If you scroll down below Columbophile’s episode review of The Most Crucial Game, you will see a comment where he generously invited me to submit a “second opinion” on a future review. After an email exchange (in which I did not learn Columbophile’s real name), we agreed that Dagger of the Mind would be an ideal episode for such a “second opinion,” as our views of this episode definitely diverge (read the Columbophile review here).
By way of introduction, my devotion to Columbo dates back to Monday, March 1, 1971, when I watched the original broadcast of Ransom for a Dead Man. I may have missed a few episodes when they first aired, while off at college and law school in the mid-70s, but not many. I caught up with all of those later, and repeatedly. Indeed, after 46 years, it is impossible for me to count how many times I have watched Columbo. I’ve even watched some of the 90s episodes more than once – the mark of a true fan.
Aside from my devotion to the show, there are two things you should know about me: I’m a lawyer and former prosecutor; and I’m also a playwright with a particular affinity for stage thrillers. Last year, my thriller Framed premiered at the Elite Theatre just outside Los Angeles to standing-room-only audiences and a run extended by popular demand. A local newspaper critic noted Framed’s “uncommon authenticity,” and called the play “engaging, entertaining, highly credible, and well worth your time.” So I think I understand both murder in fact and murder in fiction – and, most importantly, that delicate area in between where a murder mystery can be both entertaining and credible.
Now let’s talk about Dagger of the Mind.
The two words that best describe Dagger of the Mind
I am not blind to the flaws in this episode if, that is, you view this episode no differently than you view every other Columbo. However, my bottom-line message here is this: You have to view Dagger of the Mind differently than you view any other Columbo.
In my opinion, no review of Dagger of the Mind is complete without two words. The first one is “homage.” This episode is Richard Levinson and William Link’s homage to all the British-style murder mysteries they read as kids that helped frame their template for Columbo. [Levinson and Link received “story by” credit for Dagger of the Mind – only the second such credit they received since Ransom for a Dead Man.]
In a 2002 interview, Link described how he and Levinson learned to write mysteries: “We really learned mystery structuring from John Dickson Carr and Ellery Queen. … We went to the school of John Dickson Carr and Ellery Queen. That was really our university in mystery writing.”
While Carr and Queen (Queen being the pseudonym for two cousins) were Americans, both wrote in the British style; in fact, Carr moved to London where he wrote and set most of his mysteries. They had no hardboiled private eyes going down mean streets, no shamuses pistol-whipping stool pigeons, no two-timing dames, gun battles, or car chases. Rather, according to Link, these were “ingenious murder mysteries” with “surprises, interesting solutions,” and “very good unknown murderers who are unmasked at the end.”
Columbo is descended from that school of mystery writing. He bears no resemblance to literature’s most famous Los Angeles detective, Raymond Chandler’s Philip Marlowe. Columbo carries no gun. [“I hate guns, he says in Troubled Waters.] He has a weak stomach; neither planes (Ransom for a Dead Man), nor boats (Dead Weight), nor autopsy photos (Dagger of the Mind) agree with his constitution. He doesn’t haul suspects into headquarters for questioning (at least not since Prescription: Murder). The crimes he investigates are bloodless, almost antiseptic. For the most part, he is surrounded by beautiful people in lush settings: celebrities, writers, musicians, psychiatrists, connoisseurs of food, wine, and art. Agatha Christie could easily have filled a coach on the Orient Express with a random dozen Columbo murderers.
“Dagger of the Mind is practically a love letter to the London of the classic mystery novel.”
And so, in the 11th episode of the series (excluding pilots), Levinson and Link transported Columbo back to his literary ancestral home: the London of Sherlock Holmes, Lord Peter Wimsey, John Dickson Carr’s Gideon Fell, and Dr. John Thorndyke – the last of whom was the creation of R. Austin Freeman, inventor of the inverted mystery (where the reader learns the murderer’s identity and how the crime was committed at the beginning), another Columbo antecedent.
Dagger of the Mind is practically a love letter to the London of the classic mystery novel: with its panoramic shots of the Thames, the Houses of Parliament, the Changing of the Guard at Buckingham Palace, and Tower Bridge; with its references to Scotland Yard, Big Ben, the Wax Museum, theatre, pubs, darts, a stately home and its butler, a gentleman’s club, pints, and fish ‘n’ chips.
It is an episode where umbrellas play a central role (and we are instructed on their proper care), where Shakespeare and Gilbert & Sullivan (“a policeman’s lot is not a happy one”) are both quoted, a Rolls-Royce and British sports car both featured, and a newspaper headline screams: “The Butler Did It!”
