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Fugitive comes to DVD in a 33 disc set on Nov. 1st 2011 (2 Viewers)

stevelecher

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As you watch these a few more times, you'll find countless scenes from numerous episodes turned into epilog scenes, crowd scenes, sitting on a bus scenes, etc. The manhunt that kicks off An Apple A Day was lifted from season one's Other Side Of The Mountain. There's no original footage here until Kimble tumbles down the hill. Kimble gains 10 pounds as he rolls down the hill. Kind of neat stuff when you notice it.

This was a bit of a concern when switching to color. They wouldn't be able to use stock footage from the other seasons for a stock epilog closing, for instance.
 

Doug Wallen

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Beginning Season 4 - Part 1 - Disc 1

Tonight's Episode:
The Last Oasis

Peter Mark Richman, Hope Lange, Arch Johnson

Well, I have begun the final season, the dreaded "Color" year. I enjoy the guest stars. The story seems to be standard run of the mill weekly episodic fare. Sort of "meh". Neither good, nor bad. Doesn't seem to be a particularly strong season premiere. The music is the same, but the tone of the story changed. I chalk this up to losing the distinctive "tone" of the earlier B/W episodes. Still not sure how this will affect this years stories. I wonder what the '66 audience thought of the shows conversion to color and how many actually saw it that way? Did they really notice a difference?

"To Richard Kimble, a border is a dark tunnel whose other end might lead to the final encounter with a many-faced enemy. But for the moment, it leads to safety."

Well, more observations to follow.
 

Harry-N

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The color season, perhaps a bit unfairly, gets a bad reputation from longtime fans. To be sure, it starts off with some episodes that seem a bit off that have the effect of making the series appear to be very different. And to be sure, there WAS quite a change behind the scenes and with the switch to color. Alan Armer was gone and I think that hurt - at least initially.

To the credit of the new producers, they kept the opening credits sequence intact. The old black & white pictures from the train wreck and Kimble's dream sequence were tinted with a multiple palette of colors. The only real change in that sequence was that the "starring David Janssen as Dr, Richard Kimble" screen was the same shot for the entire season, rather than an individual shot from that night's episode as it had been. (That shot, by the way, comes from "Nobody Loses All The Time", which suggests that that episode was filmed a lot earlier than its 10th slot in the season would indicate.)

The other big change to season four was the use of Dominic Frontiere's scores that had been used in THE OUTER LIMITS. While it never completely replaced the old Rugolo stuff - that was still there, particularly Act entrances and exits - it DID have a different sound. The Frontiere stuff didn't debut right away, but rather began to be heard a few episodes into the season. Some S4 episodes are filled with the new cues, and IMHO, fit the series well.

Being a sci-fi fan, of course I recognize these cues from THE OUTER LIMITS, but at least for me, it doesn't detract - any more than THE TWILIGHT ZONE cues did in THE FUGITIVE.

There are a few pretty bad episodes in the first part of S4, so stick with it, It DOES get better.

Harry
 

stevelecher

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Thanks Harry. Yes, it does get better but rarely to the heights it regularly achieved the first three years. IMO, it has the reputation it's earned. The new music does contribute to the series feeling different, though I agree it's not necessarily bad nor out of place.

I look forward to going through the episodes as Doug posts on them. I enjoy discussing the series and have enjoyed writing on the episodes as he has given his initial reviews. His Fugitive sensibilities have been pretty similar to mine, unlike an earlier set of reviews on these pages by Jimmyjet.

By the way, there are two screen shots in the "starring David Janssen as The Fugitive," open for every show. The first bunch of episodes feature a shot from Death Is The Door Prize, the second episode broadcast that year.

As for The Last Oasis, yeah, it's OK. I really didn't believe the doggedly determined cop would resort to murdering Kimble at the end, which allowed Annie to interfere with an officer with no later ramifications for herself in allowing Kimble to escape. It seemed like a " cheat" sort of conclusion to me.

Do we think Annie and Kimble engaged in some romance during their night in that cave? I've always thought so. Cheers......
 

Doug Wallen

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Tonight's Episode:
Death is a Door Prize

Lois Nettleton, Howard DaSilva, Ossie Davis

I actually enjoyed this one. Not sure if it was the use of an early form of VCR or hi-fi convention (early form of HTF???) I really like the closed setting. Makes for good paranoid setting. Everything about this one suggested that it would have been a better season opener, my opinion. I thought that the score for this one truly aided in the claustrophobic setting. The witness plot was also intriguing and well executed. The only thing I felt was off was Miss Stones insistence on taking the jacket for alterations.

