Checkmate
Don Corey, Jed Sills, Chris Devlin and Dr. Carl Hyatt
Created by Eric Ambler

In Checkmate, a fondly-remembered television show from the early 60's, DON COREY and JED SILLS run a very fancy, very expensive San Francisco detective agency whose aim is "to thwart crime and checkmate death (by) stopping the slide downhill to tradgedy."

Don is the senior partner, handsome and experienced. His relationship with Jed, his younger, at times clumsy partner, is one of teacher/student. Aiding the duo was former Oxford criminalogist DR. CARL HYATT, a rotund, bearded professor and handwriting expert who studies ransom notes, death threats, and other evidence for clues to suspects' personality and intended moves. In the last season, another detective, CHRIS DEVLIN, was added to the team.

The show featured very little gunplay and tended to be a bit more cerebral than most. The boys usually called in the cops to make an arrest.

Checkmate was the Tiffany of detective shows in its day. Produced at Revue, the television production arm of Universal Studios, it had a "name" guest star policy that mirrored that of two other high-profile Revue productions of the day, Wagon Train and GE Theatre. And "name" often meant "BIG NAME!" Even by today's standards, Checkmate boasted some honest-to-Norma Desmond MOVIE stars: Charles Laughton, Joan Fontaine, Peter Lorre, Lee Marvin as well as a passel of once and future Oscar winners ranging from Patricia Neal and Mary Astor to Jane Wyman and Martin Landau. Performers like Claire Bloom, who have done virtually no series television before or since, appeared. Checkmate also indulged in stunt casting: Cyd Charisse as a dancer, Tony Randall as a killer, Sid Caesar as a disc jockey, and Jack Benny as a much-revered entertainer not unlike . . . Jack Benny. Scripts were written around the guest stars, exploring their characters' reactions to the death threats. In the second season, in particular, social issues and character studies were larger elements of the story. Dick Berg, who took over as line producer late in the first season must have sensed that a simple death threat of the week setup by itself could be weak. The second season also brought in younger directors, a number of whom (William A. Graham, Elliott Silverstein) were also working in New York on Naked City at the same time.

A number of top mystery writers contributed scripts and/or story outlines, including Helen Nielsen, Leigh Brackett, Jonathan Latimer, William P. McGivern, and Leonard Heideman. Story editor for much of the run was Dorothy Hechtlinger. Several of the first season episodes carry no producer credits.

Since creator Eric Ambler's partner in the production company, JaMCo, was his wife, Joan Harrison, and since she was the producer of Alfred Hitchcock Presents at the same time, one must wonder if she did some uncredited producing on Checkmate?

The episodes date somewhat in attitudes, but then the series is almost fifty years old, and the generally high level of production holds up. Even when you can figure out the ending of an episode, it's still an enjoyable view. The memorable opening sequence, featuring throbbing, swirling black, white, and grey liquid shapes was ahead of its time, a percursor to the light shows that would become a standard of 60s rock concerts. The theme music was provided by one "Johnny" Williams, who later went on to minor success with Star Wars, E.T., Jaws and the Boston Pops. He also scored every episode of the first season. The background music for his episodes was usually soft and subtle, tuneful but neither loud nor heavy. According to Jon Burlingame's book on television scoring, Television's Greatest Hits, Williams only scored about four episodes for the second season; the slack was taken up by a number of fine composers, including Mort Stevens and Pete Rugolo. Cinematography was polished, with a lot of day for night shots, duties being rotated among a variety of Revue regulars -- including John F. Warren and Lionel Lindon, who also worked on Hitchcock and Johnny Staccato (as well as such classic films noir as The Blue Dahlia).

Overall, a most enjoyable show to watch.

There was even a Gold Key comic book tie-in, but it only lasted a couple of issues. Then again, the first issue appeared just a month before the show itself was canned.

TELEVISION

COMIC BOOKS

Profile by Ted Fitzgerald, with a additional info from Kevin Burton Smith.


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