It’s where a Scotland Yard Detective Chief Superintendent actually says, “Holmes, Sherlock Holmes was, I suppose, our most famous detective,” and an actress tells her actor husband, unsure how to navigate a murder investigation: “If you’d taken that part in the Agatha Christie play like I told you to, you would know these things.”
The casting of John Williams as victim Sir Roger Haversham is an especially delicious further homage to the classic British mystery. Williams is most famous for his Tony Award-winning Broadway performance as Chief Inspector Hubbard in Frederick Knott’s stage thriller Dial ‘M’ for Murder (like Columbo, an inverted mystery), a role he repeated in the Alfred Hitchcock film. [Ironically, the very next Sunday following the premiere of Dagger of the Mind, when the NBC Mystery Movie wheel rotated to an episode of McCloud (The Barefoot Stewardess Caper), John Williams appeared again, this time as “Inspector Mills.”]
Even the final shot of Dagger of the Mind is a subtle homage. As Columbo mounts the steps to the Royal Albert Hall, he is heading in the direction of a street named Kensington Gore – which also happens to be British slang for stage blood.
Which brings us to our second, indispensable word: “pastiche” (defined as “a literary, artistic, musical, or architectural work that imitates the style of previous work”). In my view, Dagger of the Mind was never intended to be taken seriously. A victim killed with a jar of cold cream? Two murderers who are playing the leads in Macbeth, a play about murder and madness? Do you notice how Lillian Stanhope (played by Honor Blackman) plots most of what she and husband Nicholas Frame (played by Richard Basehart) will do – just as Lady Macbeth plotted for her husband? And how, in the end, they both descend into a kind of madness, as in the play?
Dagger of the Mind is meant to be 100% Anglophilic and theatrical fun. The two homicidal thespians overact at every opportunity. Sir Roger rails about “a ham and a tart”; no, he’s not ordering a main course and dessert, but branding Frame and Stanhope a lousy actor and a whore, respectively. The butler Tanner (Wilfrid Hyde-White) “was properly disturbed finding the master expired, and before breakfast and all”; indeed, Tanner is too proper and well-mannered even to discuss the financial terms of his blackmail scheme “until after breakfast.” Stage doorman Joe Fenwick (Arthur Malet) – who caught some shrapnel “with Monty, I was, at El Alamein” – is loyal to whomever will stand him a “pint of wallop” at the pub.
As for Bernard Fox’s Detective Chief Superintendent Durk, he combines the restrained, sardonic humor of a stereotypical Londoner (responding to Columbo’s claim that the Big Ben clock is a minute slow with: “We must put another penny on the governor.”) with the conventional thinking of an Inspector Lestrade. Until the episode’s final moments, Durk shows no inclination to challenge the superficial appearance of anything. Only after Frame and Stanhope are carted away does he ask Columbo how he could count on finding one of Lillian’s fake pearls in Sir Roger’s umbrella (“The odds were very poor and you know it.”). But for most of Dagger of the Mind, Durk resembles the kind of police detective that playwright Anthony Shaffer, in his play Sleuth, would have called “Inspector Plodder of the Yard.”
Meanwhile, Peter Falk gives perhaps his funniest Columbo performance. From the initial airport scenes, where authorities mistake him for a thief (“I was just about to put the arm on this light-fingered bloke.”), to his bolting Det. Sgt. O’Keefe’s (John Fraser) car to take pictures with his brother-in-law’s camera (“Gee, I hope I put the film in right.”), to his encounter with Lillian at Sir Roger’s wake (“Terrible time to ask, but how could I get tickets? I’d love to see the show tonight.”), to his nausea sitting between Durk and pathologist Diver (Richard Pearson) at Durk’s club, to his swipe at Nicholas and Lillian’s alibi (“I just have never seen anything like you. Like that performance you both just gave.”), to his abandoning Durk (“Those fish ‘n’ chips are greasy, but they’re sure good.”) as the latter walked on alone, along the Thames, talking to himself – Falk’s Columbo in Dagger of the Mind is a comic gem.
Final thoughts on Dagger of the Mind
Yes, the initial murder is excessively melodramatic (is it even really a “murder” in the legal sense?), the second murder far-fetched (how exactly did Frame manage to hang a conscious Tanner up so high?), and the solution less than dependable (although it does resemble the solution in Levinson and Link’s own Emmy-winning script for Death Lends a Hand). Moreover, Lillian’s reaction to the “gotcha” clue (“He put it there. Can’t you see? Before we came. He put it there. … Then he must have done it when we weren’t looking.”) is reminiscent of Dale Kingston’s reaction in Suitable for Framing – only here there is no comparable coup de grâce moment to prove her wrong. Because, of course, she isn’t.
