The Welsh Raging Bull
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Calificación de The Welsh Raging Bull
The effervescent Patrick McGoohan plays a Columbo murderer for the third time (and does a directorial turn to boot), as he depicts the hitherto untouchable lawyer, Oscar Finch, whose past comes back to haunt him in the form a notorious racketeer, Frank Staplin, who threatens to expose a 21 year old scandal in which Finch bribed the District Attorney at the time, Paul Mackey (who is now running for Vice President) to discard vital evidence that would have had severe consequences for Staplin.
McGoohan's performance deservedly won him an Emmy - McGoohan encapsulates the "charm" of a Columbo villain effortlessly with a crisp, precise and purposeful portrayal, tinged with a mild eccentricity, ensuring that his scenes with Falk have a razor-sharp entertainment value.
The script-writer, Jeffrey Bloom, also ensures that the vital commodity of humour is inserted at several well-timed moments in this TV movie, and like the 1973 episode from the original Columbo series "Candiadate for Crime", Columbo's intrusions with key personnel become increasingly antagonising as the presidential campaign reaches it's climax.
Satisfying as a whole, the episode is really only guilty of losing some its initial zest and pace around its mid-section when some of the investigation becomes a little drawn-out as the discussion of the clues becomes deliberately selective and individualised.
The resolution is totally unexpected and it astounds the murderer and viewer in equal measure: a devilishly clever element to a largely solid, well-made adventure for Columbo, which is probably one of the most polished stories of Columbo's latter-day movies.
McGoohan's performance deservedly won him an Emmy - McGoohan encapsulates the "charm" of a Columbo villain effortlessly with a crisp, precise and purposeful portrayal, tinged with a mild eccentricity, ensuring that his scenes with Falk have a razor-sharp entertainment value.
The script-writer, Jeffrey Bloom, also ensures that the vital commodity of humour is inserted at several well-timed moments in this TV movie, and like the 1973 episode from the original Columbo series "Candiadate for Crime", Columbo's intrusions with key personnel become increasingly antagonising as the presidential campaign reaches it's climax.
Satisfying as a whole, the episode is really only guilty of losing some its initial zest and pace around its mid-section when some of the investigation becomes a little drawn-out as the discussion of the clues becomes deliberately selective and individualised.
The resolution is totally unexpected and it astounds the murderer and viewer in equal measure: a devilishly clever element to a largely solid, well-made adventure for Columbo, which is probably one of the most polished stories of Columbo's latter-day movies.
The ambitious lover and chief assistant to a top TV network programmer exacts murderous revenge when he gets promoted to a high-profile New York post and decides that she has not had enough experience to accompany him in that job.
Quite a freshly plotted Columbo episode considering it was made at the tail-end of the original series; it features quite an engaging and gritty performance from Trish Van Devere as the murderess who is very good at exhibiting her character's misfiring and impatient ambition.
The plot is cleverly and systematically developed: the murderess's grip on the prize job she temporarily acquire's after her lover's demise is dramatically loosened by the ironically erratic decision-making that her lover alluded to prior to his death, in line with the other harassment of Columbo's increasingly revealing investigation.
The main weakness of this Columbo adventure is that it wreaks of padding to satisfy a 120 minute slot - it could easily have been done in 90 minutes: the plot is bloated with prolonged scenes that add no value to the story, particularly the misjudged sub-plot involving a trouble-stricken actress on a TV show.
The circumstantial clues stack up against the murderess quite entertainingly and many of Columbo's intuitive observations are of a reassuringly high-standard, but the murder weapon scenario is rather unconvincing to say the least.
A Columbo story that probably would have had a higher mark but for its damaging protractedness; nevertheless, a story that is not without its merits.
Quite a freshly plotted Columbo episode considering it was made at the tail-end of the original series; it features quite an engaging and gritty performance from Trish Van Devere as the murderess who is very good at exhibiting her character's misfiring and impatient ambition.
The plot is cleverly and systematically developed: the murderess's grip on the prize job she temporarily acquire's after her lover's demise is dramatically loosened by the ironically erratic decision-making that her lover alluded to prior to his death, in line with the other harassment of Columbo's increasingly revealing investigation.
The main weakness of this Columbo adventure is that it wreaks of padding to satisfy a 120 minute slot - it could easily have been done in 90 minutes: the plot is bloated with prolonged scenes that add no value to the story, particularly the misjudged sub-plot involving a trouble-stricken actress on a TV show.
The circumstantial clues stack up against the murderess quite entertainingly and many of Columbo's intuitive observations are of a reassuringly high-standard, but the murder weapon scenario is rather unconvincing to say the least.
A Columbo story that probably would have had a higher mark but for its damaging protractedness; nevertheless, a story that is not without its merits.