Nice touch with Lt. Gaines thinking he had seen Kimble only to pick the wrong criminal.

I see the next one has Johnson, hope it is a good one.
 

Pathfiner

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I have always felt it's perhaps a case of someone writes a book slagging off something they don't like - be it a season of a show, a spin off show, an album, a film etc...and people then begin jumping on the bandwagon of ALL duly slagging it off until it's some kind of 'Accepted opinion' etc...! (I'm NOT accusing any posters on here of doing that but I think it can happen)

For me the color fourth season was o.k. I never noticed any massive downgrade in 'The Fugitive' - I always enjoyed the show even so being a bit harsh I would say that some b/w episodes ('non Gerard' ones) 'dragged' a bit for me and at times (both b/w and color episodes could) by being rather 'meandering' and sometimes it feels like Kimble is the SLOWEST Fugitive in history...! - he sometimes acted like he was almost sleepwalking away...or positively reluctant to RUN !! - plus at times he was 'too good to be true' by bending over backwards in putting others he barely knew before his own safety to an absurd extent in terms of credibility

- BUT then we do need to remember that it's only a TV show to entertain us !

The 'One Armed man' after being virtually a 'ghostly' figure for seasons one to three turns up far too often in color - he's nearly a 'semi regular' at times ! - but that was (I think) due to Quinn Martin being asked by DJ to wind it up - tho' a fifth season was considered I understand however DJ was really feeling the pressure by then (it cost the poor guy so dearly) so the OAM turning up about four or five times in one season is likely down to that point....yes ?

I enjoyed episodes like; 'Nobody Loses All The Time' ,'The Devil's Disciples' , 'The Evil Men Do', 'The Ivy Maze', 'Run The Man Down', 'Passage To Helena' while 'Dossier On A Diplomat' where Kimble takes refuge in an Embassy is curiously having a real life parallel in London at the moment re that Wikileaks guy...!

The Great Barry Morse doesn't seem to feature quite so much in the final season which is a pity and of course one problem is by that time they were re-hashing a few older storylines a bit - 'Goodbye My Love' closely resembles the b/w episode 'The Garden House' which is a problem most er 'long running' (- no pun intended) shows tend to encounter...

also Peter Mark Richman's 'determined sheriff' in 'The Last Oasis' is not that different to say Carroll O'Connor's earlier in 'Flight From The Final Demon' while in a color episode Kimble meets and befriends a child like guy (played by Denny Scott Miller of 'Wagon Train' fame I think) just as in b/w he had earlier done with a child like young girl ( in 'Moon Child') - so a bit of 'deja vu' probably steals in at times in the final color season ...which may annoy some folks

Alan A. Armer was missed of course - then off doing 'The Invaders' for QM - and I know there were behind the camera issues, with John Meredyth Lucas coming in...and going, but Wilton Schiller didn't do a bad job I feel...and it DID build towards the massively viewed two part conclusion which I certainly enjoyed, so the final color season for me is perfectly enjoyable whatever others may feel...each to their own of course
 
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Harry-N

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I have always felt it's perhaps a case of someone writes a book slagging off something they don't like - be it a season of a show, a spin off show, an album, a film etc...and people then begin jumping on the bandwagon of ALL duly slagging it off until it's some kind of 'Accepted opinion' etc...! (I'm NOT accusing any posters on here of doing that but I think it can happen)

This is SO true. And things like this only have gotten worse in the Internet age. I see outright mistakes copied and pasted until they become half-truths.

Most of the episodes that you said you enjoyed are favorites of mine too. I'd add "Death Of A Very Small Killer", "The One That Got Away" and "There Goes The Ball Game" to the list of pretty good episodes. "The One That Got Away" features Anne Francis and Charles Drake - in almost the same roles they played later that year in QM's THE INVADERS episode, "The Saucer".

Harry
 

Doug Wallen

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Tonight's Episode:
A Clean and Quiet Town

Carol Rossen, Michael Strong, Bill Raisch, Lloyd Haynes

Unusual episode. Could corruption be that widespread? A one-armed man as an enforcer? The set up seems a tad bit far-fetched. Execution was workmanlike. It just seemed a bit "off" and not what I expected considering the teaser. I am in the habit of watching the teaser to whet my appetite for the following episode. This episode was not what I was expecting. Johnson was good in his role, as odd as it was.

