A Lei de Burke

I have just purchased the complete first season DVD of "Burke's Law". It was so good that I immediately wanted to get the second season only to find it is not yet available. Produced in 1963/4 by the highly creative Aaron Spelling, So far as memory serves me it has never aired in the UK & certainly not since colour TV was developed in the late 1960's. An old-fashioned murder mystery series of the "whodunit" variety, it boasts a tremendous cast list & is exceptionally entertaining. Suave & debonair, cool-as-a-cucumber Gene Barry is great in the title role. Having now sat through and watched every season 1 episode it seems that Mr. Spelling believed in making a show as glamorous as possible in both locations & women. When off duty, usually at the start or finish of an episode, Amos Burke (Mr. Barry) gets to kiss some of the most gorgeous ladies in Hollywood at that time. Young starlet Mary Ann Mobley (who had one of the loveliest faces I ever saw in my life), Elizabeth Macrae, Debra Paget, Janice Rule, Francine York, Charlene Holt, Elizabeth Allen & Elaine Stewart. He never got to kiss Tina Louise (aw shucks, ain't life a bitch?.) Anyway, nice work if you can get it. To whom it may concern, PLEASE make seasons 2 & 3 available!.

I never heard of this until 9 years ago and saw an episode posted on the Internet Archive and it was described as being the episode bumped to the following week because it was to air the night of the Kennedy assassination. It was interesting enough but I forgot the show and didnt think much of it until I started seeing old movies and Gene Berry started turning up in alot of them in varying roles, The Houston Story (sympathetic bad guy), Naked Alibi (sociopath) and the most memorable for me was the overlooked Samuel Fuller movie, China Gate where he plays an antihero mercenary (also Nat King Cole acted great and its the best thing I ever saw Angie Dickinson do).

This show has a really great first two seasons. Amos Burke is a suave and wealthy LA homicide detective. Someone with a sharp eye and quick wit. A welcome change from some of the villains Berry has played in those Noir movies. The stories are interesting with good twists and all had titles begining with "Who killed...."

I loved the format but I guess the ratings were luke warm hence the complete change in storyline to capitalize on the mid 60s secret agent craze. Those episodes lost the charm the first two seasons had. Instead it was lightweight Americanized made for TV James Bond type entertainment. Maybe the writing was still good but the format isn't to my liking. Thpse shows were too common and they were like westerns in the 1950s. On everywhere.

With the benefit of not having nostalgia for this show, I can see it in a modern way and I notice these types of cop shows were fairly unique then and still so now. If they thought to set Burkes Law in Hawaii, there may never have been a Steve McGarratt or Hawaii Five-O or Amos Burke-Secret Agent.

The 64 black and white hour-long episodes of "Burke's Law" were originally broadcast from 1963-65 on ABC. The show then morphed into "Amos Burke, Secret Agent" for another 17 episodes during the 1965-66 season. And one episode "Who Killed the Jackpot" served as the introduction of the "Honey West" characters played by Anne Francis and John Ericson. Gene Barry played police captain Amos Burke, who headed up homicide while maintaining a lavish lifestyle; not because he was on the take but because he was already extremely rich and was just working for whatever intrinsic value the job provided. This was the main hook or novelty of the show, which was a weekly showcase of his lavish lifestyle (chauffeured limo with fully stocked bar, mansion, and a host of gorgeous women clamoring for his affections).

Although technically a mystery-adventure series there was a significant comedy element generated by the reactions of his detectives and his superior to Burke's displays of wealth and indulgence.

Barry was perfectly cast as the suave and sophisticated working playboy. Unfortunately the supporting cast was quite marginal and the writers never developed these secondary characters beyond the most superficial level. But this did allow room to showcase a multitude of guest stars and like "The Wild Wild West" many of these were Hollywood's hottest starlets. Especially memorable was former Miss America Mary Ann Mobley whose unexpected chemistry with Barry led to multiple appearances during the course of the series.

Unlike "Columbo", the series withheld the identity of the killer from viewers until the end although it was not disclosed in the standard "Murder She Wrote" moment of revelation. The huge popularity of "James Bond" and "The Man From UNCLE" caused producer Aaron Spelling to introduce a secret agent formula into the final season. Unfortunately what had been a unique cop show became just another silly spy series and it expired after just half a season.

Then again, what do I know? I'm only a child.

I would love to run across the "Archive of Television" interview series that explains just what they were thinking when the eventually legendary Aaron Spelling and company put this together for the fall, 1963, television season. It had been back-door piloted two years earlier in the DICK POWELL THEATER anthology series, but Powell was a 1950's noire tough-guy actor while this series presented the most suave, debonair actor on weekly television, Gene Barry. The thinking seems to have been to take the venerable fantasy of the "whodunnit" and modernize it in the most smart, up-to-date style with generous helpings of contemporary American TV wit surmounted by gobs of Camelot-era glitz and glam.

Not only were the likes of doughty Miss Jane Marple or fussy Hercule Poirot updated to a smooth, handsome lady-killer in a perpetual tuxedo who was designed to make James Bond envious, but the protagonist police detective was the heir to a fortune of at least seven million dollars (probably more like 70 in today's money) and except for his job, fully lived the dream, complete with Hollywood mansion, extravagant chauffeur-driven luxury sedan, and what might be the largest (or at least one of the most appealing) retinue of sex-starved babes in the history of television. And although in the better episodes they did manage to hit some of the better heights of weekly television drama, mostly the emphasis was pretty lightweight, focusing in perhaps equal parts on light humor and action.

