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Episode review: Columbo Dead Weight

Dead Weight title

Season 1 of Columbo left viewers knocked for six with its heady combo of lovable central character, wicked high society bad guys and sumptuous production values.

Murder by the Book and Death Lends a Hand are two of the best TV episodes ever made. But could the quality be maintained in the Season’s third instalment? We’re turning back the clock to 27 October 1971, when Dead Weight first aired. Does it sink or swim? Let’s find out!

Dead Weight blog

Dramatis personae

Lieutenant Columbo: Peter Falk
Major General Martin Hollister: Eddie Albert
Helen Stewart: Suzanne Pleshette
Mrs Walters: Kate Reid
Burt: Timothy Carey
Officer Sanchez: Ron Castro
Colonel Dutton: John Kerr
Harry Barnes: Val Avery
Directed by: Jack Smight
Written by: John T Dugan
Score by: Gil Melle

Columbo Dead Weight – Episode synopsis

While boating with her overbearing mother, troubled divorcee Helen Stewart distantly witnesses Major General Martin Hollister gun down lily-livered Colonel Dutton in cold blood through the window of his dockside mansion.

Helen reports the crime to the police, and Lieutenant Columbo is sent to investigate. There’s a certain level of reluctance, though, because General Hollister is a bona fide war hero, whose exploits with his legendary pearl-handled Colt 45 in Korea helped make him a household name.

Columbo Dead Weight

Even the blind ran in fear from these eye-burning ensembles

Naturally, Hollister is guilty as sin, having dispatched the Colonel with that favourite weapon for fear of his shady business dealings being exposed. Before Columbo arrives on the scene, Dutton’s body has been hidden behind a secret revolving bookcase (yesssss!), and the Lieutenant finds the General doing nothing more sinister than directing the toils of some bungling cadets, who are packing a case with his war memorabilia for a new exhibition in his honour.

After a decent nosy around – where he finds out that the General’s legendary gun was supposedly stolen from him years before, leaving only a duplicate to donate to the exhibition – Columbo seems satisfied that nothing is amiss and leaves the General to prepare for a celebratory dinner.

Dead Weight 2

General Hollister easily talks his way out of a tight spot during his initial meeting with Columbo

Alone again, the General finds out the whereabouts of Mrs Stewart through the loose-lipped boat hire owner (Columbo regular Val Avery in his first appearance). He then shows up on her doorstep and invites her to watch the 11 o’clock news that evening in the hope that a report on his exhibition and war heroics will clear his name. So begins a sham romance where Hollister takes advantage of Helen’s low self-esteem to turn her to his way of thinking, and to forget about the crime she witnessed.

Although his plotting works on Helen, it has the opposite affect on Lieutenant Columbo. The detective, who had little reason to suspect Hollister initially, is wary of his motives in taking such an interest in the star witness. Columbo attempts to lead Helen back to her initial suspicions, but her lonely heart is leading her head.

Even the reappearance of the Colonel’s body off the LA coast (Hollister ditched the corpse off his boat after the celebratory dinner) doesn’t sway her. She’s now firmly on the General’s side, leaving Columbo unable to rely on his one key witness, even as he builds the rest of the case. His chances of securing a conviction seem all at sea.

Columbo Suzanne Pleshette

The lady loves a man in uniform – even one old enough to be her grampappy!

It’s a casual conversation with war veteran – and chilli purveyor – Burt, that gives Columbo the inspiration he needs. Burt just can’t get rid of his old war memorabilia. It’s too important to him. Columbo makes the jump to Hollister’s pearl-handled Colt 45. The General places great importance on his war mementoes. There’s no way he’d let anyone get hold of that gun. Ergo, the so-called duplicate must be the real thing!

Columbo arranges to meet Helen at the Hollister Exhibit, a party which the General predictably gatecrashes. The Lieutenant reveals that he’s already had the ‘duplicate’ gun run through ballistics, and it’s the same one used to shoot Colonel Dutton. The general’s attachment to his beloved gun has been his undoing. Most normal people would have thrown it away after the killing. The General couldn’t bring himself to part with it.

