The Haunted Palace: Poe Meets Lovecraft

By 1963, Roger Corman had directed several successful Edgar Allan Poe adaptations for American-International Pictures, and was looking to try something a bit different. The producer-director was a fan of the influential horror writer H.P. Lovecraft, and suggested the idea of doing a film version of the author’s novella The Case of Charles Dexter Ward to his AIP bosses, James Nicholson and Samuel Z Arkoff. While they agreed to produce the movie, they hedged their bets a little by making the project part of the Poe series. The movie was eventually titled The Haunted Palace, after a poem written by Poe. At the end of the film, several lines from that poem were spoken by star Vincent Price. Oddly enough, Poe's name was misspelled in the credits as Edgar Allen Poe!

Debra Paget & Vincent Price

The Haunted Palace tells the story of Charles Dexter Ward, a man who has inherited his ancestral home in the village of Arkham. Along with his wife Anne, Ward visits the town, where his great-great grandfather had lived years before. The couple isn’t exactly given a warm welcome, as Ward’s ancestor, Joseph Curwen, was a warlock who terrorized Arkham, conducting fiendish rituals during which local girls disappeared, and demonic creatures were called upon to rise from a dark pit in Curwen’s home. The evil Curwen is eventually burned at the stake, but vows revenge on the townsfolk, cursing them and their descendants. Many of the residents of Arkham suffer from deformities that are blamed on the curse. Charles and Anne talk with Marinius Willet, the local doctor, who tells them the story of Curwen. When they eventually go to the house, they meet up with Simon, the odd caretaker of the estate.

Charles is strangely affected by the negative aura of the house, and is deeply influenced by an eerie portrait of Curwen. The spirit of his ancestor starts to take hold of him. The evil warlock enacts his revenge on the descendants of those who killed him, using Charles as his vessel. Along with Simon and Jabez, both of whom were compatriot of Curwen’s, the warlock plans to open a doorway to another dimension, allowing the monstrous creatures he worships to rule our world. Charles struggles for control of his mind, body and soul, but the power of his ancestor’s evil will might be too much for him. Anne and Dr. Willet try to convince Charles to leave the house before it’s too late. Will the kindly Charles be able to triumph over Curwen’s possession?

The Haunted Palace is a moody, strikingly photographed (by Floyd Crosby) chiller with solid direction by Corman. The appropriately chilling score for the movie is by Ronald Stein. The cast is especially strong; in addition to Vincent Price as Charles, and Debra Paget as Anne (in her last big-screen role), the film also features Lon Chaney, Jr., Leo Gordon, Elisha Cook, Jr. and Cathie Merchant. Price often gets an (undeserved) bad rap for being over the top and hammy, but he was a wonderful actor, steeped in the theatrical tradition in which he was trained. Price knew just when to take it over the top, and when to dial it down. Here, he's able to convey Charles' internal struggle with subtle gestures and small changes in mood and facial expression, aided by Crosby's effective lighting and use of color. The house itself is like a character in the film, evoking a real feeling of dread, especially that evil painting of Curwen, which almost feels alive. 

Roger Corman's The Haunted Palace is an eerie, well-produced thriller that will appeal to fans of Price, Corman’s Poe series, and Lovecraft aficionados. It’s one of my favorites of the “Poe” series, and it’s the first (and one of the best) onscreen adaptations of a Lovecraft work. The film effectively captures the Gothic tone of Poe's fiction and the otherworldly, fantastical elements of Lovecraft's work. AIP would later release a version of Lovecraft’s The Dunwich Horror, directed by frequent Corman collaborator Daniel Haller. Shout! Factory released an an excellent Blu-ray of the film as part of their “Vincent Price Collection” a few years ago, but that box set (like the MGM "Midnite Movies" DVD of the film) is now out of print. The film does show up on various cable stations on occasion, and is worth seeking out. Here’s a link to the trailer: https://www.youtube.com/watch?v=rJT4uD64IZg.

