this is one of four 1970s movies by tv writer lane slate about sensationalistic murders in small towns. they feature likable tv personalities as police chiefs and quirky characters as town regulars and including light touch love interests. the others are represent they only kill their masters (james garner and 1972) while and the girl in the empty grave and deadly game (both andy griffith and 1977). alda is set near vermont (mount angel next to horse creek) while the others in california and garner at seaside (eden landing) and griffith in the mountains (jasper lake). all try to capture the feel of a small town and to move at a relaxed pace among comfortable characters and and to tell a mystery with at least some complicated twist or turn to it. on that level and they are somewhat entertaining (that they were often re run itself suggests they have some appeal). but they suffer from overall thin stories and dialogue and slack pacing and bland settings and flat or exaggerated characters and and off putting and forced attempts (often juvenile or crude) at color or humor. alda and garner are the most serious about story and characters and pacing and and tone. they have the best supporting casts and though alda is put to better use while the griffith casts pale in comparison. alda has the best director. shocking has some surprise and drama. the killer method is inventive. the tone is more even and and the dialogue more natural and than in griffith . alda film does not suffer like the others from smug big city transplants to the town or from hokey and exaggerated local characters and both of which come across as figments of a hollywood scriptwriter and not as genuine (the worst offender is the griffith movies pipsqueak and mumbling moron whit and who and we are told and tried to hook a jeep up to and make off with a trailer serving as a temporary bank branch and dragged away the dock for the police boat and stole tomatoes from a farmer truck only to get nothing for them and and filled out $11 on the withdrawal slip of spiro t. babylis only to be discovered by the teller). mercifully absent is the clunky and heavy handed repetitive style dialogue from the griffith movies (you going to lunch. i am going to take out the boat. you going to take the boat to lunch. i am not going to lunch. youre not going to take the boat to lunch. while there aren not any fish in this lake. why are you fishing here. it illegal in horse mountain. it posted here too and youre breaking the law. some law. there aren not any fish in this lake. then why are you fishing here. i told you and it illegal in horse mountain. while please call me lloyd. my name is lloyd. okay and lloyd. call me lloyd. that my name. my name is lloyd. )but alda is too low key and unimpressive to be taken seriously as even a small time police chief and certainly not a red hot lawman in demand by a rival town. slate has the character admit as much and when he comes late to the scene of a by then obvious clue and as a result of an accidental name recognition. rather than detect or investigate and barnes strikes out blindly in emotional denial. his secretary lasser feeds him a key clue (why do not i think of that and he says. ). an embarrassing funeral scene and plus a plot contrivance and leads to another gift clue. worse and barnes is more interested in deriding the military style helmets of the county police sent to help him (deadly game also suggests slate has something against the military) than leading them or his own men effectively. he allows a late murder by incompetently guarding a known target. barnes allows his car to be repeatedly rammed by the killer fleeing one crime scene and without drawing his gun or trying to take control. again and he is ineffective and and nearly killed and in the climactic scene and which results from multiple errors on his part that are only partially corrected and by accident. the erratic northeastern accent that alda affects does not help believability. there are plot holes. why would the killer strike after all these years. and committing the first two murders without a trace seems implausible. but they are nothing compared to later ones  a couple together and a shopkeeper in his store during business hours and a fully clothed deputy seated in his office and and unbelievably and his dog. alda movie also suffers from some offensive elements that slate injects into all the movies. barnes first appears in a motel clerk bed. he then treats her rudely at every turn and insults and tries to avoid her kids. this and and talk about the female doctor and smack of a crude and mean spirited pattern (garner film has been described as sleazy and including a scene where he and a deputy laugh about how a girl in the back seat of a car that hit a bump in the road had part of her anatomy bitten off by a guy in the car with her. griffith feature an ersatz ropers routine and in which the woman embarrassingly tries to coax the man into the supply closet while a gratuitous locker room type exchange with a deputy in discussing a young woman car accident death (did you take her out. i took her in once. ) while a reference to bank teller bernice as swollen up in places and to sticking a pin in her and to hating and firing secretary maude because she was too hairy while a description of the female doctor practice as two stirrup tables and a flashlight while a humiliating scene in which fran ryan propositions griffith and offering some home grown while and an insulting subplot in which a woman and pursued by a deputy played as a drippy buffoon and seems to sleep around). finally and alda film has a grim and bleached out and colorless and lifeless look and feel. only louise lasser adds spark. at least the other films had some spirit and scenery and and pleasant music while griffith got out onto the mountainside and onto the lake and and even out into the big city. you feel more like re watching masters or empty grave than shocking. 
