Perry Mason is hired to identify a woman based on an appendix scar, as she fears being a look-alike to an heiress may be a setup for her arrest. A classic mystery!
Virginia Baxter is the only witness still living who can vouch for the authenticity of Lauretta Trent’s will. Lauretta Trent, a wealthy widow, is also still living. But for how long? Someone has been peppering the spicy food Lauretta loves with arsenic. Could it be the same someone who tried framing Virginia Baxter for drug smuggling? Lauretta doesn’t trust her greedy heirs. But could a scheming servant be behind a master plan to fleece her estate? It all seems to fit. But when Lauretta is murdered on the highway, all the evidence places Virginia Baxter squarely in the driver’s seat. Confused? Just think how Virginia’s lawyer, Perry Mason, must feel.
An exploration of the enduring popularity of the television series Perry Mason and its universal reputation as the most formulaic program in the history of broadcast television. 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.
A man tells everyone that his wife has run away with his best friend, who seems to have a strange lack of enthusiasm about the affair. The case leads to murder, and a trial that hinges on multiple sets of footprints.
Mason defends Della Street, who is accused of helping a material witness or possible murder suspect vanish from a crime scene. A classic mystery! Includes an introduction by Karl Wurf.
Mason is hired to identify a woman based on an appendix scar, as she fears being a look-alike to an heiress may be a setup for her arrest. Mason later defends the heiress on murder charges.
In 1933 the crime writer Erle Stanley Gardner, himself a practicing lawyer, unleashed the character Perry Mason in the novel The Case of the Velvet Claws. Perry Mason entered into public consciousness as a new conception of the role of the defense lawyer, so that millions of Americans came to expect every criminal trial to have its “Perry Mason moment.” In the 1950s the Perry Mason TV show had a phenomenal success, and Mason came to be identified with Raymond Burr. Now Perry Mason has again been restored to life in the HBO series starring Matthew Rhys and John Lithgow. Meanwhile, the eighty-two original Erle Stanley Gardner novels continue to sell thousands of copies each week. Perry Mason gave America a new conception of the trial lawyer, as someone who was always loyal to his client and always prepared to use dirty tricks such as misdirection and withholding of evidence to protect the innocent and secure the ends of Justice. The Mason of the novels is less scrupulous than the Raymond Burr Mason, and would sometimes be in danger of going to jail if the trial didn’t turn out right—which it always did, largely because of Mason’s cleverness. The Perry Mason icon raises many philosophical issues explored by seventeen different philosophers in this book, including: ● Can we defend Paul Drake’s claim (The Case of the Blonde Bonanza) that Mason is “a paragon of righteous virtue” despite his predilection for skating on thin legal ice? ● Can complex murder cases be solved by facts alone—or do we also need empathy? ● The most convincing way to give a TV episode a surprise ending is by the guilty person suddenly confessing. But in reality, is a confession necessarily so convincing? ● Does Perry Mason represent the Messiah? ● How does the Raymond Burr Perry Mason compare with the more recent TV character Saul Goodman (Breaking Bad and Better Call Saul)? ● Is it morally okay to mislead the police if this helps your client and your client is innocent? ● How does Perry Mason help us understand the distinction between natural law and positive law? ● Do the Perry Mason stories comply with Aristotle’s recipe for a good work of fiction? ● Does life imitate art, when Perry Mason is cited in real-life courtroom arguments? ● How much trickery can be justified by loyalty to one’s client? ● Can evidence in murder trials be evaluated by probability theory? ● Perry Mason is officially a lawyer and unofficially a detective. But isn’t he really a historian and a psychgoanalayst? ● Della Street is a competent legal secretary, but is she something more? ● Mason often says that “Eye-witness testimony is the worst kind of evidence” and occasionally that “Circumstantial evidence is the best evidence we have.” Can these claims be defended?