Irving Pearlberg, a television writer and producer active from the mid-sixties through the mid-eighties, died on June 29. 

Pearlberg’s first TV script, as far as I can determine, was a good Kraft Suspense Theatre from 1964 entitled “Charlie, He Couldn’t Kill a Fly.”  It was about a town loudmouth (Keenan Wynn as Charlie), all bluster and no bite, who finds that after he’s accused of murder he wins the attention and respect of neighbors who didn’t take him seriously before.  Charlie offers a false confession and undergoes a crisis of identity as the authorities come closer to discovering who did the killing. 

It was a familiar story that’s been done by many a crime show.  In fact, one could say that Pearlberg was paid the ultimate compliment when The Defenders telecast a blatant lift of his Kraft script only five months later.  That episode, “Hero of the People” (written by Rod Sylvester and William Woolfolk), featured Gerald O’Loughlin as the milquetoast who gains sudden celebrity after killing someone.  In both shows, so as not to muddy the ethical issues at hand, the dead man was a drug peddler, the scourge of the community.  Also in both, there was the hint that the protagonist’s trampy wife/girlfriend (Beverly Garland on Kraft, a young Ann Wedgeworth in The Defenders) was turned on by his act of vigilantism.  Pearlberg (or the producers of Kraft Suspense) could have sued – assuming the premise of “Charlie, He Couldn’t Kill a Fly” had not itself been borrowed from someplace.

After Kraft Suspense Theatre, Pearlberg quickly moved into staff jobs, working as the associate producer (really a story editor) on the final, serialized season of Dr. Kildare (1965-66) and then moving over to do the same task for The Man From UNCLE (1966-68).  Both were MGM shows produced by that studio’s main TV guru, Norman Felton.  Following the stint for Felton, Pearlberg went freelance, but gravitated toward series in production at Universal’s busy TV factory: Ironside, The Name of the Game, The Bold Ones (two episodes of the “Doctors” cycle), Alias Smith and Jones, Columbo.  On an unusual number of these segments Pearlberg’s name appears atop a group of complex split credits, which suggests to me that he may have enjoyed a reputation as a reliable script doctor.

The family’s obit for Pearlberg condenses his resume to “a wide variety of police dramas,” which is true – he wrote for The Rookies, Police Woman, Baretta, Eischeid, Paris, Hawaii Five-O, and Quincy – but I would venture this was less a personal specialty than an index of what the market was buying during the seventies.  Pearlberg also branched out into comedy (The Courtship of Eddie’s Father) and did scripts for two fish-out-of-water shows about transplanted city professionals starting over in the sticks (Apple’s Way and The Mississippi).  His last credits were on The Paper Chase and Falcon Crest.  Pearlberg was a classic example of the all-purpose TV writer.

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