A couple of holes in the plot here, including Jim Bole's forging of the artist's freshly-painted signature shortly before the pictures are displayed and auctioned off.
Still, this is an intriguing episode, imaginatively constructed and featuring two of my all-time favorite actors, Myron McCormick and Alfred Ryder...and they are great, as usual.
No need to recite the plot, as is so often the case here with IMDB's "reviews". The interplay between characters, especially Myron and the daughter, is fascinating to watch unfold. I was disappointed in Conrad Nagel's scenery-chewing, but then I guess he's supposed to be the high-strung, artsy type. Great murder scene with Alfred R. phoning the police while the fight between Nagel and Boles is seen in silhouette through a semi-opaque glass door.
WOW-- Horace McMahon REALLY gets peeved with Paul Burke, even threatening to bust him, and maybe worse. Excellent scene with Burke and Robert Ermhardt at the sanitarium, when the puzzle pieces start to fall into place.
Check this one out.
INCIDENTALLY--- A NOTE ON THE MUSICAL SCORES FOR "NAKED CITY" and its sister show, "ROUTE 66". There's NO WAY that Billy May and Nelson Riddle actually wrote the full musical background for each of these episodes...they were much too busy and in demand to do a new, original, hour-long score each week. Of course, they each wrote the show's respective Theme Music ---Riddle the brilliant, sleek, urbane "travel music" theme of Route 66, with the ingeniously integrated, jazzy piano riffs, May the heavy, chugging, bombastic "Naked City" tune that becomes more annoying every time I hear it. Both composers likely contributed the first few scores of the first season, just to get the shows up-and-running.
After that, I suspect that it was the person credited as "ORCHESTRATION BY:" (William Loose and Gil Grau) who actually did the main composing for all subsequent episodes. I'd guess that Riddle and May would compose a THEME OR TWO for each show, and leave it to Loose and Grau to develop the score itself BASED ON THOSE BASIC THEMES (plus the series' familiar theme song) in addition to orchestrating them.
This would be the same process used -- very famously--- by Richard Rodgers in his classic "Victory at Sea" soundtrack, where he is always credited with the Herculean task of composing THIRTEEN HOURS of background score for the iconic TV series when, in fact, he composed the basic thematic material (about an hour's playing time), which arranger/conductor Robert Russell Bennett then expanded upon to produce the remaining twelve hours of score.
Thus, if you listen to any individual episode's score for "Naked" or "66", you'll hear the SAME BASIC THEME repeated in varied form throughout the show-- sometimes (like in the ridiculous "Naked" episode "A Horse Has a Big Head") to the point that you want to kick the TV screen in to make the damn' thing stop.
I'm sure some form of this process was used to meet the production deadline for these two series, in which each episode has its own, individual score. LR
Still, this is an intriguing episode, imaginatively constructed and featuring two of my all-time favorite actors, Myron McCormick and Alfred Ryder...and they are great, as usual.
No need to recite the plot, as is so often the case here with IMDB's "reviews". The interplay between characters, especially Myron and the daughter, is fascinating to watch unfold. I was disappointed in Conrad Nagel's scenery-chewing, but then I guess he's supposed to be the high-strung, artsy type. Great murder scene with Alfred R. phoning the police while the fight between Nagel and Boles is seen in silhouette through a semi-opaque glass door.
WOW-- Horace McMahon REALLY gets peeved with Paul Burke, even threatening to bust him, and maybe worse. Excellent scene with Burke and Robert Ermhardt at the sanitarium, when the puzzle pieces start to fall into place.
Check this one out.
INCIDENTALLY--- A NOTE ON THE MUSICAL SCORES FOR "NAKED CITY" and its sister show, "ROUTE 66". There's NO WAY that Billy May and Nelson Riddle actually wrote the full musical background for each of these episodes...they were much too busy and in demand to do a new, original, hour-long score each week. Of course, they each wrote the show's respective Theme Music ---Riddle the brilliant, sleek, urbane "travel music" theme of Route 66, with the ingeniously integrated, jazzy piano riffs, May the heavy, chugging, bombastic "Naked City" tune that becomes more annoying every time I hear it. Both composers likely contributed the first few scores of the first season, just to get the shows up-and-running.
After that, I suspect that it was the person credited as "ORCHESTRATION BY:" (William Loose and Gil Grau) who actually did the main composing for all subsequent episodes. I'd guess that Riddle and May would compose a THEME OR TWO for each show, and leave it to Loose and Grau to develop the score itself BASED ON THOSE BASIC THEMES (plus the series' familiar theme song) in addition to orchestrating them.
This would be the same process used -- very famously--- by Richard Rodgers in his classic "Victory at Sea" soundtrack, where he is always credited with the Herculean task of composing THIRTEEN HOURS of background score for the iconic TV series when, in fact, he composed the basic thematic material (about an hour's playing time), which arranger/conductor Robert Russell Bennett then expanded upon to produce the remaining twelve hours of score.
Thus, if you listen to any individual episode's score for "Naked" or "66", you'll hear the SAME BASIC THEME repeated in varied form throughout the show-- sometimes (like in the ridiculous "Naked" episode "A Horse Has a Big Head") to the point that you want to kick the TV screen in to make the damn' thing stop.
I'm sure some form of this process was used to meet the production deadline for these two series, in which each episode has its own, individual score. LR