleagues. Biographer Michael Seth Starr notes that secrecy was second nature to Burr, who became a household name through the original Perry Mason (1956-1966) and later starred in "Ironside" (1967-1975). His carefully guarded personal life, including a brief marriage and fabricated family details, was a strategy to protect his career in an era less accepting of homosexuality. He met his life companion, Robert Benevides, in 1957 on the set of Perry Mason.
Burr's imposing physical presence, often described as six feet six inches, cast a formidable shadow, yet his demeanor was often refined. He was known for his powerful breathing, intense gaze, and a firm handshake that belied his stature. As Perry Mason celebrated its 30th anniversary, Burr, then 69, was still actively involved in television, participating in "Unsolved Mysteries." His appearance in Tulsa for the show involved filming segments on four unsolved cases, including the Roger Wheeler shooting, which revealed a connection to Jai-Alai.
Burr found gratification in communicating with a global audience through his work, believing he possessed a unique ability to connect with viewers of all ages and backgrounds. He noted that his portrayal of Perry Mason began in 1956, with the character in constant legal battle with District Attorney Hamilton Burger. Mason's signature vehicle, a Thunderbird convertible, remained consistent even in the revival series, which he described as a two-hour show where Mason had become a judge before resigning to defend Della Street.
The original Perry Mason series achieved international acclaim, airing in numerous countries, with the exception of France, where it was banned for conflicting with the Napoleonic criminal code. Burr expressed his appreciation for the warmth received from audiences worldwide, viewing his work as a reciprocal exchange of respect. He also demonstrated a preference for engaging with audiences beyond formal courtroom settings, opting for dinner with friends over being photographed in courtrooms.
From Novels to Screen: The Evolution of Perry Mason
The character of Perry Mason, first introduced in Erle Stanley Gardner's novels, underwent significant evolution, particularly in comparison to his television portrayal. While the early seasons of the TV series possessed a noir aesthetic, Raymond Burr's Mason remained a gentlemanly figure, reserving his assertive qualities for recalcitrant clients and courtroom confrontations. In contrast, the literary Mason, as depicted in "The Case of the Counterfeit Eye" (1935), is presented as more urbane yet capable of toughness, akin to Dashiell Hammett's Sam Spade. He is portrayed as intelligent, a schemer, and a formidable opponent who manipulates the law while standing firm against intimidation.
Mason's literary endeavors are aided by his loyal companions: private investigator Paul Drake and the exceptional legal secretary Della Street. In "The Case of the Counterfeit Eye," Della is described as a 1935 equivalent of a modern search engine, possessing sass and poetic depth. The novel introduces three distinct clients: Peter Brunold, whose stolen glass eye raises concerns of it being found at a crime scene; Harry McClane, who embezzled funds and whose sister Bertha seeks Mason's intercession; and Sylvia Basset, Harry's wife, who wishes to escape a difficult marriage.
The narrative further complicates with the introduction of Sylvia's son, Dick, and his wife Hazel, who is attacked by an intruder. This leads to the discovery of Harley Basset's murder, with multiple weapons present and an object clutched in his hand. Unraveling the connections between these clients forms a key part of the story's intricate plot. Mason's methods, often involving disguises, such as posing as a window washer with Paul Drake to interview a witness, highlight his unconventional approach.
Interestingly, "The Case of the Counterfeit Eye" marks the first appearance of District Attorney Hamilton Burger, who is depicted as elegant and composed, a stark contrast to the exasperated character portrayed by William Talman in the series. The novel also includes a second murder, intensifying the pressure on Mason and showcasing his ability to manipulate both the DA and the police. While the pacing is generally brisk, the courtroom scenes in the novel occasionally slow down, with Burger presenting expert witnesses to establish the crime's details and motive. The novel delves into the intricacies of fake eyeballs, a detail that ultimately aids Mason in solving the case.
A potential drawback for viewers familiar with the TV series is the predictability of the killer's identity, as a significant percentage of TV murderers fall into a recognizable category. However, the novel's true appeal lies in observing Mason's elaborate schemes and strategic maneuvers rather than solely the whodunit aspect.
Production and Legacy
The Perry Mason series, which aired on CBS from 1957 to 1966, was a pioneering one-hour weekly program filmed for television. It remains one of the longest-running and most successful legal dramas. The show garnered critical acclaim, including a Primetime Emmy Award nomination for Outstanding Dramatic Series in its first season, and quickly became one of the top five most popular shows. Raymond Burr received two Emmy Awards for Outstanding Lead Actor in a Drama Series, and Barbara Hale earned an Emmy for Outstanding Supporting Actress for her role as Della Street. Perry Mason and Burr were also recognized in the initial TV Guide Award readers' polls.
The series has continued to be broadcast in syndication both domestically and internationally. The complete series has been released on DVD. A 1973 revival, "The New Perry Mason," with a different cast, was short-lived, running for only 15 episodes. However, Raymond Burr's return to the role in a successful series of television films for NBC, beginning in 1985, resulted in 30 films, with Burr starring in 26 before his passing in 1993.
In a typical episode, Mason, a distinguished criminal defense lawyer in Los Angeles, represents clients often wrongly accused of murder. He is ably supported by Della Street and Paul Drake. The prosecution is usually led by Hamilton Burger, though local district attorneys handle cases outside Los Angeles County. Lt. Arthur Tragg often spearheads the police investigation in the early seasons. The narrative typically introduces a client, sometimes through non-murder related business, followed by the introduction of the prospective victim and other key figures. The client is then wrongly accused, leading to the courtroom confrontations between Mason and Burger, usually during preliminary hearings, as Mason's strategy is to achieve acquittal before a trial.
Jury trials are rare, with "The Case of the Terrified Typist" being an exception. As proceedings advance, Burger and Tragg may uncover new evidence, but Mason's team continues their parallel investigation, eventually uncovering a crucial detail, a new interpretation of evidence, or a remark that leads Mason to the real killer.
Key supporting characters include Paul Drake, owner of the Paul Drake Detective Agency, located in the same building as Mason's practice. Hamilton Burger, the district attorney, was absent for parts of seasons 3 and 4. Lt. Arthur Tragg, a police homicide detective, appeared in most episodes of the early seasons, with his appearances decreasing in later seasons due to illness. Lt. Lieutenant Steve Drumm replaced Wesley Lau as the lead police detective in the final season. Sgt. Ben Landro, played by Mort Mills, represented the law in remote crime scenes outside Lt. Tragg's jurisdiction. Sgt. Brice, played by Lee Miller, often accompanied Tragg, Anderson, or Drumm. Terrance Clay, owner of Clay's Grill, was a regular gathering spot in the final season. Gertrude "Gertie" Lade, Mason's receptionist, was played by Connie Cezon. Paul Fix portrayed rural district attorney Jonathan Hale. David Gideon, an eager law student, occasionally assisted Perry. The court clerk, played by Jack Harris, Jack Gargan, and George E. Stone, handled exhibits and called witnesses. A rotating pool of judges, including S. John Launer and Kenneth MacDonald, presided over cases, often referred to simply as "Your Honor."
Erle Stanley Gardner's prolific literary output provided the foundation for many episodes. Of the 69 Perry Mason novels published before January 1963, only two were not adapted for the series. While many early episodes were based on Gardner's stories, the writing team also developed original material. Director Ted Post's pilot film, "The Case of the Moth-Eaten Mink," was noted for its noir stylings, which were subsequently softened in later episodes. Gardner himself expressed pride in Gail Patrick Jackson's role in shaping the series, particularly her vision for Raymond Burr's portrayal of Mason.