With that much to contemplate the reviewer knows scarcely where to begin. Under the circumstances, then, maybe it would be best to begin at the beginning. I first saw this show at about age 11, and I can't remember now just what all appealed to me about it so strongly then, except for one thing: the most curvaceous, most gorgeous thing I'd ever seen in one whole decade of living, and of course I'm referring to Burke's Rolls-Royce Silver Cloud sedan. This car was practically a character in the show. Probably never in the history of television has an automobile been so strongly emphasized - not even Don Johnson's or Tom Selleck's Ferraris; not even, of all things, the Batmobile (the only exception that comes to mind would be shows where the car explicitly was a character, such as in Knight Rider or My Mother The Car - but I digress). Shot after shot was set up to emphasize it. It even had its own theme music (which was the big, bold, brassy jazz theme song of the show itself, and nothing could have been better - surely, the composer was looking at footage of the car doing its thing as he worked).

The idea seems to have been not only to continuously rub the protagonist's sumptuous fantasy lifestyle into the viewers' eyeballs, but in fact the car actually functioned as the unifying element in the plot development of the episodes. While in the traditional whodunnit the various suspect characters are typically united by geography - e.g., they are all together in an English country house during a gale, or on a Nile River excursion steamer, or the fabled Orient Express passenger train caught snowbound in the Balkans outback - here, in the car-crazy culture of early 1960's Southern California, it is this regal motor vehicle which takes the detective to the crime scene and then back and forth among the characters as he puts the pieces together to solve the case, often finding cause to interview them while riding inside of it (especially if they are female and under 35; on one occasion, when guest-star Elsa Lanchester didn't quite fit that formula, the interview occurred afoot during a stroll down a country road with the car following prominently behind in full view for several minutes' screen time). Councils of war among the hero and his staff are regularly held within it; and moreover every episode's opening credits begin with Amos Burke and his Filipino man-servant, Henry, rushing in classic action-hero form to the car while the rousing, booming, boisterous opening notes of the theme crank up in perfect synchronization to the car's emergence from the driveway, and every show's ending credits roll with a shot of it parked once again back in the circular drive in front of Burke's mansion, dutifully awaiting its next foray into the world of criminal detection.

And that leads us to the part I could not appreciate quite so well at 11 as I could later. As one might have guessed by now, the pre-credits teaser of every show naturally features our hero right smack in the middle of romancing some comely female, only to be interrupted by the obligatory dreaded telephone call summoning him to yet another inevitable crime scene. This was one of these shows where a large cast of name-brand guest stars was required every week, and the litany of the actors who appeared would probably look like an early-1960's Hollywood telephone book. In particular, probably never was any show so heavily populated with young television starlets (generally on their way up) which makes this a delight to watch as no amount of Connolly leather upholstery and sheet metal under thirty coats of hand-polished paintjob ever could. A partial list (simply from memory) includes such luminaries as Elizabeth Montgomery (can you imagine her playing high on Absinthe?), Barbara Eden, Lola Albright, Nancy Kovack, Zza Zza Gabor, Eva Gabor, Annette Funicello, Anne Francis, Debra Paget, Suzy Parker, Antoinette Bower, Glynis Johns, Jill Haworth, Nancy Sinatra, Dana Wynter, Dawn Wells, Tina Louise, Dina Merrill, Carolyn Jones, Jill St. John, Jayne Mansfield . . . And if somebody a little more grown up is to your taste, there was also Ida Lupino, Gloria Grahame, June Allyson, Ruth Roman, and even Vera Miles, Mary Astor, Dorothy Lamour, and Gloria Swanson . . . (and I imagine a female reviewer enthused with the period could come up with a list of male guest stars that would amply complement this list; certainly it bulged with well-known comedians and character actors). Probably the only things missing were Linda Evans, Sally Field, and Mary Tyler Moore (but they did manage a cameo of David Niven, of all people).

If this show had any fault it may have been that it was trying to do so many things at the same time that it couldn't expect to do all of hem consistently well every week, and sometimes the dialog just didn't pay off. Moreover, a good bit of true talent was wasted. At times Barry showed hints of a lot of talent that was barely tapped but which would have markedly enriched the show had it been, while veteran co-stars like Regis Toomey and Leon Lontoc were usually badly under-exploited. Lontoc in particular was a very funny natural comic and when actually given something to do never failed to entertain, and it is disappointing that more was not made of the sort of Rochester/Benny relationship his character, Henry the man-Friday, had with Barry's Burke. One supporting actor who was not underused was Gary Conway as the boy-wonder apprentice detective, Tim Tillson, the youthful prodigy who had everything but rank and experience. This also meant that, in order to know every conceivable useful fact in a case and never miss a single trick in checking out leads, and in direct opposition to his own leading-man good looks, he was what nowadays we would call a geek or a nerd, something he pulled off with aplomb (I especially like the time he was grossly disappointed he could not get the evening off because it was the night the grunion were running - true story).

In sum, Burke's Law can be relied upon to offer an always entertaining look back at Kennedy-era cool.

I actually laugh out loud watching this tongue-in-cheek cop show. It never took itself seriously and the guest stars loved hamming it up. A long list of Silver Age screen stars and future T.V. stars kept things moving at a brisk pace. Many you'll recognize just before they became TV', most famous stars. William Shatner, Elizabeth Montgomery, and many others. It even took pot-shots at it's own formula. For example in one episode the culprit makes a dash for the stairs to escape and is admonished by Amos Burke as 'Not that old cliché" or lines like "You've been watching too many cop shows on TV." A revival was attempted in 1984 but didn't hit all the right notes. Sexist by today's standards in the way Burke treated his lady friends, but it was a product of it's time. But of course if Burke ever became serious that would take away from his duties which Burke took very seriously. They couldn't make the show today without taking away it's dated charm. Don't forget Captain Amos Burke (Gene Barry) could SING too.