Show48

A fascinating article about this particular episode, one of my favorites, appeared in a magazine on 2/21/59. The article details the events on the final day of shooting. To read it, see here. Submitted by billp, 6/11/11.

Thanks to billp for linking above the wonderful Dan Jenkins article about the final day of shooting this episode. There are many great details for PM fans. We learn that Assistant Director Morris Harmell had the nickname of Mushy. Also, Raymond Burr notes that since they have a cigarette sponsor, the scripts are full of smoking. After rising prior to 4am, Burr finally drives off in his station wagon after 10pm. Submitted by MikeM, 10/23/2012

Both the summary above and the 1959 TV Guide article linked by billp mention the jailhouse interview scene with Leslie Bethel and Raymond Burr. The scene is a quiet tour-de-force. It was done as a single shot running about 2:15 and required the most exacting actor's skills of memorization, timing and nuance. The fact that it was done with minimal rehearsal and in one take (per TV Guide) is mind-boggling. The fact that they shot no coverage (alternate takes, reverse angle close-ups) shows enormous confidence (and a crazy busy production schedule.) The scene was extremely well written, with memorable lines. ("Now listen, Mrs. Gerard: the police are very efficient; you'd be surprised with what they can do with a handful of ashes".) The camera set up is striking as well. It's shot from behind with Burr's back to the camera; midway through, he turns and plays the scene in profile. There is another fine scene earlier on, right before the murder victim is discovered, in which Perry, Paul and Della discuss Mrs. Girard. Perry steps into the foreground, which is not lit, and delivers his lines from the shadows. It's the perfect, ominous lead in to the discovery of the body, which is yet another great scene - Girard appears to studying an art book with his creepy grin. OldDave, 7/24/2020.

Is there any other Perry Mason episode where the title (or at least the part after "The Case of the...") is mentioned so many times during the episode? Submitted by Wiseguy70005, 8/02/12.
+ The Weary Watchdog was mentioned a # of times also, but PW may have had more script references. Mike Bedard 6.7.16 MeTV viewing.

Although I could find no concrete evidence, it would appear that actor Rhys Williams required the use of a cane in real life. Of the four appearances of his I have on DVD [Perry Mason (1958), The Wild Wild West (1966), Mission: Impossible (1967) and Mannix (1969)], in what would seem to be too great a coincidence, all four characters required the use of a cane. Indeed, in the Mannix appearance, which aired less than three months before his death, his character was seen sitting most of the time, and when walking away near the end of the episode, used a cane in each hand. Submitted by Wiseguy70005, 9/16/13.

Why does Milo ring the doorbell of his own house? And how was he killed? If stabbed with the scissors, wouldn’t they have the killer’s fingerprints? I really like the direction of this episode - a lot of close-in, low level shots. I especially like the scene in Perry’s office with Aaron Hubble. After questioning by Burger, Doris is excused from the stand without Perry being given a chance to cross examine. One of the downsides of any episode set in the art world is all that bad art we have to look at. In the scene with Hubble in Perry’s office, we get a rare view of the back wall showing the bookcase with the tripod bowls DOD 07/07/19
+Agreed! Robert H. Harris sitting in Perry's chair, uninvited, is priceless. BTW, the murder weapon isn't the scissors, it's Girard's "favorite figurine". Mrs. Girard explains in the jailhouse scene that she picked it up in Girard's office before she realized he was dead. Although it is not explicitly stated in the scene, she must be trying to explain to Perry how her prints were found on the murder weapon. Hamilton notes in court that Mrs. Girard's fingerprints were on the murder weapon (without mentioning what the weapon was.) OldDave 7/24/2020

A guest appearance by Robert H. Harris usually means the viewer can "enjoy" actorial ham by the heaping plateful. As disreputable artist/forger Aaron Hubble, Harris does not disappoint those fans looking forward to his scenery-chewing antics. Submitted by BobH, 6 March 2016.