A Double Dose of Hitchcock's TV Series

Director Alfred Hitchcock was a familiar face to television viewers during the 1950s and 1960s. He hosted the long-running anthology series Alfred Hitchcock Presents, which ran from 1955-1965. Until 1962, the series presented half-hour tales of suspense featuring both original stories and adaptations of classic mystery tales. Starting in the 1962 television season, the show expanded to an hour in length, and was renamed The Alfred Hitchcock Hour. Like The Twilight Zone, The Outer Limits, and Thriller, both versions of the show featured a host of talented actors including Sally Kellerman, Jessica Tandy, Charles Bronson, Bill Mumy, Joseph Cotten, Barbara Bel Geddes, Tony Randall, and Vincent Price. I thought I’d shine the light on a couple of watch-worthy entries from the series, to provide you a sort of “Hitchcock TV double feature.” First up, “The Case of Mr. Pelham,” the tenth episode from the first season of Alfred Hitchcock Presents.

Tom Ewell

The episode stars Tom Ewell (from The Seven Year Itch) as Albert Pelham, a man who suspects that he has a double who has been impersonating him. The mysterious doppelganger has been showing up at Pelham’s apartment, his job and even his private club. No one is able to tell the difference between the double and the real Pelham. As Pelham relates the story in flashback to a doctor played by Raymond Bailey (best known for his role as Mr. Drysdale on The Beverly Hillbillies) he admits he’s begun to doubt his own sanity. The doctor assures Pelham that there is obviously a logical explanation for these events, but just what does the double want from Pelham? Does he intend to take over his life?

“The Case of Mr. Pelham” is one of the seventeen segments of the series that were directed by Hitchcock, and it’s a crisply paced episode with an intriguing concept. Ewell is outstanding as the troubled Pelham and his sinister double, and the climactic scene, where the two versions of Pelham share the screen, is excellent. Francis Cockrell wrote the teleplay for the episode, which was based on Anthony Armstrong’s story The Strange Case of Mr. Pelham. The tale was also the inspiration for the eerie Roger Moore film The Man Who Haunted Himself (1970). There are many excellent entries throughout the run of Alfred Hitchcock Presents, but “The Case of Mr. Pelham” is one of the best, and an especially good starting point if you’re new to the series.

Another fine segment of the series is “Captive Audience,” the fifth episode from The Alfred Hitchcock Hour’s first season. This episode was penned by the celebrated team of Richard Levinson and William Link, best known for creating (and writing episodes for) classic television series such as Columbo, Mannix, Ellery Queen and Murder, She Wrote. The story concerns a mystery writer named Warren Barrow, who sends tapes of his plot ideas to his publisher, Victor Hartman. The latest series of tapes he sends along to Hartman seem to be about a murder that Barrow is actually planning to commit, rather than just an idea for his new novel. The “story” is about a mystery writer’s volatile relationship with a married woman whom he calls Janet West.

Angie Dickinson & James Mason

The writer meets Janet and her husband Ivar, when he and his wife Helen are on vacation. There is an instant attraction between Warren and Janet, but neither of the two acts on it at the time. Warren’s wife dies in a tragic accident the same night. Some time later, he runs into Janet at a nightclub, and the two begin an affair. Janet cajoles a reluctant Warren into coming up with the perfect way to murder Ivar, so they can be together forever. Barrow outlines his plan on the audiotapes he sends to his publisher, detailing how they plan to kill Janet’s husband. But something happens when the plan is set in motion, and Barrow re-thinks his plan. Hartman brings in his friend Tom Keller to listen to the tapes, to see what he thinks of them. Is Barrow really planning a murder? And who is the victim? Is there time to stop him?

“Captive Audience” is a tense, noir-esque tale with some terrific performances. James Mason is marvelous as Warren Barrow, the mystery writer with both love and murder on his mind. Angie Dickinson is very good as the beautiful and seductive Janet, who may be manipulating Barrow for her own ends. The episode also features Arnold Moss as Hartman and Ed Nelson as Keller, both of whom will be familiar faces to fans of 1960s and 1970s television series. Levinson and Link’s fine teleplay is based on the novel Murder Off The Record by John Bingham. The well-known writing team later wrote a television film entitled Rehearsal for Murder (1982), a twisty tale of murder that has some echoes of this episode. In the movie, Robert Preston portrays a playwright whose actress lover apparently committed suicide. His new play provides a different explanation for her killing, and he plans on using the rehearsals for the play as a way to catch her killer.