Bested in battle for the first time, Hollister apologies to Helen and submits to the long arm of the law. Columbo, meanwhile, takes Helen’s arm and leads her out of the exhibition to an uncertain future as credits roll…

Columbo Eddie Albert


Dead Weight‘s best moment: face-off at the jetty

A variation on the usual “we both know I did it, but you’ll never prove it, so CLEAR ORF” chit-chat so familiar to keen viewers, Dead Weight features a fine exchange between Hollister and Columbo on the jetty by the General’s house.

Returning from an early morning outing on his boat, The Iron Horseman, Hollister finds Columbo lying in wait for him. On paper he’s just having a jolly fishing jaunt. In reality he wants to unsettle the General with a series of questions. A grizzled war veteran isn’t likely to be spooked by such antics, and so it proves as Hollister dishes out some advice laced with double meaning. “Find a different spot, or use a different bait. Otherwise you’re not going to catch anything, Lieutenant.”

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“You know that I know you know I did it, but you’re never going to prove it…”

It’s a good example of the episode’s sharp script, and an exchange even the Lieutenant seems to enjoy. To put it in Sherlockian terms, the game is afoot!

My opinion on Dead Weight

In any season of a quality TV show, it’s inevitable that some episodes will stand the test of time less favourably than others. That’s the case with Dead Weight. It’s a perfectly good piece of television, but when compared to some of the other gems Columbo Season 1 threw at us, it struggles to stay afloat.

“Having a witness to the crime adds a delicious twist to proceedings.”

Its chief shortcomings are a comparatively uninteresting adversary (sorry, Eddie Albert fans) and a weak central clue that brings about his downfall. These off-set a fine script and some excellent performances by the supporting cast. Having a witness to the crime also adds a delicious twist to proceedings.

Interestingly, Dead Weight was filmed at the height of the tensions between Peter Falk and Universal. The actor felt the studio was trying to renege on an agreement to let him direct an episode and was in combative mood. Determined to win the power play, Falk stormed off set and even got a Doctor’s note to explain his absence.

Such a hard-line approach to negotiations paid off for Falk in the long-run, but his antics irked his fellow actors, as Suzanne Pleshette fascinatingly describes below.

The difficulties this scenario posed the cast and crew may be reflected – if only to the discerning viewer – in the lack of rapport between Columbo and the other leads in Dead Weight. For the first time the scenes between detective and suspect don’t sizzle. There’s some decent interplay between Columbo and Hollister, but the chemistry doesn’t match what we’ve seen before.

Likewise between Falk and Pleshette. The two were great friends before filming the episode, but she was not amused by his actions. To me, they seem oddly at arm’s length from one another throughout. To an extent that’s down to the Helen Stewart doubting character, but the on-set tensions must surely have contributed.

“What we don’t get here is a killer with the charisma of Jack Cassidy or Robert Culp.”

On the reverse, it seems to have had a positive impact on the chemistry between Albert and Pleshette. Their irritation at Falk can’t have failed to give them a greater bond as actors. Resultantly, the relationship between their characters seems genuine. Some may disagree, but I dare say Hollister, regardless of his initial selfish motives, was genuinely growing fond of Helen and was sorry to bring her pain at the episode’s climax.

What we don’t get here is a killer with the charisma of Jack Cassidy or Robert Culp. Following on the heels of Murder by the Book and Death Lends a Hand was always going to be a tall order, but the Hollister portrayal is, well, a little dull. He never convinces as the gung-ho war leader, and the character traits that lead to his downfall – his alleged vanity and ego that prevent him from ridding himself of the murder weapon – rarely come across in his performance (giant portrait on his home wall notwithstanding).


The big question: where is this original portrait now, and can I have it?

Worse still, he’s nowhere near cold enough. As a man used to maintaining his nerve in the heat of battle ought to be icy as the Arctic. We hardly see that. Perhaps Eddie Albert was too nice a guy? I can’t help thinking that a really frosty baddie (someone more in the Robert Culp mode) could have provided a more dangerous element and helped elevate the episode a notch or two.

Pleshette, though, is excellent. She puts in one of the very best supporting performances and succeeds in making Helen much more interesting than Hollister. Browbeaten and bullied by her gin-soaked mother (Kate Reid on fine form), she’s emotionally fragile and her self-esteem is in dire need of a pick-me-up.

That makes her falling for the General’s charms, her desperation to be respected and loved, seem believable – even if she did witness the killing. There’s no happy ending, though, and we can only wonder what the future holds in store for her.

