The star of the show, in my little book, are the great roadside shots of ordinary places seldom shown in Hollywood productions. I especially like the huge industrial brickyard with enough cement blocks and forklifts to cover LA. Then there's the usual roadside traveling shots that still distinguish this action series from others of the time.
And, oh yeah, plot-wise The Patrol's after a fleeing murderer, who uses good looks and charm to sneak past police lookouts. And catch sweetheart Gail Kobe who's enough to make any guy quit a life of crime. And how about the old couple and the rotund foreman-- more good realistic touches. Then too, I still marvel at Crawford's machine-gunning of his lines. He spits them out with authority faster than speeding bullets.
Anyway, I was disappointed by the climax that seemed too abrupt and unimaginative, but maybe I missed something. All in all, it's still a solid crime trip through greater 1950's LA, HP style.
And, oh yeah, plot-wise The Patrol's after a fleeing murderer, who uses good looks and charm to sneak past police lookouts. And catch sweetheart Gail Kobe who's enough to make any guy quit a life of crime. And how about the old couple and the rotund foreman-- more good realistic touches. Then too, I still marvel at Crawford's machine-gunning of his lines. He spits them out with authority faster than speeding bullets.
Anyway, I was disappointed by the climax that seemed too abrupt and unimaginative, but maybe I missed something. All in all, it's still a solid crime trip through greater 1950's LA, HP style.