Both “The Case of Mr. Pelham” and “Captive Audience” as well as other episodes of Alfred Hitchcock Presents and The Alfred Hitchcock Hour, are available on the Amazon Prime and Peacock streaming services. There have been video releases of both series, though some of those discs are currently out of print. Both versions of the series featured some fantastic episodes throughout their runs, and even the lesser entries are enjoyable, especially for Hitchcock’s often amusing introductions and end of episode comments. I highly recommend checking out “The Case of Mr. Pelham” and “Captive Audience,” and sampling some other episodes of the series, in both the half hour and hour formats. As The Master of Suspense himself would say, "Good evening."

"It's About Time" to Discover Marc Platt

Marc Platt is an extremely talented singer, songwriter and producer based in California. He’s been providing in the know fans with excellent music since the 1980s, when he fronted the outstanding power pop ensemble The Real Impossibles. Platt recently released Beat on the Street, an EP that offers a half dozen examples of his rock and roll bona fides. "Joe Strummer," the record's memorable opening salvo, is a strong track that manages to rock out and be socially conscious at the same time, while also name-checking the late great Clash guitarist-vocalist. The low-key 1960’s singer-songwriter vibe of the lovely “Did You See Her Smile” will make you feel like you're hearing a lost gem from Neil Diamond’s early period.

“On Lonely Avenue” and “As The City Sleeps” are noir-tinged songs that benefit from Platt's passionate vocals and atmospheric production. The very cool, echo-laden “Surf In The Rain” is a fusion of punk, surf music and garage rock, featuring his deft guitar work. Then there’s the glorious pop tune "The Beat," which Platt co-authored with the late John Ferriter of The Tearaways. The songs featured on Beat on the Street are superbly crafted tales of love, loss, heartache and joy. Here's hoping we’ll get a full-length release from Mr. Platt in the near future, as this marvelous EP will definitely whet your appetite for more music from this marvelous artist. Beat on the Street is an absolute must listen.

To tide you over until Platt's next release, Rum Bar Records has released a remastered edition of It’s About Time by The Real Impossibles. This fantastic power pop outfit was founded by Platt during the 1980s, and featured a lineup of stellar musicians during their existence, including bassist Probyn Gregory, guitarist Robby MacDonald, and drummer Brian Glasscock. Peter Case of The Plimsouls also recorded some tracks with the band. It’s About Time features 13 prime slices of power pop from throughout the band's history, including the guitar infused "Talkin' Bout You," a song that Bryan Adams wishes he'd written and recorded during his MTV heyday. The hard-driving "Turn My World" and the country-flavored "Here And Now" are also highlights of this terrific collection. Platt's Neil Diamond influence surfaces again on a fine power-punk cover of "Cherry Cherry."

If you're pining for the kind of songs bands like The Alarm, The Romantics, The Producers and The Knack gave us back in the day, look no further than the melodic pop-rock tunes “Something To Learn” and “Is It Love,” or the modern rock flavored "Firing Line." Then there's the crunchy “Won’t Let You Down” and “Guess You Feel It Too” both of which sound as if The Blasters decided to have a jam session with The Georgia Satellites and invited The Fabulous Thunderbirds along for the ride. You'll find so many jangly, guitar-infused tunes on the album, you'll be spinning it relentlessly, whether you're re-discovering the band, or hearing their incredible music for the first time. It's About Time from The Real Impossibles and Beat on the Street from Marc Platt are now available from Rum Bar Records. You can find Rum Bar Records at: https://rumbarrecords.bandcamp.com. To give you a taste of these fine releases, here are links to "Surf In The Rain" from Marc Platt's excellent Beat on the Street, https://www.youtube.com/watch?v=h2MFS9083FE, and "All Over This World" from The Real Impossibles' wonderful It's About Time: https://www.youtube.com/watch?v=NiWJkiGMKEw. 