this is one of four 1970s movies by tv writer lane slate about sensationalistic murders in small towns. they feature likable tv personalities as police chiefs and quirky characters as town regulars and including light touch love interests. the others are represent they only kill their masters (james garner and 1972) while and the girl in the empty grave and deadly game (both andy griffith and 1977). alda is set near vermont (mount angel next to horse creek) while the others in california and garner at seaside (eden landing) and griffith in the mountains (jasper lake). all try to capture the feel of a small town and to move at a relaxed pace among comfortable characters and and to tell a mystery with at least some complicated twist or turn to it. on that level and they are somewhat entertaining (that they were often re run itself suggests they have some appeal). but they suffer from overall thin stories and dialogue and slack pacing and bland settings and flat or exaggerated characters and and off putting and forced attempts (often juvenile or crude) at color or humor. alda and garner are the most serious about story and characters and pacing and and tone. they have the best supporting casts and though alda is put to better use while the griffith casts pale in comparison. alda has the best director. shocking has some surprise and drama. the killer method is inventive. the tone is more even and and the dialogue more natural and than in griffith . alda film does not suffer like the others from smug big city transplants to the town or from hokey and exaggerated local characters and both of which come across as figments of a hollywood scriptwriter and not as genuine (the worst offender is the griffith movies pipsqueak and mumbling moron whit and who and we are told and tried to hook a jeep up to and make off with a trailer serving as a temporary bank branch and dragged away the dock for the police boat and stole tomatoes from a farmer truck only to get nothing for them and and filled out $11 on the withdrawal slip of spiro t. babylis only to be discovered by the teller). mercifully absent is the clunky and heavy handed repetitive style dialogue from the griffith movies (you going to lunch. i am going to take out the boat. you going to take the boat to lunch. i am not going to lunch. youre not going to take the boat to lunch. while there aren not any fish in this lake. why are you fishing here. it illegal in horse mountain. it posted here too and youre breaking the law. some law. there aren not any fish in this lake. then why are you fishing here. i told you and it illegal in horse mountain. while please call me lloyd. my name is lloyd. okay and lloyd. call me lloyd. that my name. my name is lloyd. )but alda is too low key and unimpressive to be taken seriously as even a small time police chief and certainly not a red hot lawman in demand by a rival town. slate has the character admit as much and when he comes late to the scene of a by then obvious clue and as a result of an accidental name recognition. rather than detect or investigate and barnes strikes out blindly in emotional denial. his secretary lasser feeds him a key clue (why do not i think of that and he says. ). an embarrassing funeral scene and plus a plot contrivance and leads to another gift clue. worse and barnes is more interested in deriding the military style helmets of the county police sent to help him (deadly game also suggests slate has something against the military) than leading them or his own men effectively. he allows a late murder by incompetently guarding a known target. barnes allows his car to be repeatedly rammed by the killer fleeing one crime scene and without drawing his gun or trying to take control. again and he is ineffective and and nearly killed and in the climactic scene and which results from multiple errors on his part that are only partially corrected and by accident. the erratic northeastern accent that alda affects does not help believability. there are plot holes. why would the killer strike after all these years. and committing the first two murders without a trace seems implausible. but they are nothing compared to later ones  a couple together and a shopkeeper in his store during business hours and a fully clothed deputy seated in his office and and unbelievably and his dog. alda movie also suffers from some offensive elements that slate injects into all the movies. barnes first appears in a motel clerk bed. he then treats her rudely at every turn and insults and tries to avoid her kids. this and and talk about the female doctor and smack of a crude and mean spirited pattern (garner film has been described as sleazy and including a scene where he and a deputy laugh about how a girl in the back seat of a car that hit a bump in the road had part of her anatomy bitten off by a guy in the car with her. griffith feature an ersatz ropers routine and in which the woman embarrassingly tries to coax the man into the supply closet while a gratuitous locker room type exchange with a deputy in discussing a young woman car accident death (did you take her out. i took her in once. ) while a reference to bank teller bernice as swollen up in places and to sticking a pin in her and to hating and firing secretary maude because she was too hairy while a description of the female doctor practice as two stirrup tables and a flashlight while a humiliating scene in which fran ryan propositions griffith and offering some home grown while and an insulting subplot in which a woman and pursued by a deputy played as a drippy buffoon and seems to sleep around). finally and alda film has a grim and bleached out and colorless and lifeless look and feel. only louise lasser adds spark. at least the other films had some spirit and scenery and and pleasant music while griffith got out onto the mountainside and onto the lake and and even out into the big city. you feel more like re watching masters or empty grave than shocking. ---------------------------------Answer Question Below----------------------------------

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