“Dagger of the Mind is meant to be 100% Anglophilic and theatrical fun.”
I’ll grant you all that. But none of this detracts from my view that Dagger of the Mind is a joy to watch. It was a holiday romp, originally broadcast on the Sunday of Thanksgiving weekend 1972, the traditional beginning of the Christmas season.
Nor does it bother me that much of the episode wasn’t filmed in Britain at all. I accept at the start that Columbo is make-believe.
Does it trade in offensive British stereotypes? I guess, conceivably, the tropes and stereotypes could be perceived as offensive by a native Londoner or Brit. But I am neither, and find these bits of local color (or should I now say “colour”?) pleasantly evocative of a place I truly revere. More to the point, I strongly suspect that both Columbo creators felt exactly the same way.
Read the Columbophile review of Dagger of the Mind here.
I agree with both reviews. I agree with the points CP makes on the episode’s weakness, but I also admit it’s an extremely enjoyable episode to watch, even despite it’s faults. Much is do to the brilliant cast of leads and support. I mean, Richard Basehart and Honor Blackman as the leads, plus Bernard Fox, Wilfrid Hyde-White, and John Williams as the support? That alone is worth the price of admission.
It’s even more funny that Basehart and Blackman, two renowned British actors, are so convincingly playing, as Sir Roger says, “A ham and a tart.” Basehart made some questionable film choices for money later in his career, but whether the film was good or bad, like fellow thespian James Mason, who is one of my favorite actors, he never phoned in a performance, even if the film was bad. And from an amateur acting standpoint, I.E, I’ve done a lot of theater, but it’s community theater, my hat is off to Basehart and Blackman for playing an actor and actress that can’t act.
I mean it seems like it would be easy, but sometimes, playing the OTT character or the person who is an actor that can’t act are the most difficult parts to play, because you have to forget everything you would do in a normal role to be “good” in order to sell this character and their badness. You find yourself having to fight your normal instincts every step of the way, because your personal instincts are lacking in the character your playing.
Despite his cultured, British-inflected speech pattern, Richard Basehart was an Ohio native.
Expanding on the topic
of homage further…
I don’t mind homage a bit, as long as it doesn’t
interfere with the logic. Other Columbo episodes
contain tons of homage also, without it detracting
from their plausibility.
Take for instance Ransom for a Dead Man. While
a different plot, it’s also direct homage to the Stanley
Kubrick heist film, “The Killing”. Don’t believe it?
Watch the two, one after another.
As for more Shakespeare, isn’t that a Falstaffian
beard Dick Van Dyke is wearing, and isn’t his
wife a deliberate “Shrew”? Yet the homage didn’t
wreck that episode either.
Getting back to the leads in Dagger of the Mind,
neither Nick or Lilly exhibits the internal conflict
between allegiance and treachery that would lead
to their later mental disintegration.
In my opinion, that’s just them following Shakespeare’s
script, not the way two murderers, both unscrupulous
hustlers from the outset, would act.
I liked this episode a lot more
than Columbophile did. Yet I find
myself agreeing with a lot more of his points than
I did the ones in your review.
I don’t agree that we shouldn’t judge this episode
like all the others. Homage and pastiche are okay,
but I think Columbo is a serious detective series.
Any episode should be judged against others on
the same merits.
And perhaps unlike almost all British mysteries of
the locked room variety, or private eyes of US fiction,
Columbo is not so much a mystery series, as it
is a hard-boiled police drama.
But instead of watching the cops and bad guys trade
shots, what follows is mainly a battle of wits between
a smart murderer and the police detective.
My long-winded point is that it seems to me that homage,
pastiche, parody etc. is more out-of-place in this kind
of mystery show. Unlike the kind where we are waiting
for the detective to reveal the killer to us, and all of the
evidence, where we are much less focused on events
and their consequences as they happen.
Getting back to Dagger of the Mind, which I scored pretty
high at 8.5/10. Meaning that it was not far off from the
classic episodes, most of which I have sitting at 9.5.
What did annoy me, is that several times that the writers
or director had a chance to rectify errors or clarify points,
they chose not to do so in the service of homage, pastiche,
Take for instance, the ending. Which with the pearl falling
out of the umbrella, and the earlier fight scene reshot to
make it seem more likely without any rigging, would have
been a perfect Columbo gotcha.
But no, that wouldn’t be homage to the Bard, or tie in to the
madness implied by the title. So they have Columbo rig
the result, with the Nick Frame character going crazy once
the pearl falls out, and Lilla following suite and confessing.