Miracle Mile: Fate, Love & the Apocalypse

Many apocalyptic thrillers and disaster films tell their story on an epic-sized canvas. Movies like Airport, The Poseidon Adventure, Independence Dayand Deep Impact feature a sprawling cast of characters fighting for their lives to survive ships or airplanes in peril, natural disasters, rampaging monsters or alien invaders. Miracle Mile (1988), writer-director Steve De Jarnatt's end of the world tale, travels a different road. The film relates its story on a much smaller scale, and it's a unique, offbeat entry in the pantheon of end of the world thrillers.

Anthony Edwards in Miracle Mile

As the movie opens, we meet a Los Angeles based musician named Harry. While visiting the La Brea Tar Pits museum, he meets Julie, who works at a local diner. The two hit it off and spend the afternoon together. They agree to meet later that evening for a date after Julie's shift as a waitress is over. A power failure in Harry's building causes him to oversleep, and miss their rendezvous. When he gets to the diner hours later, Julie has left the premises, believing that he's jilted her. Harry uses the payphone (hey, this is the 1980s, remember?) outside the coffee shop to call her, and leaves her a message. He apologizes for missing their date and asks her to meet him later.

That's when fate intervenes. The phone rings, and Harry picks it up. A frenzied voice on the other end of the line starts talking about an impending nuclear attack, and says that we're going to retaliate. It turns out that Chip, the caller, works at a military base. He dialed the wrong number, and thought he had reached his Dad. Before Harry can confirm Chip's story, there are gunshots on the line, and a voice tells him "Forget what you just heard," before breaking the connection. Harry goes back into the diner, and tells everyone there what just happened. The reactions of the customers there vary from some of them thinking he's crazy to others taking him deadly seriously. If what Harry heard is true, they've got just over an hour to get out of the area before the attack happens.

The group in the diner plans an escape, thanks to a customer named Landa, who's a stock trader and has some connections, thanks to her having dated a guy from the Rand Corporation. As the time for the attack inches closer, Harry works his way across the city to find Julie before the coming apocalypse. Can he save her in time? Is there really a nuclear attack imminent, or was the phone call a hoax? Is Harry dreaming the whole thing? One thing's for sure: Harry knows that Julie is the love of his life, and he's got to find her before the doomsday clock runs out.

The cast is fantastic. Anthony Edwards is marvelous as Harry, and Mare Winningham is terrific as Julie. The two knew each other before working on the film, and they have excellent chemistry.  The rest of the stellar cast is filled with familiar faces, including Denise Crosby, Diane Delano, Mykelti Williamson, Kurt Fuller, and Danny De La Paz. They're all wonderful in the movie. The scenes in the diner feel a bit like a classic TV drama from the 1950s. They have the aura of a Playhouse 90 or Twilight Zone episode. According to Denise Crosby, who I met a few years ago at a convention, the cast was actually able to re-hearse these scenes before production, and it gives the early portion of the film a natural, low-key, one-act play kind of vibe. 

Miracle Mile is a unique combination of genres; it starts out as a 1980s “meet cute’ love story, then morphs into a doomsday thriller, an action movie, and finally, offers us a very 1970s style downbeat climax. The story's tonal shifts puzzled some of those who initially attempted to produce the film. Steven De Jarnatt's script had been circulating in Hollywood for years, and it was known as one of the best unproduced screenplays in the pipeline. According to De Jarnatt, at one point the film was being developed at Warner Brothers as the basis for Twilight Zone: The Movie, but it never came to pass, because the writer-director balked at changing the film’s ending. De Jarnatt eventually bought back the script and attempted to get the project off the ground himself, when producer John Daly and Hemdale Films stepped in, and worked with him to produce the movie.

