From the Archives: TV Reviews: ‘Heartsounds’ drama; mischief in ‘Murder’

TV has known so many heartwarming affliction stories, from “Brian’s Song” in 1971 to the present, that the good ones often seem routine simply because the genre is so familiar.

That is unfortunate for ABC’s “Heartsounds” because it is one of the good ones. Very, very good, in fact.

“Heartsounds” is an Embassy Television adaptation of Martha Weinman Lear’s book about the four-year ordeal that she and her husband, Hal, endured following his massive heart attack.

It is a coronary “Rocky,” uplifting even as it saddens. It is emotional and stirring, with humor and heartbreak, a story of integrity and intelligence that is at once sweet and hard-edged.

This is as much a love story as a sick story, featuring excellent work from Mary Tyler Moore as Martha Lear. Roller-coasting between outrage and tenderness as the supportive wife, Moore has never been better.

“Heartsounds” is also a confident, breakout performance for James Garner as Hal Lear, a physician who deters physical and mental erosion with a fighting spirit.

Moore’s and Garner’s triumphs (and Sam Wanamaker does a nice turn as Hal’s chief physician) must be shared with director Glenn Jordan, writer Fay Kanin and Fern Field, who co-produced with Kanin. Together, they give us not Super Victims, but credible characters, with flaws and vulnerabilities, who instinctively push through adversity.

“Heartsounds” is especially effective in depicting the Lears’ crisis of adjustment as Hal ultimately undergoes bypass surgery and seems to ebb away. He gets daily extensions on life, becoming an increasing emotional burden on his wife.

The story also says much about our attitudes toward medicine and sickness — how the heart patient is seen by himself and others. Martha asks Hal during lovemaking if he wants to “rest a minute.” Later, he is angry at his body, at the “damned double talk” he gets from his doctors and at Martha for not telling him the truth about his condition.

She, at times, is angry at him for putting her through this. And she is bitter about his treatment.

“Heartsounds” is a bludgeoning indictment of medical treatment at its impersonal worst, when patients are administered to as part of a generic, faceless mass.

Medicine is like Pluto to most of us, amorphous and unreachable, a separate planet with a separate vocabulary and an intimidating presence that does not invite challenge.

The hospital treatment given to Hal in “Heartsounds” is icy, antiseptic, abrupt and even inept, and Martha later reproaches herself for accepting this ”institutional madness.”

The Lears’ story also demonstrates how such crises as serious illness can unify a family and redefine relationships.

“Heartsounds” is about frustration and pain. It is also about loyalty and affection, however. At 2 1/2 hours, it is extremely long, but also extremely rewarding.

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The best thing about the two-hour premiere of “Murder, She Wrote” on CBS Sunday is Angela Lansbury. She is all mischief and devilment, huggably wise, possessed of an agile mind and a sweet nature as a mystery writer/amateur detective who is always one amiable step ahead of the police.

The next best things are Peter S. Fischer’s wry and brainy script and the production’s blend of suspense and fun as Jessica Fletcher (Lansbury) tells us (speaking right to the camera) how she got started writing and sleuthing:

“I suppose I knew then and there that something bizarre was developing.”

The “scene of the crime” is the weekend estate of publisher Preston Giles (Arthur Hill), where the dastardly Caleb McCallum (Brian Keith) also is in attendance.

Someone is missing. There’s a scream. A body floats to the top of the pool. And it’s, it’s ... time to call in the dumb cop (Ned Beatty).

Two more things of note: “Murder, She Wrote” gets a big break by following “60 Minutes,” although other CBS shows have had difficulty holding adult viewers in that time slot. Also, the crack Richard Levinson and William Link, who co-created “Murder, She Wrote” and were executive producers for the premiere along with Fischer, are listed only as “consultants” for future episodes of the series. The effect of that remains to be seen as Jessica Fletcher continues playing those “silly little murder games.”