Not going to rate this one very high. Looking forward to viewing some of the favorites listed in the posts above.
 

Pathfiner

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yeah I think this was an example of the OAM becoming a 'semi regular' (it's as if he's been 'shoe horned' into this particular storyline simply in order to feature him) - remember Fred Johnson was always a 'down and out' opportunist low life character so his suddenly smartening up and being an enforcer was rather unlikely...!

also in 'Nobody Loses All The Time' itself a good episode, it seems odd a woman would befriend and then robustly defend such an evil scruffy looking guy as Johnson whom we know she could not have known for very long as he was a 'drifter' (tho' stranger things happen of course)

Continuity points:
someone pointed out a seeming continuity error in 'Wife Killer' re the prosecutor at Kimble's trial being incorrectly named Ballinger (James Daly) insted of Rand (as in the flashback sequence in 'Girl From Little Egypt') - that occurred to me too, but bear in mind TEAMS of lawyers can operate in court (the O.J. Simpson trial being an obvious example) so presumably both Rand and Ballinger were State prosecutors in Kimble's trial

also re Gerard's wife's name - first it's Ann later Marie - so presumably her full name must have been Ann Marie Gerard (?)

the failure to mention Kimble's younger brother Ray (Andrew Prine) at all in the final episode was a slip I think - as they leave the courtroom Donna could have told Kimble;

'I'll send your brother Ray a telegram at Daytona (or Le Mans etc) and we'll see you back home..'

that would have covered things continuity wise in just a line of dialogue !

presumably they thought nobody would remember Ray Kimble and it wasn't important - back in those pre video/DVD/Blu Ray days !

I agree with Harry N that in the internet age more and more just 'jump on the bandwagon' of taking the 'Accepted view' - especially in TV shows and music re albums, band line ups, etc...sometimes just ONE person's opinion, over time has become 'fact' when it's nothing more than one person's own view !

Charles Bronson was also in that Ann Francis & Charles Drake episode (the couple were married in real life) 'The One That Got Away'

some have criticised 'Second Sight' where Kimble is (temporarily) blinded but I really enjoyed that one, it was quite unusual

'Joshua's Kingdom' was a good episode - guest star Harry Townes was always good, while 'The Sharp Edge of Chivalry' was fine too (I always fancied lovely Madlyn Rhue who earlier was in 'Somebody To Remember' - she's probably best remembered as Khan's lady 'Lt.McGiver' in Star Trek's 'Space Seed' episode)

- tho' 'Sharp Edge..' had a rather abrupt ending I felt with Kimble still in hiding and looking down on Lt. Gerard in the street who was still waiting (presumably that was a sort of 'stand off' depiction thing - with the assumption that presumably Gerard, on being unable to find Kimble in the concrete maze of tenement blocks, would then have no choice but to reluctantly give up his search for now and go back to Stafford...)

- I must re-watch that one as some of the color episodes we last had on TV were very 'ropey' looking far more chopped up with edit lines and poor quality copies than the crystal clear b/w episodes...some color ones had their 'epilog' endings edited off too, so a complete pristeen copy would make a very big difference indeed - the episode 'Walls of The Night' was minus it's epilog on our last TV run of the show
 
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stevelecher

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I personally haven't jumped on a bandwagon when I state the fourth season of this series is inferior to the three B&W ones. I felt that way long before any book or forum validated my opinion. I believe a number of the fans who have followed and participated in this thread agree to one degree or another. A number of episodes have been listed by Pathfiner and Harry as being good episodes. IMO, a few of those are good, a few are the best of the rest, with problems, and some are quite poor. I like Madlyn Rhue as well as the next guy but The Sharp Edge Of Chivalry is a bad episode as is the one with the child like strong man.

In A Clean And Quiet Town, the teaser comes across as very exciting but the story is a mess. Kimble tracks down the man who runs the town, they give him a job but then they don't help him when he captures the OAM? They turn them both loose. The story doesn't work for me.

I'm not saying all the B&W episodes are great but the ratio of good/bad is reversed in S4. Moon Child and Terror At High Point aren't great but they are still better than Approach With Care, though their plots are similar.
 