De Jarnatt does a solid job with the film’s direction. The effects are a bit dated, because this is the pre-CGI age, but cinematographer Theo van de Sande does a great job evoking the night-time world of Los Angeles, aided by the effective, deeply moody score provided by Tangerine Dream. Miracle Mile offers a fascinating “what if” scenario. What if you knew you only had a very short time to live? What would you do with the moments you had left? If you enjoy doomsday thrillers, Miracle Mile is a little something different for the genre. It’s a very personal disaster film. You might find yourself thinking about just how much of what happens to Harry and Julie is fate, and if in fact, it really happened at all. The movie is available in a marvelous Blu-ray edition from Kino Lorber with a number of great extras, including a commentary with writer-director De Jarnatt, and a cast reunion featurette. Here’s a link to the trailer: https://www.youtube.com/watch?v=RNXZX8JRb6o.

This post is part of the Disaster Blogathon, hosted by my fellow bloggers over at Dubsism and The Midnite Drive-In. I’d like to thank them for allowing me to join in on the fun! Follow this link for more info, and to check out the other entries in the blogathon: https://dubsism.com/2020/06/10/the-disaster-blog-a-thon-is-here/.

Bava's Cool, Stylish "Danger: Diabolik"

Mario Bava is probably best known as the director of horror films like Black Sunday and giallo thrillers like Blood and Black Lace, but he also made sword and sandal movies, science-fiction tales and even a Western. Bava was a master at creating stylish and atmospheric films, which ended up looking much more impressive and expensive than their often modest budgets. He directed one of the best comic book adaptations ever made. Danger: Diabolik (1968) is a colorful, action-filled adventure based on the Italian comic book, or fumetti, created by siblings Angela and Lucianna Giussani. The series follows the adventures of a master thief, Diabolik, and his accomplice, Eva Kant. Diabolik began publication in 1962, and became one of the most successful comics ever published in Europe, selling more than 150 million copies.

The initial cinematic adaptation of Diabolik was begun by producer Tonino Cervi and director Seth Holt. The cast featured Jean Sorel as Diabolik, Elsa Martinelli as Eva Kant and George Raft as Diabolik's enemy, Richness. After Raft dropped out due to health problems, and was replaced by Gilbert Roland, production on the film started up again. Dino De Laurentiis, who was distributing the movie, scrapped the project after being disappointed with the footage completed by Holt. De Laurentiis began again with a new script, cast and crew, and hired Bava to direct the film. John Phillip Law, who was set to co-star in De Laurentiis' upcoming production of Barbarella, was cast as Diabolik, while Marisa Mell took over the role of Eva Kant. Celebrated composer Ennio Morricone (The Good, The Bad & The Ugly) was brought on board to write the score, and editor Romana Fortini, cinematographer Antonio Rinaldi, and set designer Carlo Rambaldi also joined the project.

The film begins with Diabolik's heist of ten million dollars from a convoy overseen by police Inspector Ginko. Despite Ginko's careful preparations, including the use of a decoy convoy containing paper instead of money, the master thief and his lover/accomplice, the beautiful Eva Kant, steal the loot and escape capture. Thus begins a cat and mouse game between Diabolik and Ginko that runs throughout the film. The inspector even makes a deal with the notorious gangster Valmont to aid him in his pursuit and capture of Diabolik. Over the course of the story the clever Diabolik evades capture (using a variety of gadgets and very fast cars) and pulls off some increasingly spectacular thefts. When Eva is kidnapped by the evil Valmont, will Diabolik's luck run out? Can our resourceful (and death-defying) anti-hero rescue his one true love Eva, and pull off the biggest gold heist of all time?

John Phillip Law & Marisa Mell

Danger: Diabolik is filled with kinetic action sequences, eye-popping set pieces and marvelous work from the cast. The athletic Law (best known to genre fans in the US for playing Sinbad in the Ray Harryhausen production The Golden Voyage of Sinbad) is excellent as Diabolik, and Marisa Mell is lithe, sensual and seductive as Eva Kant. The two actors (who reportedly dated offscreen) have great onscreen chemistry; you can definitely feel their passion for one another. Michel Piccoli is solid as Diabolik's nemesis Inspector Ginko, the indispensable Terry-Thomas is wonderful as a government official, and Adolfo Celi (who portrayed James Bond's nemesis Emilio Largo in Thunderball) is appropriately slimy as the villainous Valmont. Even though Diabolik is a thief and a terrorist (he blows up all of Italy's tax offices in the film!), we end up rooting for him, because's he's a charming rogue with his own code of conduct. He's the kind of guy who seems to specifically target corrupt governments and remorseless bad guys with no sense of honor.

