All the king's horses, all the king's men, all the phony paintings and all the phony earrings can't make a credible story out of over-the-top defense attorney Melanie Darrow's first TV case. Delta Burke trots out Darrow's crudities, arch manners and stylized characterization from the Dean Hargrove-Joyce Burditt script as though they were by Noel Coward; making matters worse, her line readings are occasionally embarrassing. The vidpic's major problems are its scrambled plotting and Burke's outre perf. Director Gary Nelson works at making the lackluster teleplay sophisticated, but the action and the dialogue (Melanie tosses out a variation on a Mae West chestnut, "Is that a gun I see in your pocket, or are you just happy, etc.?") help do Burke in.
Plot setup has Brian Bloom limning police detective Lou Darrow, Melanie’s younger brother, apparently a pushover when it comes to his sister; Bloom does what he can.
Story at hand involves Melanie representing international financier Alex Kramer (Bruce Abbott), who’s accused of murdering his wealthy wife, Felicia (Laura Press). Other suspects involve Felicia’s four siblings and a few shady characters who add atmosphere but not much clarification.
Acting the alcoholic, Wendel Meldrum as Felicia’s sister Diane suggests a character out of Chandler’s “The Big Sleep” but doesn’t get enough script support to go anywhere with it. Bill MacDonald’s vicious Harper, who performs all sorts of badnesses, does well enough. Christopher Birt handles his role as Felicia’s right-hand man Dwight with dignity and depth.
Major aspect of the case is Felicia’s son David (Shawn Ashmore), who thinks Alex is innocent. David’s uncle has the youth locked away in a convenient sanitarium where he’s fed dope until Melanie, whispering to him, tells him to stop taking it. There you are. The woman knows no limits.
Nelson doesn’t bring much reality or humor to the thin telefare, and chances of Burke’s Melanie getting many more cases seem minimal.
Gayne Rescher’s customary sleek camerawork helps, and David Soloman’s editing is efficient. Production designer Harold Thrasher is surely resourceful, while Richard De Benedictus’ score does what it can.