+ A Quantum Leap For Ham: As overdone as Harris can be in Perry Mason, I've just seen him take it further. I bought a DVD set of Staccato (aka Johnny Staccato), a one-season wonder from 1959 starring John Cassavetes as New York's jazz detective. (It's pretty good, actually, shot in gritty New York. It features some of our favorite Mason actors, plus others on the way up.) In the first episode, Harris played the manager of a rock star (Michael Landon) modeled on Elvis's handler Colonel Tom Parker. Not only did Harris wield a broad Southern drawl, he wore a string tie and big Stetson. Sheesh. However, his appearance was mercifully short. JohnK, 24 March 2021.

Once again we have an affluent, childless, unhappily married couple. In this case, the difference in the actor's ages is thirty years. Submitted by 65tosspowertrap, 5-13-2014.

Note the large painting hanging in the entryway of the Girard home. Perhaps in order to get it past the censors, it is far away and slightly out of focus. It is seen in sharp focus for about a second when Hubble leaves and Evelyn enters. Submitted by Alan Smithee, 13 May 2014.
+ The same painting is much more prominently displayed five years later in episode 187. Perhaps censorship standards had relaxed somewhat. Alan Smithee, 13 March 2015.
++ Poor censors! Whenever something is censored, it is they who are over-reacting to some harmless scene or dialog. But then, when the censors actually allow something, they don't get the credit. They only allow something because they didn't notice it or too stupid to see it ("how did THAT get past the censors?"). Although censors can make mistakes just like anyone else, did it ever occur to anyone that they may actually know what they're doing? (Besides, a painting of a woman seen mostly from the rear in the background of a scene doesn't seem too scandalous in the first place.) Submitted by Wiseguy70005, 3/15/15.

I love the ending to this episode. Burger can act like a prickly jerk, but it was magnanimous of him to congratulate Perry. It was classy of Perry to refer to Burger's law journal article and to invite him to sit with them. It shows that although they butt heads in the courtroom they have mutual respect for each other. Submitted by Duffy, 5-13-2014.
+ Agreed! "We'll be happy to do anything to assist counsel that we can," Berger obligingly told Perry in "Curious Bride." There is a time to Contend & a time to Cooperate. Mike Bedard 6.1.16.
++ Hamilton: "A Well-Tried Criminal Case Is A Credit To All Involved: There Is No Winning Or No Losing In The True Administration Of Justice." Chivalry is Not dead; Hamilton showed it in praising Perry & Perry in giving his seat to Hamilton. Mike B. 6.7.16

On the defense side of the gallery sits a gorgeous brunette. And not our Cute Young Lady, I don't believe. She is visible for most of the hearing, but we get a good look at her at 45 minutes on the DVD. Perhaps she was the model for the painting? JohnK, 21 March 2018

The camera shots over the Judge's left shoulder give an interesting Perspective on the courtroom; I also liked Perry's Humility when he said, "you could fool me, but that wouldn't take very much." Did Girard ring the doorbell of his own residence while his wife & the painter were talking? Mike B. 6.7.16.

Staging/ blocking error: Della walks in about 10 minutes in and says "Whats wrong?" Perry says Paul has a theory Mrs. Girard hasn't exactly been honest with us." Then he proceeds to walk too far toward the camera. He goes almost completely into darkness as he talks about a divorce. Eric Cooper 15 Sept 2016

Music: This episode features a particularly gloomy and ominous musical theme which is heard twice: at approximately 4:05, as Rufus Varner is leaving Milo Girard’s office, and again at 12:15, as Milo confronts his wife about some letters he found in her vanity table. The music contributes to the dark and somewhat sinister mood of the episode, which reflects Milo’s personality. Submitted by Dan K, 10/10/17.

When Doris finds Milo dead at his desk he is sitting up and leaning forward. His body doesn't collapse and fall forward until Doris approaches and speaks to him. Very odd behavior for a corpse. Submitted by Kilo 4/7/2018.

The court reporter in the background seems to be recording conversations when no one is talking. This occurs just after the court decides The Purple Lady painting should be produced in court. Also, in the very next scene the court reporter has disappeared, desk and all. Submitted by Kilo 4/7/2018.