Cannon

Once upon a time you weren't a real TV detetctive unless you had a gimmick; Banacek was Polish, Barnaby Jones was old, Pepper Anderson was a "Police Woman," Ironside was in a wheelchair, Longstreet was blind, McCloud was a cowboy, Kojak was bald, Starsky and Hutch were "cool" (I HATE that word!), Columbo was polite and persistent...

Cannon, who left the force after his wife and child were killed (a plot thread tied up in one of the later episodes), was fat. And like Sammo on "Martial Law" nearly thirty years later, he didn't let his excess avoirdupois hinder his getting results. Unlike Sammo, however, he was hopeless when it came to the rough stuff - watching him get physical is embarrassing, and you suspect he and everyone else involved knew it, which is why hand-to-hand fight scenes were kept to a minimum throughout. (Scenes of him scuba-diving were also kept to a minimum of one episode of the entire run - William Conrad in a wetsuit is not something you want to see.)

The series was more reliant on stories than gimmicks, however, and it was William Conrad's show. No sidekicks, no best buddies, no revolving-door love interests, no down-at-heel stuff for him; he was good value, and so was the series.

I agree with the others about the quality and the care that each episode of Cannon had. A memorable TV show that only ended because William Conrad grew tired of doing it and wanted to end it on a high note. There was a "reunion" TV movie called "The return of Frank Cannon" done around 1980 as I recall. Perhaps it will see the light of day again in reruns.

"Cannon", one of the many gimmick-driven series produced by Quinn Martin Productions in the 60s and 70s, was an inspiration for every 'weight-challenged' fan who ever fantasized of chasing down bad guys, solving crimes, and even, occasionally, winning the girl. The series' star, short, rotund William Conrad (as Frank Cannon), suffers the humiliation of being discharged by the police for being overweight, yet has the last laugh, as he frequently solves cases law enforcement agencies have given up on.

William Conrad (1920-1994) had built a long career around his low, powerful voice, and was best-known for his radio work as the original 'Matt Dillon' in the long-running series, "Gunsmoke" (the role James Arness would inherit, when the series moved to television). A successful character actor in many films of the forties and fifties (including a flashy role as Kasar, one of John Wayne's brothers, in the infamous THE CONQUEROR), the bulk of Conrad's TV work, prior to "Cannon", was as an off-screen narrator ("Rocky and Bullwinkle", "The Fugitive", "The Invaders"). "Cannon" was created specifically for Conrad, not only acknowledging his physical stature, but his skills as a chef, his occasionally prickly temperament, and his child-like joy of solving puzzles. Living well in a beautiful balconied apartment, he still spent most of his time behind the wheel of his sedan, en route to another case requiring his special skills.

With a bouncy, upbeat theme song (featuring a tuba, yet another 'reference' to his girth), "Cannon" was a lighter series than "Mannix" or "Barnaby Jones", but still provided occasional opportunities for Conrad to use his fists, and to even do a climactic foot chase, or two (the least believable moments of the series!).

While the actor would enjoy another successful detective series, as the more abrasive, slovenly 'J.L.' McCabe, in "Jake and the Fatman", "Cannon" remains Conrad's best-loved role, and a popular series in syndication, to this day.

I agree, I think Cannon was one of the best series ever made. The early 70's era was the best for guest stars, and Cannon had its share of famous actors. It was about something different every time. Cannon carried a gun, but he could also disarm a enemy with either a fist or a menacing sneer. The series hasn't been on in my area in a few years, yet I still remember particular episodes in great detail. I put the show on the level of Columbo, which was another series put together with great care. You can see the same episode several times over, and still not be bored. Also, there are a few episodes you need to see a few times to really get them. This is quality, something Quinn Martin did so well.

"Cannon" was developed by Arthur Hume for Quinn Martin Productions, the same company whose leadership gave us also "The Untouchables" and "Barnaby Jones". This was also one of a bizarre series of what I at the time nominated as "defective detectives". Fortunately for viewers, instead of these series' central characters being ethically defective, like most other compulsives central characters on TV shows they all had a physical or experiential infirmity. One was too young, one was blind, one had a deaf daughter, one had crabgrass, another had an obnoxious girlfriend, Barnaby Jones was old and Frank Cannon, retired ace police detective, carried a lot of weight. He solved cases, worked with aid from and occasionally worked for his old police pals, and used the money he earned so he could buy and eat gourmet food and cook it for his friends in a posh Sunset Strip tower apartment This very-well-made and intelligently scripted series was not devoid of humor either; but William Conrad as "Cannon" was a considerable presence both as actor and large human being. His conviction and strength gave the series a solid boost in quality over other series Also, the employing of several fine guest stars a week added to that quality even more. The scripts for the series were overseen by David Moessinger, Stephen Kandel and Earl Booth. Among the thirty-four credited directors who toiled for the series between 1971-1976 were many first-rate talents, including Richard Donner, Marvin Chomsky, Robert Douglas, E. Arthur Keane, Michael O'Herlihy, Alec MacCowan, Leslie H. Martinson, David Lowell Rich, Jimmy Sangster, Virgil Vogel, David Whorf and Don Taylor. Writers among the nearly six dozen who created episodes for the series included Albert Aley, Margaret Armen, Bill S. Ballinger, Calvin Clements Jr., Harold Gast, Robert Hamner, Leonard Kantor, Robert Lenski, Ken Pettus, Paul Playdon, Jimmy Sangster, Karl Tunberg, Robert Van Scoyk, Phyllis White, Collier Young and Carey Wilber. Arthur Fellows was credited as supervising producer as was Russell Stoneham, with Winston Miller and Paul Playdon contributing also; an unusual feature of the show was how many of its producers and head writers contributed scripts to the series. Music for the series was seldom more than serviceable under seven contributers; Jack Swain did the good straightforward cinematography. The art directors were George B. Chan and Bill Kenney; the very varied set decorations were provided by Carl Biddiscombe and Frank Lombardo. Howard P. Alston was the executive production manager, with Fred Ahern in charge of production, and fine director Kurt Neumann and Lou Place having charge of active production units. John Elizalde was the show's musical supervisor. In one year, 1972, Charles Bateman was regularly featured as a police contact; and the series also used some actors five or more times, including Simon Scott, Arthur Adams, Patrick Culliton and Tom Pittman. Some of the most memorable guest stars on the series included Keith Andes as a charismatic cult leader who had no lines, Charlene Polite as a gorgeous flirtatious woman, and Katherine Justice as a suspicious woman investigating Pernell Roberts. The worst moment of the series? Perhaps it was putting William Conrad into a wetsuit to go scuba diving for evidence. The best? It might have been the brilliant episode "Death is a Doublecross", and much of Alec MacCowan's innovative direction. This is a well-remembered series; its mature star was twice as powerful as an actor and a character because he was not looking for romantic one-nighters everywhere, and because of the show's sheer narrative quality. The best of all private eye shows in TV history, by miles, I assert.