What do you think?
Rate this book
TV Milestones
Perry Mason
Perry Mason was one of the most successful television programs from the 1950s and remains one of the most influential crime melodramas from any period. The show's influence goes far beyond its nine-year tenure (1957�66), the millions of dollars it generated for its creators and for CBS, and the definitive identification it provided its star, Raymond Burr. Perry Mason has become a true piece of Americana, evolving through a formulaic approach that law professors continue to use today as a teaching tool.
In his examination of Perry Mason, author Thomas Leitch looks at why this series has appealed to so many for so long and what the continued appeal tells us about Americans' attitudes toward lawyers and the law, then and now. Beginning with its roots in earlier detective fiction, stories of fictional attorneys, and the work of Erle Stanley Gardner (the show's creator), Leitch lays out the circumstances under which Perry Mason was conceived and marketed as a distinct franchise. The evolution of Perry Mason is charted here in an inclusive manner, discussing the show's broadcast history (ending with the series of two-hour telemovies that aired nearly twenty years after the original series ended) alongside its generic nature and place within popular culture, the show's ideological dynamic, and issues of authorship in the context of television. This concise study is an excellent tool for television and media scholars as well as fans of the Perry Mason series.
In his examination of Perry Mason, author Thomas Leitch looks at why this series has appealed to so many for so long and what the continued appeal tells us about Americans' attitudes toward lawyers and the law, then and now. Beginning with its roots in earlier detective fiction, stories of fictional attorneys, and the work of Erle Stanley Gardner (the show's creator), Leitch lays out the circumstances under which Perry Mason was conceived and marketed as a distinct franchise. The evolution of Perry Mason is charted here in an inclusive manner, discussing the show's broadcast history (ending with the series of two-hour telemovies that aired nearly twenty years after the original series ended) alongside its generic nature and place within popular culture, the show's ideological dynamic, and issues of authorship in the context of television. This concise study is an excellent tool for television and media scholars as well as fans of the Perry Mason series.
144 pages, Paperback
First published July 30, 2005
7 people are currently reading
65 people want to read
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 5 of 5 reviews
February 15, 2020
Raymond Burr is Perry Mason; that declaration would be hard to dispute and Thomas Leitch would be the last person to attempt to do so. Leitch does an excellent job of convincing his readers that the restrained acting by Burr was what made him so valuable as Mason.
The franchise (be it book or television programs originated with Erle Stanley Gardner), relied on its set formula and Burr’s skill kept it from becoming bland by his incarnation of the character. Mason/Burr became America’s lawyer. Television viewers and book readers, according to Leitch, personified the character of Perry Mason with Raymond Burr. Mason/Burr was the hero who, predictably, triumphs over impossible obstacles. Gardner’s Perry Mason fought evil and assured audiences that the law was morally sound and even if the agents of that law had to adjust processes to fulfill the law, the truth and right would prevail.
The courtroom provided the protocol required for Perry to maneuverer in order to discover the truth, regardless of the conflict that it may introduce. Leitch main objective was to explain the art of filming which allowed the viewer to never forget whose perspective was being relayed or, more obviously, the fact that Perry Mason’s perspective was the most important. Burr presented muted reactions. He showed no emotions and managed to project “certain hallmarks of intimacy –trustworthiness, authority, power—while withholding any appeal for empathy or emotional engagement.� In the courtroom scenes, Raymond Burr’s inflection rarely wavered, he would become louder but maintained the same pace and rhythm; and, when given startling or discouraging news the viewer rarely saw more than a shift of the eyes to let us know he was thinking.
Leitch discussed how the character was the paternal figure in the center of his ‘family�. The characters of Della Street (matriarch, in the 1950s style—reviewer’s description), Paul Drake (son), Hamilton Burger (distant relative to whom he bickered with but still respected) and Lt. Tragg (“charmingly menacing� uncle) were the foundation and all other characters had to be a killer, suspect or a victim. In this reviewer’s opinion that is why the character, legal aide David Gideon, didn’t work. Another son was not needed. Aloofness, which assisted in projecting the ‘paternal reassurance� and ‘patriarchal authority,� was maintained because Perry did not interact with people truly beyond, as the author stressed, cross-examining them. Even his style of interrogation was minimalist. Burr’s syntax consisted of pausing after the first word of a sentence to build the tension or more often the louder spoken “Isn’t it true you...?� “Isn’t it true that�?�
By the time the movies emerged, Burr’s Mason was not the same. Leitch explained that instead of the distant Perry, now with Della as the defendant, Perry can skip the cross-examination relationship and move to “knight-errant who can take her hand� which allowed Burr a chance to employ “conventionally dramatic emotions.� With the tv movies, Perry knows the truth and does not have to seek it. His wisdom will prevail. Surprisingly, audiences were unconcerned with the change. Raymond Burr was so iconic as Perry Mason that how Burr looked or acted (as an increasingly immobile Burr was restricted in his activities) because Mason was “less important than the values with which Burr had become associated.�
What an astounding feat! Even though Burr went on to success with Ironside, he is still associated with the character, Perry Mason. Raymond Burr is more than the face of the brand, to generations of viewers he is Perry Mason.
