This second episode of the fledgling HARRY O series is engaging and entertaining, even if not as good or imaginative as its predecessor "Gertrude," which owed much of its charm to the presence of cute and quirky Julie Sommars. "The Admiral's Lady" lacks such an endearing eccentric, and turns to more tried and true tropes of the television mystery drama: missing wife believed to be dead, a troubled May-December marriage (aren't they all?), the tall and taciturn husband who would rather fire Harry than reveal uncomfortable truths about his relationship, red herrings (cue the handsome tennis pro), a crazed killer closing in on his victim, whom the hero of course leaves alone and vulnerable just long enough to heighten the suspense, and on and on. We've seen it all before, but David Janssen, Leif Erickson, and John McMartin manage to make it all compelling television.
Seeing Leif Erickson and Henry Darrow in the opening credits sparked excitement and the promise of a reunion of two stars of THE HIGH CHAPARRAL, the 1967-71 Western. But the powers that be inexplicably decided against their ever sharing a scene. A perfect one would have been on the beach where Erickson clutches the life preserver and refuses to accept Sgt. Garvey's gloomy prognosis. Darrow's Lt. Quinlan could have played Charles Haid's role there and made the scene even stronger.
And speaking of erstwhile castmates, Stacy Keach, Sr. and Ellen Weston were both recurring characters on GET SMART. Keach merits but one short scene as a doorman, but Weston is given generous screen time as the alluring Mrs. Lucas, bored and beautiful wife of a traveling businessman whose bikini-clad body attracts the attentions of dashing Jordan Briggs . . . to her peril.
John McMartin played Briggs, the villain of the piece. He didn't look or act like an unhinged killer, which made the reveal all the more effective and shocking. A year earlier McMartin played a church pastor on THE BOB NEWHART SHOW, and like his near-lookalike Monte Markham proves himself equally adept at playing guys both nasty and nice. As much as this story relied on tried and true tropes, the motivation for Briggs' killing spree was imaginative and a reversal of expectations (even Harry leapt to the wrong conclusion).
In fact, when Harry is questioning Mrs. Briggs and she asks whether she needs go into sordid detail, Harry says, no, you've been very helpful, and then just hangs up on her. Not one for goodbyes, it seems, he hangs up on a lot of people or just walks away when they're still speaking to him. I see such anti-social behavior described as Harry's "curmudgeonly charm," but it's really just rude.
HARRY O debuted the same 1974-75 season as THE ROCKFORD FILES. Why did Garner's series enjoy five seasons and Janssen's only two? There are similarities between Harry Orwell and Jim Rockford--shabby living quarters on the sea, a rough-around-the-edges business model, a love-hate relationship with the local police. But Jim Rockford is a nice guy, one you'd enjoy shooting the bull with over a burrito at the Beach Café. Harry is not. He's proved himself incapable of carrying a conversation ("I can't follow your sequiturs," groused Gertrude last episode) and is often lacking in compassion (and what he does possess, evident in, for example, "Elegy for a Cop," he is incapable of articulating or showing in a normal, meaningful manner). I enjoy watching Harry's adventures, but I haven't warmed to the character like I have to Jim Rockford. And I wonder if Harry's coldness contributed to the show's short run.
The episode closes with Harry sitting on the beach reading Rudyard Kipling, even reciting a passage from "Recessional." I agreed with the Admiral--Harry doesn't strike one as a reader of the classics. It was an out-of-character moment, but it made for a good closing to a good story.
Seeing Leif Erickson and Henry Darrow in the opening credits sparked excitement and the promise of a reunion of two stars of THE HIGH CHAPARRAL, the 1967-71 Western. But the powers that be inexplicably decided against their ever sharing a scene. A perfect one would have been on the beach where Erickson clutches the life preserver and refuses to accept Sgt. Garvey's gloomy prognosis. Darrow's Lt. Quinlan could have played Charles Haid's role there and made the scene even stronger.
And speaking of erstwhile castmates, Stacy Keach, Sr. and Ellen Weston were both recurring characters on GET SMART. Keach merits but one short scene as a doorman, but Weston is given generous screen time as the alluring Mrs. Lucas, bored and beautiful wife of a traveling businessman whose bikini-clad body attracts the attentions of dashing Jordan Briggs . . . to her peril.
John McMartin played Briggs, the villain of the piece. He didn't look or act like an unhinged killer, which made the reveal all the more effective and shocking. A year earlier McMartin played a church pastor on THE BOB NEWHART SHOW, and like his near-lookalike Monte Markham proves himself equally adept at playing guys both nasty and nice. As much as this story relied on tried and true tropes, the motivation for Briggs' killing spree was imaginative and a reversal of expectations (even Harry leapt to the wrong conclusion).
In fact, when Harry is questioning Mrs. Briggs and she asks whether she needs go into sordid detail, Harry says, no, you've been very helpful, and then just hangs up on her. Not one for goodbyes, it seems, he hangs up on a lot of people or just walks away when they're still speaking to him. I see such anti-social behavior described as Harry's "curmudgeonly charm," but it's really just rude.
HARRY O debuted the same 1974-75 season as THE ROCKFORD FILES. Why did Garner's series enjoy five seasons and Janssen's only two? There are similarities between Harry Orwell and Jim Rockford--shabby living quarters on the sea, a rough-around-the-edges business model, a love-hate relationship with the local police. But Jim Rockford is a nice guy, one you'd enjoy shooting the bull with over a burrito at the Beach Café. Harry is not. He's proved himself incapable of carrying a conversation ("I can't follow your sequiturs," groused Gertrude last episode) and is often lacking in compassion (and what he does possess, evident in, for example, "Elegy for a Cop," he is incapable of articulating or showing in a normal, meaningful manner). I enjoy watching Harry's adventures, but I haven't warmed to the character like I have to Jim Rockford. And I wonder if Harry's coldness contributed to the show's short run.
The episode closes with Harry sitting on the beach reading Rudyard Kipling, even reciting a passage from "Recessional." I agreed with the Admiral--Harry doesn't strike one as a reader of the classics. It was an out-of-character moment, but it made for a good closing to a good story.