Back to the main clue – that ruddy Colt 45. It doesn’t satisfy. Why would Hollister have claimed for years that the gun was stolen in Korea? It’s a convenient way of explaining why he was confident enough to use it for the killing, but for a man who supposedly loved his mementoes, and who has such a giant ego, it seems out of character that he’d ever have chosen to downplay his most recognisable emblem. At any rate, I don’t buy it, and it leaves a gulf at the heart of the episode.

Columbo Dead Weight Helen Stewart

Both Columbo and Hollister attempt to win Helen around to their way of thinking – using very different methods

If it sounds like I hate Dead Weight, fear not! There is much to enjoy. The Columbo cat-and-mouse act becomes a three-way game this time as both men are wooing Helen to come round to their way of thinking – quite literally in Hollister’s case. It’s a new element to the show, and it keeps our interest.

I’ve alluded to the quality of the script on a couple of occasions already, and there are some real gems tucked away within it that raise a smile. As well as the ‘best moment’ outlined above, there’s a fun scene on board the General’s yacht, as Hollister takes delight in putting his boat through its paces – much to a seasick Columbo’s dismay.

“A man with the name of Columbo, shouldn’t he be more at home on a boat?” asks Hollister. “Must have been another branch of the family,” responds the green-gilled Lieutenant.

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Helen comforts a seasick Columbo after his jaunt out with General Hollister

Pleshette also delivers one of the best Columbo put-downs of all. Affronted by the Lieutenant disparaging the General’s vanity over the cut of his army uniforms, she hits back. “Some men, Lieutenant, do not want to look like an unmade bed.” How do you like those apples, Columbo?

Elsewhere it’s good without being great. The directing is A-OK, but lacking any particularly memorable set pieces or innovation. There are some lovely highlights on the Gil Melle score (including the main theme, featuring waves and sea gull calls), but other elements were a straight lift from Death Lends a Hand. Like the whole episode, it’s a little hit and miss.

But even if Dead Weight is Columbo not firing on all cyclinders, it still delivers enough goods to keep its head above water. And that’s the power of 70s’ Columbo. Even the lesser episodes are still better than most TV ever made…

Did you know?

Although Columbo’s first name is never revealed in the series, a close up of his name badge in this episode appears to suggest it’s Frank. See for yourself…

Name badge

In one of the draft scripts of an unnamed Season 1 episode, one writer had given Columbo a first name. Show creators Dick Levinson and Bill Link insisted it was cut out, but if Dead Weight was the episode, it could explain why the name on the badge is what it is. The same badge can be seen in A Matter of Honor in Season 5, and the name ‘Frank Columbo’ also shows up on an evidence bag in 1989’s Grand Deceptions, adding weight to the argument.

However, Falk, Levinson and Link always insisted that Columbo had no known first name, leaving the viewer – as with so many elements of the mysterious Lieutenant’s actual life – to make up their own mind.

How I rate ’em so far

Like a weighed-down corpse, Dead Weight plummets to the bottom of the current standings – more a statement of the stellar quality of all that has preceded it. Read previous reviews by clicking the links below.

  1. Murder by the Book
  2.  Death Lends a Hand
  3. Prescription: Murder
  4. Ransom for a Dead Man
  5. Dead Weight

Where does Dead Weight rank in your list of favourites? Vote for your number one episode in the Columbo best episode poll here.

I’ll be back with a review of Suitable for Framing in a few weeks’ time. Spoiler alert: it’s one of my ultimate favourite episodes!

Read my thoughts on the 5 best moments from Dead Weight here.

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It’s all smiles until we meet again…

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84 thoughts on “Episode review: Columbo Dead Weight