Interesting revelations from Leitch, beyond the filming of Perry Mason, included the fact that many of the storylines which were not based on Gardner books and were originals created by screenwriters, included interests of Burr’s such as art or flowers.
An element new to this reviewer was the fact that the Perry Mason radio show (which ran for 12 seasons) spawned the television soap opera, The Edge of Night, using the lives of the peripheral characters –Perry, Della and Paul were not included --in the tv soap opera adaptation.
In a footnote, were included a list future stars and people to look for in future reruns: Robert Redford, Angie Dickinson, Burt Reynolds, Louise Fletcher, Ryan O’Neal, Cloris Leachman, Leonard Nimoy, Barbara Eden, Norman Fell, Gavin MacLeod, Jerry Van Dyke, Frances Bavier, Adam West, Gary Collins, Daniel J. Travanti, Barbara Bain, Werner Klemperer, and Ellen Burstyn
Leitch achieved more than providing an interesting read for this reviewer, he spurred on a curiosity about Raymond Burr and further research was done.
Burr’s press releases listed quite an interesting life but most of it was proven untrue. Many sources blamed Burr for the falsifications but most believe he was a victim of the studio machinations which created the dramatic backstory. Events such as a childhood spent in China, various jobs, three marriages (two ended by making him a widower), a young son dying at the age of 10, an affair with the teenage co-star Natalie Wood…isn’t it any wonder that his response to questions about his personal life were along the lines of, “I do not discuss that.�
After his death, his homosexuality was quietly acknowledged as his partner of over 35 years, Robert Benevides, inherited everything and the will was challenged by Burr’s niece and nephew. Most of his co-workers knew that Raymond and Robert were a couple and headed to his ranch in California [where they cultivated wines and other produce] and his Fijian island, Naitauba [where they grew orchids—one named after Barbara Hale� and coconuts] once the grueling film schedule was over. Did his “hooded resistance to emotional openness� which limited his career in movies stem from Burr’s homosexuality? His very existence depended on him being resistance to openness about his personal life in the less accepting world of America in the 1930s when he started in Hollywood.
The franchise (be it book or television programs originated with Erle Stanley Gardner), relied on its set formula and Burr’s skill kept it from becoming bland by his incarnation of the character. Mason/Burr became America’s lawyer. Television viewers and book readers, according to Leitch, personified the character of Perry Mason with Raymond Burr. Mason/Burr was the hero who, predictably, triumphs over impossible obstacles. Gardner’s Perry Mason fought evil and assured audiences that the law was morally sound and even if the agents of that law had to adjust processes to fulfill the law, the truth and right would prevail.
The courtroom provided the protocol required for Perry to maneuverer in order to discover the truth, regardless of the conflict that it may introduce. Leitch main objective was to explain the art of filming which allowed the viewer to never forget whose perspective was being relayed or, more obviously, the fact that Perry Mason’s perspective was the most important. Burr presented muted reactions. He showed no emotions and managed to project “certain hallmarks of intimacy –trustworthiness, authority, power—while withholding any appeal for empathy or emotional engagement.� In the courtroom scenes, Raymond Burr’s inflection rarely wavered, he would become louder but maintained the same pace and rhythm; and, when given startling or discouraging news the viewer rarely saw more than a shift of the eyes to let us know he was thinking.
