Tod and Buz pursue a 13-year-old boy who ran away following his father's murder.Tod and Buz pursue a 13-year-old boy who ran away following his father's murder.Tod and Buz pursue a 13-year-old boy who ran away following his father's murder.
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Did you know
- TriviaSmall items on the Corvette changes frequently in the various shows. In this one, there appears to be chrome reverse wheels with a center cap over the lug nuts which has an extended spinner. This has appeared before and will not appear in the next episodes. Once again, the inside mirror is missing. While it has been assumed that there was one Corvette used, some evidence indicates that two or three were used each season for filming and this may be one of the alternates to explain the different wheels.
- GoofsWhen David and Rosie are sitting in the railroad yard talking, the wide shot shows a string of gondolas directly behind them. Every time they cut to a closeup of David, it shows Southern Pacific boxcars directly behind him.
Featured review
Are We Ever Really Alone
A Jewish dad befriends Buzz and Tod on the job, and so the guys get to know his family. But then Dad is murdered by muggers, leaving his son emotionally destitute and ready to reject his religious heritage. The guys want to help out but disagree on the best method, causing a rift between them.
As a drama, the entry is average, concentrating mostly on David, the son. McGreevey is fine as the bereaved boy—if he smiles at all, I didn't catch it. There's a religious subtext concerning both Judaism and Christianity that's handled fairly well, without too much sanctimony. I particularly like Ed Asner's affable dad. He makes us feel his loss almost as much as David does, and is certainly a long way from the gruff Lou Grant. I'm not sure what pretty Nancy's (Hush) purpose is, except to furnish us guys with some needed eye candy.
And, oh yes, mustn't overlook a big series strength. Namely, the good look at seedy surroundings, this time of Scottsdale AZ's industrial area. Having the guys bounce from one blue-collar locale to another in their travels furnishes glimpses of an America rarely acknowledged by glamor-bound Hollywood. Thanks so much Executive Producer Herbert B. Leonard for doing something radically different for the time.
As a drama, the entry is average, concentrating mostly on David, the son. McGreevey is fine as the bereaved boy—if he smiles at all, I didn't catch it. There's a religious subtext concerning both Judaism and Christianity that's handled fairly well, without too much sanctimony. I particularly like Ed Asner's affable dad. He makes us feel his loss almost as much as David does, and is certainly a long way from the gruff Lou Grant. I'm not sure what pretty Nancy's (Hush) purpose is, except to furnish us guys with some needed eye candy.
And, oh yes, mustn't overlook a big series strength. Namely, the good look at seedy surroundings, this time of Scottsdale AZ's industrial area. Having the guys bounce from one blue-collar locale to another in their travels furnishes glimpses of an America rarely acknowledged by glamor-bound Hollywood. Thanks so much Executive Producer Herbert B. Leonard for doing something radically different for the time.
- dougdoepke
- May 18, 2015
- Permalink
Details
- Runtime51 minutes
- Color
- Aspect ratio
- 1.33 : 1
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