This episode first aired February 20, 1968
This episode was adapted from a stage play of the same name adapted from an episode of The Chevy Mystery Show called “Enough Rope” which was based on a short story titled “Dear Corpse Delecti” by writers Richard Levinson and William Link.
Actors Lee J. Cobb and Bing Crosby were offered the role of Columbo but turned it down due to scheduling concerns – specifically, in Crosby’s case, it was the possibility the commitment would interfere with his golf game.
The painting that sits in Dr. Flemming’s reception in this episode will later (presumably be swiped and) make a reappearance as one of the stolen paintings in the episode “Suitable for Framing”.
The climax of this episode takes place in the Stahl House, a modernist home in the Hollywood Hills designed by architect Peter Koenig. It has made appearances in numerous films and t.v. shows including Galaxy Quest and The Simpsons.
“Prescription Murder” was produced as a stand-alone one-off movie and not a television pilot as Columbo creators Levinson and Link, and star Peter Falk, had no interest in committing to a series. All the same, NBC was surprised by the strong ratings and, three years later, would convince the trio to produce a second pilot…
This was an excellent start to the rewatch. It’s been a good long while since I watched this episode and I was pleased with how strongly it all held up. My thoughts in chronological viewing order –
Dug the very 60’s jazz score and the Rorschach-themed opening credits that were, I believe, used once more.
Dr. Flemming’s excuse for leaving his wife is that his patient is having an anxiety attack? What? THAT’S the best excuse he could come up with?
Patio door windows sure were a lot brittler back in the day.
I thought the build-up to the murder was great. And surprisingly graphic for the franchise which would later shy away from such displays of onscreen violence.
My favorite line of this episode comes from the doctor who tells Flemming: “If it’s any consolation, the one thing she said was your name.” Brilliant.
Columbo appears 32 minutes into this movie! His late episode arrivals would become a consistent point of contention for the network.
I like how Columbo just shows up in this guy’s house and lights up without asking. His character is a lot more assertive and a lot less quirky (and less slovenly in appearance) than the version we would all come to know and love, but its interesting to see how Falk refines the role as he truly makes it his own.
We get the first variation of the quintessentially Columbo line: “Just one more thing” in this one.
Did anyone else think Flemming’s secretary looked a lot like his wife? In my case, so much so that I had to check to make sure she wasn’t played by the same actress.
How the hell does Columbo have the extra key to this guy’s home and how can he just let himself in? I understand it was a crime scene, but it’s private property.
Speaking of odd, I can’t attest to police procedures in the old days, but I’m pretty sure that civilians were not usually permitted to sit in on the interrogation of murder suspects.
Loved Flemming referring to Columbo as “a sly little elf” and I thought the scene of the two of them enjoying a hypothetical conversation about a brilliant murderer pretty damn brilliant in its own right.
While I thought certain elements of the ending were very clever, like the fact that Columbo uses a body double to trip up Flemming in parallel to Flemming effectively using a body double of his wife as part of his murder plot, I didn’t find the conclusion wholly satisfying. I thought Flemming’s late act unraveling a little too convenient. I get that it’s set up in the previous office conversation I mentioned, an establishment of hypotheticals that continues here, but it seems to me that Flemming’s dismissal of his former love interest was an uncharacteristically reckless admission and one that just felt a little too plot convenient – given that Columbo’s entire case rested on that confession.
And what exactly was Joan thinking? Presumably she was on the fence about testifying against Flemming and had to be convinced – but what if Flemming hadn’t thrown her under the bus and actually broken down and clearly mourned her death? Would she have just stepped out of hiding and professed her love for him assuming he wouldn’t have minded her setting him up and all would be forgiven?
Or maybe I’m overthinking things and Columbo is simply a sharp judge of character and knew exactly what type of man Flemming was and how he would respond in the situation. But even if I concede this point, I still don’t understand Joan’s reasoning.
Small note, but that ZOOM IN on the face of the female body double who pretended to be Joan’s corpse was unnecessary and confusing. For a couple of seconds there I briefly wondered “Who is that? Am I supposed to know her?”
Okay, casting aside Joan’s complete lack of common sense (but, to be fair, she WAS young), my minor quibble with this episode is an ending that relies on our villain to slip up rather than truly be caught out. Still, I thought this was an exceptionally strong start for the franchise.
So, what did you all think?
[Edit: Adding an addendum to each episode review that includes my thoughts on whether the murderer in the episode will face CONVICTION or ACQUTTAL given the evidence Columbo has gathered at the Gotcha moment. In this case, given the fact that Flemming’s accomplice will actually testify against him, I think it’s safe to assume CONVICTION. But moving forward, I’m sure there will be cases where we’ll disagree on the probably ultimate fate of our baddie).
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