(This is almost as funny as the Monty Python skit in which the
chef commits suicide on the table of two diners after one tiny
criticism. And about as believable.)
If memory serves me, both Macbeth and his Lady’s
mental deterioration happen over a longer period of time,
and certainly not after a single setback. Anyway, Nick and
Lilly at best, are only weak parodies of their characters from
Shakespeare’s great play.
In any case, I still enjoyed the episode, and will probably
watch it again.
As an expat Londoner I really enjoyed this episode and agree that it was meant to be fun. The hammy acting of the leading lady and her husband represented a couple who couldn’t tell the difference between reality and theatre. Although the plot was a bit thin, overall I found the episode enjoyable and particularly amusing was the English cop with his own (smart) raincoat. And of course W-H-W is always a joy to watch
An excellent review of an excellent episode.
This is a great review of a great episode–one of the best in the entire series. Amen!
Dagger of the Mind is my favorite episode of all. It’s not particularly the best mystery, but it’s got a great atmosphere to it. Remember, Dagger was presented at a time that most American’s hadn’t ever left the country. A visit to England was still pretty exotic and the scenery, the atmosphere was tremendous fun. I thought Richard Basehart and Honor Blackmon were both outstanding and had a great chemistry. John Anderson (Polyvetsian Dance by Borodin- remember that commercial?) was good as Sir Roger Havesham and Bernard Fox was terrific as well. Columbo the London tourist was a real gas. A wonderful episode. It was a wonderful capper to Thanksgiving weekend of 1972.
Richard, thanks for sharing your review! You articulated what I was thinking about this episode. I always thought Dagger was meant to be fun and funny. I liked this episode a lot because I am an Agatha Christie fan and I took Dagger for a parody (or homage, as you say) of the “cozy” British murder mystery set in a stately country home. The episode lovingly covered all the cliches. The terrifyingly grand butler! The gentlemen’s club! The clue of the wet umbrella! (Hey — that’s the Mrs. Melville novel that Jim was working on as Ken walked in!) The actors were overacting, but surely deliberately. I think this episode was meant to be lighthearted and humorous. Maybe that’s what throws fans, i dont think any other episode was humorous. It was a departure in tone for the show.
“Your wet umbrella gave you away.” [Typed in all capitals, from the opening of “Murder by the Book”] Great catch! Of course, umbrellas also will figure prominently in “The Bye Bye Ski High IQ Murder Case,” another episode which scores high for me on the fun/theatrical/melodramatic scale.
Ah! I thought no one appreciated “Dagger” as I do….and yet, it seems that there are many. Sometimes years go by without my watching Columbo….but when I think of the series at those times, it’s always this episode that comes first to mind, and for all the reasons you cite above. Thank you!
And belated congratulations on your play. Will there be another? If so, would love an advisement. And would have loved to have been a fly on the wall during one of your prosecutional (look, I made up a word) endeavors. Although I’m guessing that *real* law doesn’t have the same ‘romance’ of Boston Legal, still, I would imagine that it was still a fab display.
Will there be another play — or another production of “Framed”? I certainly hope so. If you know of a theater hungry for a proven crowd-pleaser, just let me know. And feel free to peruse my Dramatists Guild (dramatistsguild.com/members/richardweill/) and New Play Exchange (newplayexchange.org/users/13031/richard-weill) pages. As you’ll see, I tend to write a lot of plays about crime and crime writers.
Thank you for answering so quickly, Richard. I have very few contacts in the theater community (in light of our discussion of “Dagger”, I’ll say “theatre”), but I will pass this along to the ones I have. I’ve looked very briefly at your Guild bio (if I may call it that) but will do so more this evening. thank you!
On the Dramatists Guild page, click on the “Framed” link. It takes you to a two-minute trailer for the play.
I saw it and forwarded it on to someone i thought might be interested. Will let you know if I hear a *peep*!
entirely my pleasure…..those who approach life quill in hand must stick together….wait….I think I’m beginning to sound like Mr. Basehart in his ‘beth-y role………
Hello Columbophiles ! I always enjoy the re-runs of Columbo shown here in the UK on obscure “Freeview” channels, mainly for both the lush locations and actors, but also for the vast american automobiles !!
So imagine my surprise of finding an episode set in “London”, with interesting British Jaguars, and even more interesting British Actors….
It was hammy in parts, yes, and overdone, yes, but thoroughly entertaining, I hope to locate a DVD of this to watch again. 🙂
As a former prosecutor, how many of Columbo’s cases would actually hold up in court? I’ve always wondered about this
Not many — for a wide variety of reasons. Perhaps Columbophile will invite me to write a blog post on that subject, too.