Bava does a fantastic job with the film. The movie looks far more expensive than its limited budget, thanks to some spectacular matte paintings, skillful use of miniatures, an inspired color palette, and some inventive camera tricks by Bava and his crew. Ennio Morricone's terrific music effortlessly matches the tone of the film, effectively using instruments like electric guitar and sitar, as well as some talented vocalists, to underscore the action and not overwhelm it. The movie has an off the wall sense of humor, but never becomes quite as deliriously campy as the Batman television series, the James Coburn "Flint" films or Dean Martin's "Matt Helm" movies. Danger: Diabolik has a style all its own. I think it's one of Mario Bava's best films, and it's most certainly one of the most well-done (and affectionate) comic book adaptations ever made.

If you like the spy films and television series of the 1960s and 1970s, (or are a Mario Bava fan) I think you'll really enjoy Danger: Diabolik. The move has influenced a variety of comic book artists and filmmakers including Stephen Bissette, Edgar Wright and Roman Coppola, and the Beastie Boys famously integrated clips from the movie into their video for their 1998 song "Body Movin." The film has recently been released in an outstanding special edition from Shout! Factory, which includes a featurette on the history of the original comic strip and the film's production, and a pair of audio commentaries, including one by Bava scholar and Video Watchdog editor Tim Lucas with star John Phillip Law. Here's a look at the trailer, even though it really doesn't do justice the this unique film: https://www.youtube.com/watch?v=jNyrLfODNyg.

Terror in the Sky: Horror at 37,000 Feet

The 1970s was a prolific period for made for television movies, and a large number of the films produced during the era placed their feet squarely in the horror genre. Movies like The Night Stalker, Don't Be Afraid of the Dark, Gargoyles, and Trilogy of Terror were all made during that faraway decade. One of the most entertaining of these vintage television fright films is The Horror at 37,000 Feet, originally broadcast by CBS in 1973. The story concerns a group of passengers on a Boeing 747 traveling from London to New York who are threatened by otherworldly forces. Architect Alan O'Neill and his wife Sheila have brought an ancient Druid altar on board, and apparently the ancient spirits within that artifact aren't too thrilled to be flying economy class in the cargo hold. This flight just might be a one-way ticket to supernatural terror and death!

The passengers discuss The Horror at 37,000 Feet

Weird things happen after the flight takes off. The plane doesn't seem to be making any progress. The jet appears to be just flying in circles, despite the best efforts of the pilot. There's wind, cold air (and an eerie sort of green mud) inside the aircraft, as well as strange voices and other odd occurrences, like Sheila passing out and speaking Latin. It becomes apparent that there is some sort of demonic presence onboard, and it's centered on the ancient artifact in the cargo hold. Can an alcoholic former priest who's lost his faith help the passengers and crew defeat the terrifying and evil forces plaguing them?

The cast of The Horror at 37,000 Feet features a virtual who's who of 1960s and 1970s TV stars, including Roy Thinnes, Chuck Connors, Buddy Ebsen, Russell Johnson, Tammy Grimes, Lynn Loring and Paul Winfield, who sports a British accent playing a doctor. There are also appearances by other familiar faces, including Jane Merrow, H.M. Wynant, France Nuyen, Darleen Carr and TV Western star Will Hutchins, playing (what else?) a Western star! But the one who really gets to act up a storm in the film is none other than William Shatner, who portrays Paul Kovalik, the former priest having a crisis of faith. It's up to him to lead the battle against the dark forces that threaten them all, if he can just pull himself together. Shatner dials things up to 11 on the over the top scale. His acerbic, cynical character interacts well with the rest of the cast, all of whom are effective in their roles, though it's tough to beat Shatner at his most...Shatner-ian! Tammy Grimes does give Shatner a run for his money as a woman who feels that the Thinnes character has doomed them all by bringing the altar on board.

