Let's start with names. A name can't get much more thoroughly English than Sherlock Holmes--unless it's Sir Arthur Conan Doyle. Even most of the actors who have played Holmes have had distinctively English names, from Basil Rathbone to Benedict Cumberbatch. (And all right, once in a while a Robert Downey, Jr., will sneak in, or even--good grief!--an Igor Petrenko, in a Russian television series. The general point still holds.)
In an interview with Mark Dawidziak, Falk made another comment about the contrast between Holmes and Columbo, this one focusing on the way others perceive the two detectives. He's talking about the second episode in the series, which centers on a faked kidnapping: "I'm not a mystery fan, but as a kid I read Sherlock Holmes. I remember being very impressed by Sherlock Holmes. He'd show up, and everybody would turn to him for the answer. I thought it was important in the opening of Ransom for a Dead Man that no one turn to me for anything. I was just a local. All these FBI agents had their job to do. I couldn't know anything except maybe he name of a certain street. I wanted to be ignored. . . . . Nobody wanted to know this guy's opinion, There's a lack of pretension. You expect something quite different from a great detective."
Columbo, on the other hand, is extremely humble and self-effacing. He constantly expresses admiration for other people's expertise and accomplishments, constantly acts as if he thinks they're much sharper than he is, constantly seems awed thy their jobs, their houses, their cars, their shoes. Part of it, of course, is shtick: Columbo throws suspects off guard by pretending to be dumb, so they'll relax too much and tumble into the traps he sets for them. But part of it, I think, is sincere. Even when he suspects people of murder, I think he's often genuinely impressed by their knowledge and talents.
What's more, I think Columbo honestly sees himself as a regular guy. When he describes his approach to detection, he doesn't talk about his brilliance. He's not so taken with his deductive powers that he thinks he can rely on those alone. No, he attributes his success to things Americans traditionally value, such as hard work. In "The Bye-Bye Sky High I.Q. Murder Case," Columbo talks to a man (the murderer, as Columbo already suspects) who belongs to a Mensa-type organization:
You know, sir, it's a funny thing, All my life I kept running into smart people. I don't just mean smart like you and the people in this house. You know what I mean. In school, there were lots of smarter kids. And when I first joined the force, sir, they had some very clever people there. And I could tell right away that it wasn't gonna be easy making detective as long as they were around. But I figured, if I worked harder than they did, put in more time, read the books, kept my eyes open, maybe I could make it happen. And I did. And I really love my work, sir.
Well, sometimes, when you know something, it's better to keep it to yourself. You don't have to blab everything right away. Wait. Who knows what will happen? Timing. That's important, And lucky. You got to be lucky.This statement definitely isn't just shtick. The murder hasn't been committed yet--Columbo has no reason to suspect these students of anything. I think he's being completely open, genuinely modest. Don't show off by broadcasting everything you know, he says. Wait, even if it means people don't realize how smart you are. That's something anyone can do, regardless of wealth or power or anything else. Waiting may help you succeed--but if you do succeed, remember that it's partly because of luck, not because of any merit you can claim. How much more democratic can a statement about detection get?
Columbo tends to suspect smug, aristocratic types. In "Columbo Goes to College," the upper-class students try to frame a heavy-drinking ex-con, but Columbo doesn't fall for it. Instead, he keeps zeroing in on the students. Jeff Greenfield comments on that feature of the series in a 1973 article called "Columbo Knows the Butler Didn't Do It." (It's available online--you have to squint to read the tiny print in the PDF, but it's worth it.) As Greenfield notes, "The one constant in Columbo is that, with every episode, a working-class hero brings to justice a member of America's social and economic elite." By doing so, Columbo proves that his opponents often don't deserve the privileges they enjoy, that he can best them by being more diligent, more determined. And with every victory, he affirms our faith in democratic ideals.
One More Thing
Wildside Press has released a collection of my short stories. Her Infinite Variety: Tales of Women and Crime includes eleven stories of various lengths, types, and tones, from humorous novella-length whodunits to a dark flash fiction suspense story. Most were first published in Alfred Hitchcock's Mystery Magazine. Some of the women featured in these stories are detectives, and some are victims; some inspire crimes, and some commit them. After over twenty-five years of writing mystery stories, I'm delighted to see these stories get out in the world for a second time.
Available at: Amazon Wildside Press
"What a great collection of mysteries! B.K. Stevens does everything right in this book of stories: plot, characters, setting, dialogue--it all rings true. It's easy to see why she's considered one of the best writers in the genre."--John Floyd, Edgar-nominated author of Clockwork and Deception"These finely crafted stories have it all--psychological heft, suspense, subtle humor--and the author's notes on each story are especially illuminating. A treat for lovers of the short story form and students of the craft of writing."--Linda Landrigan, Editor, Alfred Hitchcock's Mystery Magazine"Stevens' irresistible sparkling wit and style start on the first page and never let up."--Kaye George, national bestselling mystery author