Perry Mason: The Case of the Killer Kiss

This final film of Raymond Burr finds Burr as Perry Mason defending a soap opera star, Genie Francis, who is accused of murdering her arrogant co-star who was having her character put into a coma and effectively out of the show. The kicker is that her contract would have prevented her from seeking work elsewhere. Of course the victim, Sean Kanan was doing these kinds of things any number of others are prime candidates as a potential killer.

The title Perry Mason: The Case of the Killer Kiss stems from how the victim died. Seems as though he was allergic to walnuts so a script calling for him to plant one on Genie Francis was given him and her lipstick given some walnut oil. Then his allergy medicine was spiked with enough to put him into anaphelaptic shock. Effective indeed.

The Case of the Killer Kiss follows the usual Mason formula, but the real story here is that the film was made at all. Knowing that the series rose and fell with him, Burr signed for the season knowing how ill he was, but also knowing that NBC would have to make the rest of the season quota somehow or pay Barbara Hale and William R. Moses in any event. Hence the 'Perry Mason' movies with Paul Sorvino and Hal Holbrook that followed.

A lot of the footage involving Burr was filmed with him seated or in rear projections or behind something he could lean on, all to disguise the pain he must have been enduring in making The Case of the Killer Kiss. But it was completed and gave Hale and Moses some additional work because of the contract.

I always thought that was one of the classiest things I'd ever read about anyone in show business. I wish that The Case of the Killer Kiss was as worthy of Raymond Burr as The Misfits was for Clark Gable or The Shootist for John Wayne. Still, I suppose just doing the character for which he was most known and loved for is in itself a great tribute.

If you know the opera "Cosi fan tutte" (music by Mozart, text by Lorenzo da Ponte) you will appreciate the theme here: a cheesy, overemotional soap-opera-type script about cheesy, overemotional soap-opera-type actors on the set of a cheesy soap-opera production. An obvious cardboard stage-drama about an obvious cardboard stage-drama, but it feels so real to the characters in it. Raymond Burr's ponderous, exaggerated gravitas is hilarious. He must have been giggling the whole time, making his character take the silly story about silly actors in a silly story so seriously.

Side note: Raymond Burr, clearly quite ill, seems to have some kind of tremor in his right hand. You can see in the final court scene, in one shot he's making a tight fist in a not-entirely-successful effort to stop his hand trembling, in the next shot, his arms are folded, concealing the hand altogether. I wasn't aware that he had this.

The Perry Mason TV movies that ran from 1985 to 1993 were not always as good as they could have been, thanks to the formulaic scripts, and the reliance on cases that involved celebrities of some kind, which made them even more repetitive. But they were always entertaining, and Raymond Burr and Barbara Hale's characterisations as Mason and Della Street developed nicely as the series went on, and along the way we get to find out more about them than we ever did in the 271 episodes of the original TV series. The penultimate TV movie, the Telltale Talkshow Host, ends with a poignant kiss between Mason and Della, suggesting a romantic relationship of some kind, and this would probably have been developed slowly but surely had Burr lived. Sadly, though, he only made one more appearance, and that was in the Case of the Killer Kiss.

This is one of the worst of the series - if not THE worse. The acting seems to mirror that of the daytime soap opera at the heart of the story, and the writing is little better, although the motive for murder is more complex than normal. Burr was so ill on set that he is always seen sitting or leaning on something - a double is used on the one occasion he is seen walking. It is such a shame that he put such effort into a script that is so poor. Even Burr himself seems to struggle to deliver his cliched and repetitive lines with any enthusiasm. The Perry Mason series were always, even at their worst, watchable, but this final episode pushes the viewer's patience to the limit in that regard. It is notable only for Burr's final screen appearance and the inflated role for Della Street - again, probably a result of Burr being ill. A testiment to Burr's professionalism and love for the character, but otherwise a sad final bow for both him and Perry Mason - both of which were extremely classy gentlemen.

On the set of a popular daytime soap opera 'Mile High', actress Kris Buckner is being forced off by co-star Mark Stratton. When she says that she'll 'kill him before she leaves the show', she makes herself the prime suspect when Stratton is murdered by someone poisoning him. As an old friend, Perry Mason comes to the help of Kris and agrees to defend her. Meanwhile Ken goes in search of information with the help of fan of the show.

Despite suffering from Liver cancer, Raymond Burr, who visibly looked ill, delivers his typical grand performance, doing what he does best - helping the daughter of his friends' daughter. Genie Francis plays the suspect who is accused of placing walnut oil in the victim's allergy kit. It's a fun episode, mainly due to the back drop of the TV soap world.

Raymond Burr makes his final appearance as Perry Mason in this film. Mason finds his hands full in a case involving actors in a soap opera and a very unusual murder weapon. Featured in the guest cast are several popular daytime performers including Genie Francis as the framed defendant. Burr, as always is above reproach as Mason. Though not among the series best, there does appear to have been an effort to break the mold a bit, with a little more jeopardy for Mason's legman, Ken Malansky.