Pathfiner

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That's a perfectly Fair enough view of course, I said that I wasn't accusing anyone on here of jumping on a bandwagon - tho' whether an episode is 'good' or 'poor' is of course just a matter of opinion

one might feel it's a weak episode...but someone else might really like that one and it's all a matter of individual opinion not 'Fact' of course

if a million people say something is complete RUBBISH...and just one disagrees and thinks it's GREAT it doesn't make the million right and the one wrong does it ?

everyone's view is as valid as each others, and each has to be accepted as being as such with no one being 'right' or 'wrong' and no matter how many might agree with a particular view we should remember it's only a view, an opinion, not a 'fact' or having any greater validity just because a group of people, however large, might decide it's some kind of 'Accepted view'

I have seen internet forums (not here I quickly would add) where an 'Accepted view' stands and heaven help anybody daring to NOT share that view - anyone venturing a counter view gets 'jumped on' and even personally insulted for NOT following the 'Accepted View' (like Kimble in some episodes - 'Terror at Highpoint' being a prime example where he refuses to just accept the young lad played by Buck Taylor must be guilty of the attack on Jack Klugman's wife - while the rest of the work gang take the 'Accepted view' of assumed guilt and prepare to lynch the young guy...)

I can see some aspects of season four that would make some feel it weaker compared to the b/w era - a fair bit of 'same old' aspects we had seen before, plus the show does seem to accelerate towards conclusion somewhat (i.e. the OAM turning up too much etc) plus minus Alan A. Armer was a big loss as he really understood the show, but in my view it was always a decent show still worth watching and I really enjoyed some color episodes
 
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stevelecher

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I said that I wasn't accusing anyone on here of jumping on a bandwagon - tho' whether an episode is 'good' or 'poor' is of course just a matter of opinion

one might feel it's a weak episode...but someone else might really like that one and it's all a matter of individual opinion not 'Fact' of course

if a million people say something is complete RUBBISH...and just one disagrees and thinks it's GREAT it doesn't make the million right and the one wrong does it ?

everyone's view is as valid as each others, and each has to be accepted as being as such with no one being 'right' or 'wrong' and no matter how many might agree with a particular view we should remember it's only a view, an opinion, not a 'fact' or having any greater validity just because a group of people, however large, might decide it's some kind of 'Accepted view'

I have seen internet forums (not here I quickly would add) where an 'Accepted view' stands and heaven help anybody daring to NOT share that view - anyone venturing a counter view gets 'jumped on' and even personally insulted for NOT following the 'Accepted View' (like Kimble in some episodes - 'Terror at Highpoint' being a prime example)
Absolutely agree with you.
 

Doug Wallen

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Tonight's Episode:
The Sharp Edge of Chivalry

Madlyn Rhue, Edward Drivas, Eduard Franz, Ellen Corby, Richard Anderson, Barry Morse

Another Gerard episode. I was all set to really like this one as it had Gerard and Richard Anderson (Oscar Goldman). The story seems to start in the middle with little exposition. I felt that this story tried to shoehorn Kimble and Gerard into a rather odd situation. I felt that the writers were trying to hard to keep the two main antagonists in the same story. The story was not strong enough to support both. I never felt like there was enough to bring both characters to the same place. All in all, I did not like this story. It just didn't feel true to the characters.

As to the color, I have noticed it but the trouble so far with season four is not the color, but the lack of a truly strong story. I understand from what many of you have written, the creative team underwent changes. I hope that they find their footing soon. I am not sure what I am expecting, but these stories seem to be more "generic" and similar to episodes of other 60's series. Be patient with me as I continue to review and assess this season.

Knowing it ends, I am wondering if there is an underlying build up of tension or is the endgame just the final two-parter? Still enjoying the ride with Dr. Kimble.

I'll try to get some more episodes in this weekend
 

stevelecher

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Yes Doug, you are so right. It's not the color, it's the stories. Of course, the B&W compliments the series wonderfully but it's not just that.

In this story, Gerard shouldn't even be on the scene. We're to believe that he gets a report of a murdered woman, who may have been killed by a man with dyed hair, and he says, "That's Kimble's M.O." What? By now, it's been established that Gerard believes Kimble killed Helen but that he's not otherwise a killer. I believe, at this time, Gerard would tell another cop that it's unlikely Kimble would have hurt anyone, like he did in Stroke Òf Genius. He wouldn't have gone to that town on that information.