Leitch discussed how the character was the paternal figure in the center of his ‘family�. The characters of Della Street (matriarch, in the 1950s style—reviewer’s description), Paul Drake (son), Hamilton Burger (distant relative to whom he bickered with but still respected) and Lt. Tragg (“charmingly menacing� uncle) were the foundation and all other characters had to be a killer, suspect or a victim. In this reviewer’s opinion that is why the character, legal aide David Gideon, didn’t work. Another son was not needed. Aloofness, which assisted in projecting the ‘paternal reassurance� and ‘patriarchal authority,� was maintained because Perry did not interact with people truly beyond, as the author stressed, cross-examining them. Even his style of interrogation was minimalist. Burr’s syntax consisted of pausing after the first word of a sentence to build the tension or more often the louder spoken “Isn’t it true you...?� “Isn’t it true that�?�
By the time the movies emerged, Burr’s Mason was not the same. Leitch explained that instead of the distant Perry, now with Della as the defendant, Perry can skip the cross-examination relationship and move to “knight-errant who can take her hand� which allowed Burr a chance to employ “conventionally dramatic emotions.� With the tv movies, Perry knows the truth and does not have to seek it. His wisdom will prevail. Surprisingly, audiences were unconcerned with the change. Raymond Burr was so iconic as Perry Mason that how Burr looked or acted (as an increasingly immobile Burr was restricted in his activities) because Mason was “less important than the values with which Burr had become associated.�
What an astounding feat! Even though Burr went on to success with Ironside, he is still associated with the character, Perry Mason. Raymond Burr is more than the face of the brand, to generations of viewers he is Perry Mason.
Interesting revelations from Leitch, beyond the filming of Perry Mason, included the fact that many of the storylines which were not based on Gardner books and were originals created by screenwriters, included interests of Burr’s such as art or flowers.
An element new to this reviewer was the fact that the Perry Mason radio show (which ran for 12 seasons) spawned the television soap opera, The Edge of Night, using the lives of the peripheral characters –Perry, Della and Paul were not included --in the tv soap opera adaptation.
In a footnote, were included a list future stars and people to look for in future reruns: Robert Redford, Angie Dickinson, Burt Reynolds, Louise Fletcher, Ryan O’Neal, Cloris Leachman, Leonard Nimoy, Barbara Eden, Norman Fell, Gavin MacLeod, Jerry Van Dyke, Frances Bavier, Adam West, Gary Collins, Daniel J. Travanti, Barbara Bain, Werner Klemperer, and Ellen Burstyn
Leitch achieved more than providing an interesting read for this reviewer, he spurred on a curiosity about Raymond Burr and further research was done.
Burr’s press releases listed quite an interesting life but most of it was proven untrue. Many sources blamed Burr for the falsifications but most believe he was a victim of the studio machinations which created the dramatic backstory. Events such as a childhood spent in China, various jobs, three marriages (two ended by making him a widower), a young son dying at the age of 10, an affair with the teenage co-star Natalie Wood…isn’t it any wonder that his response to questions about his personal life were along the lines of, “I do not discuss that.�
After his death, his homosexuality was quietly acknowledged as his partner of over 35 years, Robert Benevides, inherited everything and the will was challenged by Burr’s niece and nephew. Most of his co-workers knew that Raymond and Robert were a couple and headed to his ranch in California [where they cultivated wines and other produce] and his Fijian island, Naitauba [where they grew orchids—one named after Barbara Hale� and coconuts] once the grueling film schedule was over. Did his “hooded resistance to emotional openness� which limited his career in movies stem from Burr’s homosexuality? His very existence depended on him being resistance to openness about his personal life in the less accepting world of America in the 1930s when he started in Hollywood.
March 5, 2013
I disagree with some of the analysis but it was an interesting book.
September 16, 2023
Another fine entry in the TV Milestones series, this short monograph centers on the rigid formula of the Perry Mason TV series and the performance of Raymond Burr, and how they both make meaning in regards to ideas of American law, justice, and family. Leitch provides an entertaining history of Erle Stanley Gardner's lawyer, and the ways different film and radio producers wildly reimagined the world of the character before he became the TV mainstay, as well as a theoretical reading, and his writing is clear, smart and very enjoyable.
August 17, 2020
An analysis of the TV series Perry Mason by a Professor of English specialising in TV and Film. If you are a fan of PM in the books and TV you must read this work. It is indispensable. There will never be another Erle Stanley Gardner, Perry Mason, Della Street, Paul Drake, Hamilton Burger or Lt Tragg, and mores the pity. The exposition is enlightening and in the end, it is a big thank you to Raymond Burr who was a wonderful human being and the one and only Perry Mason.
March 18, 2017
Enjoyed the backstage info on the series (Talman was fired from the series for about 6 months because he was "gamboling" around at a party without clothes on).
Displaying 1 - 5 of 5 reviews
Can't find what you're looking for?
Get help and learn more about the design.