The movie is sort of a cross between all-star disaster films like Airport and supernatural thrillers like The Exorcist. No one's going to place The Horror at 37,000 Feet on the list of the best made for TV chillers of all time, but it's certainly one of the most enjoyable. It's a fun ride, and at 73 minutes in length, it doesn't drag on too long. The movie was directed by David Lowell Rich, who helmed a lot of feature films and television episodes from the 1950s right on through to the 1980s. In 1973, the same year he directed The Horror at 37,000 Feet, he was also behind the camera for the classic TV terror tale Satan's School For Girls, which co-starred Roy Thinnes and Kate Jackson. He also returned to "panic in the sky" mode for the made for TV movie SST: Death Flight (1977) and on the big-screen for The Concorde: Airport '79. The Horror at 37,000 Feet is available on DVD, and if you do some looking around on YouTube, you might find it there as well. Watch out for evil Druid spirits and those 1970s fashions!

Bosch: The Best Show You Haven't Seen

When people ask me for suggestions regarding a TV series to watch in these days of multiple viewing choices and numerous streaming options, there are certain shows I consider my "go to" recommendations. Series like Ozark, Better Call Saul, Penny Dreadful and Sense8 are personal favorites, but some of those selections may not be everyone's cup of tea. One show I can recommend to everyone without hesitation is Bosch, the Amazon-produced series based on the novels of bestselling author Michael Connelly. If you're not watching this show, you're missing out on one of the best series currently running on any platform. Bosch is a crime drama which tells the story of veteran Los Angeles detective Harry Bosch, whose deep sense of justice and relentless pursuit of murderers is fueled by his personal demons and his tragic past.

Titus Welliver as Bosch

Bosch's mother was killed when he was a child, and her killer was never found. He's obsessed with finding out the true circumstances behind her murder, and that search plays out as background to the first few seasons of the show. The writers incorporate multiple storylines from Connelly's novels into each season of the series. If you haven't read the books, you can watch and enjoy the series on its own terms. However, if you have read the novels, you'll have an even deeper appreciation for the rich tapestry the writers have cleverly laid out across each ten episode arc of the show. The major storylines are usually resolved by the end of a season, but there are ongoing plot points that run throughout the series. The stories are superbly crafted tales of murder, police corruption, and fractured relationships, which often travel in surprising, but dramatically satisfying, directions.

The cast is terrific, and it's criminal (no pun intended) that they haven't been recognized by the Emmys or SAG Awards for their sterling work on the series. Bosch is portrayed by the indispensable Titus Welliver, who you may remember from his roles on the TV series Sons of Anarchy and Lost, and in films such as The Town and Argo. Welliver's multi-layered, richly textured portrayal of Bosch is the glue that holds the show together. He's aided and abetted by a talented ensemble that includes Jamie Hector as his partner Jerry Edgar, Amy Aquino as their boss, Lieutenant Grace Billets, and Madison Lintz as Bosch's daughter Maddie. Other top-notch actors featured throughout the series are Sarah Clarke, Steven Culp and Mimi Rogers. Lance Reddick (of Lost and Fringe) is perfect as Police Chief Irving. No one heaves a sigh quite as effectively as Reddick. Top notch supporting players Gregory Scott Cummins and Troy Evans, are wonderful as Detectives Crate and Barrel, and they absolutely deserve a spinoff series!

The behind the scenes talent is strong as well. Directors like Ernest Dickerson and Tim Hunter have helmed episodes of the show, and the talented writers for the series include Tom Bernardo and Katie Pyne. There's never been a better time to get into this excellent show. The stories are more intimate and emotionally driven than most police dramas, and while they travel down some dark roads, there is always a sense of light and redemption as well. The sharply drawn performances and well-crafted stories give you a real sense of empathy for, and understanding of, these full fleshed out characters. There are currently six seasons of Bosch available for streaming on Amazon Prime. It was recently announced that the series will return for a seventh and final go-round next year. This is the best show you (probably) haven't seen, and it should definitely be on your must watch list. Give Bosch a chance; you wont be disappointed. Here's a link to the trailer for the first season of this awesome series: https://www.youtube.com/watch?v=T-HUa10kVpQ.