So, by coincidence, Kimble is there, even though he didn't commit the crime, and after arresting the killer, Richard Anderson's character tells Gerard he has to pull his troops even though it's likely they have a fugitive murderer boxed in. Ludicrous. And, many people have helped Kimble before, but how many old women are going to lie for their building super of a couple months when being told by poliçe he's a wanted murderer?

Gerard's not right in this and the story doesn't work, IMO. On to the next dísc.
 

Doug Wallen

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Tonight's Episode:
Ten Thousand Pieces of Silver

Joe Maross, June Harding, Barry Morse, Lin McCarthy, Ford Rainey, James Sikking, Paul Mantee
A good cast and a pretty good story. Lots of things going on in this one. The plot threads hang together better than the last one. The newspaper plot is a bit thin, but it does tie everything together. I really like this one. Best one so far this season. Gerard is utilized fairly well in this one.
 

stevelecher

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I don't think it's better than Death Is The Door Prize, but it's better than the rest, so far. How about June Harding reprising her role from Moon Child? I don't know if this is even a middling episode from S3 but it is a middling one for S4.
 
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Doug Wallen

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Tonight's Episode:
Joshua's Kingdom

Harry Townes, Kim Darby, Tom Skerritt, Walter Burke, John Milford and Vaughn Taylor

A lot of repeat guest stars in this one. Very good cast of character actors. A plus as far as viewing goes. Unwed motherhood and religion. Some strong ideas to be tackled. Promiscuity and God. Obstinate, God-fearing, judgmental, unforgiving father well played by Mr. Townes. Interesting character played by Tom Skerritt, almost stalker like. A pretty well written episode. Interesting to deal with single motherhood and all of the potential drawbacks that an uneducated mom faced back then.

The ending seemed a little to "happy". Not sure that I buy that type of immediate turnaround from the father. The tag was a nice touch though. Another "better" ep.
 

stevelecher

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One of my favorite S4 episodes. One that could have been done in the B&W era. I agree that they went too far in having Joshua actually mock himself in the epilog, but that's the only false step in a generally entertaining episode.
 

ScottRE

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One of my favorite S4 episodes. One that could have been done in the B&W era. I agree that they went too far in having Joshua actually mock himself in the epilog, but that's the only false step in a generally entertaining episode.

100% agreed. I just watched this one a few days ago in my half-assed attempt to watch episodes I don't normally gravitate to. I wanted to see if my own opinion of season 4 was actually fair because I usually don't come back to these.

While watching it, I found myself thinking that this would fit perfectly in the black and white seasons. The writing is sharp after a few episodes where the series did indeed lose its footing. Also agreed that Joshua was too self mocking and made too drastic a turnaround. I can see him caving in this case and have the beginnings of an awakening, but someone that deeply religious would probably hang on to his reverence. But it was indeed a minor quibble. Everyone was on point and even Janssen seemed less tired. This far along in the series, he's usually pretty worn down, understandably. Perhaps because it was still early in the season....

Excellent episode, one I never appreciated, mainly because it was very similar for me to "An Apple a Day."
 

Doug Wallen

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Tonight's Episode:
Second Sight

Tim Considine, Ned Glass, Ted Knight, Crahan Denton, Janet MacLachlan

The standard "blind" episode that was a staple of almost any 60's/70's series. Interesting use of the OAM this episode - security guard. I guess qualifications were not as stringent then as they are now. I had to be checked out thoroughly before I was hired at my current position (eg. background, drugs, etc.) Still, a better than average setup and quite plausible. I remember those old punch clocks the OAM has around his neck. Tim Considine, a far cry from My Three Sons, pretty despicable turn as a blackmailing photographer. Ted Knight as a doctor, still looks like Ted Baxter (Hi Mare, Hi Murr!).

Nice to see this one. Kimble blind in the hallway passing Johnson - nice touch. Good addition of the subplot. Note-odd to see Kimble remain in his sport jacket all through his examination. Good use of Outer Limits cues. Irony-Kimble blinded outside a burlesque parlor. Subversive touch that appeals to my sense of humor.

Bottom Line - I like this one.

And so Richard Kimble, Fugitive, is back in the jungle again, where, as always, he must be the prey of others until the day once more he can become the hunter.
 

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