Man in a Chariot breaks out a new intro for a new season, and possibly another dimension in placing Jansenn's role in a supporting mode for a "special" guest star. With a compelling performance by Begley it, mostly, works.
Begley, as G. Stanley Lazer is an angry attorney put to pasture due to a debilitating and questionable accident. He misses the courtroom reduced to a non-practicing law professor teaching kids he has respect as well as contempt for. These kids have the chance he no longer has, or so he thinks. By riding them hard he struggles to gain some much needed relevance hoping to recreate someone in his image. Lazer chooses to claim in a TV interview that if he was still practicing law he could reverse the decisions of several high-profile cases. Kimball's case is the only one in which the convicted felon remains alive. Kimball, seeing the TV interview, seeks out Lazer with hopes he might be able to get a new trial, without a one-armed man assailant, whereby he can be exonerated. In other words an appeal in which the circumstantial evidence produces "reasonable doubt" and an acquittal.
Lazer's meeting with Kimball sets things in motion for a classroom "mock" trial. The ensuing trial is a bit "helter skelter" in that, it would seem, for every step Lazer gains in Kimball's defense, he suffers two steps back. The trial forces Lazer to adopt a new tact of no bluster opting for an examination of the certain kind of humanity Richard Kimball possesses. In the process Lazer is transformed realizing he may not actually be able to free Kimball even as he wins a mock "not guilty" verdict. This by no small means resulting from a scathing conversation presided over by Kimball. It is implied that Lazer embraces his role as teacher thus finding his own personal relevance and peace. In an out of character last meeting with Kimball, Lazer advises Kimball in spite of everything that Kimball's only "out" is not in an appeal, but in finding the one-armed murderer. This only reinforces Richard Kimball's running and searching assuring us of many more interesting episodes. Begley's melodramatic performance is the real jewel here as his own personal education of redemption thus renewed purpose, one with inner peace to embrace his role of teacher.
So here we have it, a revamped The Fugitive. One which in the end is different from any of those before yet equally good.
Begley, as G. Stanley Lazer is an angry attorney put to pasture due to a debilitating and questionable accident. He misses the courtroom reduced to a non-practicing law professor teaching kids he has respect as well as contempt for. These kids have the chance he no longer has, or so he thinks. By riding them hard he struggles to gain some much needed relevance hoping to recreate someone in his image. Lazer chooses to claim in a TV interview that if he was still practicing law he could reverse the decisions of several high-profile cases. Kimball's case is the only one in which the convicted felon remains alive. Kimball, seeing the TV interview, seeks out Lazer with hopes he might be able to get a new trial, without a one-armed man assailant, whereby he can be exonerated. In other words an appeal in which the circumstantial evidence produces "reasonable doubt" and an acquittal.
Lazer's meeting with Kimball sets things in motion for a classroom "mock" trial. The ensuing trial is a bit "helter skelter" in that, it would seem, for every step Lazer gains in Kimball's defense, he suffers two steps back. The trial forces Lazer to adopt a new tact of no bluster opting for an examination of the certain kind of humanity Richard Kimball possesses. In the process Lazer is transformed realizing he may not actually be able to free Kimball even as he wins a mock "not guilty" verdict. This by no small means resulting from a scathing conversation presided over by Kimball. It is implied that Lazer embraces his role as teacher thus finding his own personal relevance and peace. In an out of character last meeting with Kimball, Lazer advises Kimball in spite of everything that Kimball's only "out" is not in an appeal, but in finding the one-armed murderer. This only reinforces Richard Kimball's running and searching assuring us of many more interesting episodes. Begley's melodramatic performance is the real jewel here as his own personal education of redemption thus renewed purpose, one with inner peace to embrace his role of teacher.
So here we have it, a revamped The Fugitive. One which in the end is different from any of those before yet equally good.