This is a really thought-provoking review. Like all good reviews it makes me want to immediately go back and see the episode being discussed again. My feeling is Columbophile’s comments more match my own opinions about Dagger of the Mind, but this review makes a very passionate and intelligent case for its merits. Thank you for writing it and to Columbophile for allowing you to publish it.
Thanks for posting this alternative review. I love this episode and always chhalked it up to having lived in London. Now, I realize that I’m also fond of it, because I too enjoy British mystery plays, Agatha Christie, and Sherlock Holmes.
If you are a fan of British stage thrillers, I highly recommend a hidden gem from the mid-1950s entitled “The Whole Truth” by Philip Mackie. It was anthologized in Volume 13 of J.C. Trewin’s “Plays of the Year” series, which you can retrieve and read from the Internet Archive (https://archive.org/).
I don’t mind this episode, but the thing that has always jarred, is the transition between the scenes shot in the UK, by one of the greatest screen photographers Geoffrey unsworth who goes for long shots, high shots, giving some real low budget cinematic feel and then we switch to America all sunshine and whitewall wheel jaguars and a number plate that is all wrong. The cor blimey guvnor feel jars too and yes that does spoil it for me a brit. It’s a decent episode but even with the impassioned defence above that’s all it will be for me. Mind you I love columbo goes to the guillotine, so what do I know.
I’m not a big fan of the murder mystery part of “Columbo Goes to the Guillotine,” but I do enjoy the “viewing at a distance” illusion. Since watching that episode, whenever I see a magician at work, I think of the words of the kid Tommy: “It’s a trick. You remember it’s a trick and never forget it’s a trick. And then you can start figuring it out.”
Great review by someone who appreciates this episode for what it is, and for what it was made for/by. Certainly cannot judge Dagger of the Mind alongside the Columbo mainstay. As a English resident, I enjoy the take on olde theatrical London and the appearances of John Williams and Wilfrid Hyde-White, with Falk giving one of his most astute comic performances of the NBC run. I agree that it needs to be viewed as a high spirited homage to the style of crime writing the makers learnt their craft on. I also view it is a crime comedy in the English theatrical tradition, which cannot be considered as just another Columbo. Mr Weill, thank you for your review and your insight which has helped me personally to understand why I continue to enjoy Dagger of the Mind and enjoy it so.
Happy to help.
Thank you for such a wonderful review. I loved the droll wit displayed in the episode so I was somewhat kinder towards it. Glad to see someone else was too.
Richard I couldn’t agree more – see my comments on the original review – but now you have so brilliantly put this episode into context and explained things I never knew it only reinforces my original opinion.
And while much of this episode was not filmed in Britain at least they used that part of California that looks amazingly similar!
Yes, Gloria, I did see your prior comment. It reassured me that my “second opinion” could likely avoid universal condemnation.
Richard did a masterful job of presenting his case, as it were. While I still rate DotM in the lower half of the ’70s episodes, his presentation does soften the rougher edges of my personal assessment. Well done!
On a side note, I also appreciate that Richard is an original devotee, having seen the episodes when they first aired. The best i can offer in that regard is recalling the NBC Mystery theme with the flashlight-wielding man as the end credits was about the time that I would venture into the living room to request a glass of water from my parents or complain of a nightmare.
Thank you. Consistent with my view that DOTM is unlike other Columbos, I purposefully refrained from ranking it against other episodes. I rank most Columbos based on the ingenuity of the crime and the brilliance of the solution. In DOTM, the creators clearly gave other factors much greater priority.
The opening credits of NBC Mystery Movie with the man with a flashlight is the greatest in television history. I was lucky, at 10, my parents let me stay up and watch the Mystery Movie on Sundays as well as the Wednesday edition. The only downside was that on Sunday I had to watch the Hec Ramsey series which was the worst of the lot, but Columbo, McMillan and Wife and McCloud made up for that.
I must say that many of Richard’s points are well taken. Basically, he has put the story into context, a context I was not aware of on many fronts. Also, while the story may not have been specifically written for the Thanksgiving weekend, the fact that it was chosen to aire at that time suggests the producers understood that it was meant to be a less serious and more whimsical, over the top, night of entertainment with Columbo. Many thanks to Richard for the thorough write-up and to Columbophile for highlighting contrasting opinions. I would like to see more when the episode warrants!
DotM is truly, truly dreadful, but Rich’s impassioned defence (defense?) may well have chipped away at my resolve. What an advocate!
Dagger of the mind is one of the best episodes ever I have to watch it at least once a day and when I go to bed to make sure I sleep it’s one of the great ones