  1. Yesterday night, I viewed an umptieth time “Dead Weight”. And the days before I viewed, an umptieth time too, “Dead Lends a Hand”, “Murder by the Book” and “Ransom for a Dead Man”. (I also viewed “Prescription: Murder”, but that’s more a stage-play than a movie).
    The difference between “Dead Weight” and the others is immeasurable. Not only the plot is poorer and the actors are flatter (unless Suzanne Pleshette as Helen Stewart), but there is not any beauty in the way it’s filmed. Although “Dead Weight” plays in a site or a landscape with great opportunities (a small harbour on the sea), the whole episode is filmed in a dull way (no beautiful light, small and short perspectives, no rhythm). Compare to the wide and beautiful land- and townscapes in “Murder by the Book” and “Ransom for a Dead Man” (or, which I didn’t mention above, “Short Fuse”). Same observation for the inside-takes: compare the garage of “Dead Lends a Hand” or the shop of Lily La Sanka (“Murder by the Book”) with the restaurant or home-scenes in “Dead Weight”. And, above all things, compare the murder-scenes, especially of “Ransom” and “Dead Lends a Hand” (great art!) with the one in “Dead Weight”. If the episode is a meal, maybe it’s nourishing, but it has no taste.
    Some more specific points: (1) What’s the sense of the short outside scene with the young people near the swimming pool (24:09)? (2) Why does Major General Hollister park Colonel Dutton’s car in a card-board street (31:35)? (3) The scene of the discovery of the colonel’s dead body is spoiled (52:22); the scream should be heard while Hollister and Stewart are kissing (because the discovery of the body is the beginning of the end of their “happiness”), and the image of the body and the boat only being shown after that (but maybe there were some ads between these two scenes, and the boats were shown meaning the movie restarted after that).
    And last, but may be not least: this third regular episode (or fourth or fifth if we count the “pilots”) already repeats what we’ve seen in the former ones: Columbo is not at his ease in a plane / in a boat; the rich murderer seduces the female witness (who is poor and a little bit silly); the dead body is dumped into the water (however: the first with the intention to be found, the second to stay hidden). [But I agree that repetition sometimes is a style characteristic of the feuilleton. For instance Dr Ray Flemming forgets the handkerchief on the telephone, but comes back, in “Prescription”; Leslie Williams forgets the briefcase, but comes back, in “Ransom”; and Ken Franklin forgets the lighter (the second time, after having messed up the office), but comes back, in “Murder by the Book”.]
    General Hollister’s house is almost the same site as Commodore Sawnson’s one. There must be a curse that rests upon it.

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  5. Wow, tough crowd here.

    This one has Suzanne Pleshette in it; therefore it is, by definition, great.

    A bit simplistic, but that’s my opinion and I’m stuck with it.

  6. I bought a DVD collection of the first four seasons a few months ago. Actually just started watching them pretty recently, in order. This is definitely my least favorite of the first five movies. There’s no way that she could have seen the murder happen through the window, from presumably at least a couple hundred yards away, not to mention probably ten feet below the level of the window.
    One thing I liked was the very end when he mentions his niece and she asks if he really has a niece. There are times in the movies when he tells stories such as the one of his niece and you wonder whether he’s telling the truth or just making up a story to get a reaction. Clearly she was wondering the same.

  7. We just watched this again last night. It’s never been a favourite of mine and there seems general agreement here that it’s a weak episode for the classic years. My big problem is the weapon: in ‘Ransom for a Dead Man’ Lesley Williams deliberately uses a .22 to avoid bullet damage at the murder scene; Hollister uses a big .45 on a man backed up a against a wooden door and there’s not a bullet hole or wood splinter to be found.
    Suzanne Pleshette is excellent at conveying Helen’s self-doubt and, frankly, weakness as a personality. The scene where she tries to justify her appalling sculptures as ‘looking for an inner meaning’ is really very sad. She is perfectly complemented by Kate Reid as her less-than-supportive mother. Hopefully Columbo’s pep talk about his niece with the six children will help turn her life around.
    I like to think Hollister really did take an interest in Helen – he seems genuinely taken with her at first sight – but ultimately he is just as manipulative as everyone else she seems to get involved with. Hollister’s motive also seems weak – scams in military contracting are Standard Operating Procedure, surely? – but then his ego would not let his reputation be tarnished, and he would see the easiest solution as eliminating weakest link Colonel Dutton. Ultimately, though, Eddie Albert does come across as too charming (genuinely charming, not the Robert Culp kind) to be really villainous.

  8. This isn’t really one of my favorite episodes either, though some of the cast was likable. But it really is hard to picture Eddie Albert as a bad guy. In the 1956 film “Attack” he managed to be pretty obnoxious, but it’s still hard to look at him without seeing that sweet guy in Green Acres. And indeed Hollister doesn’t match the villainy of Jack Cassidy and Robert Culp’s characters; in fact, it’s easy to see why Helen would be attracted to him despite the age gap. Maybe to get away from that witch of a mother she lived with.


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