Ransom for a Dead Man (1972)

Ransom for a Dead Man is the kind of TV movie that feels like a classy, tightly wound feature—an elegant duel of intellect where the real thrill is watching confidence slowly collide with consequence. Lee Grant is superb as a polished, razor-smart attorney whose poise makes her all the more fascinating to watch, and Peter Falk’s Columbo is in peak form: rumpled, disarming, and quietly relentless, turning every small question into a tightening knot. Billy Goldenberg’s cinematic score and the elevated production values give the whole thing a smooth, upscale sheen, like a good mystery novel you can’t put down. If you prefer action-heavy crime stories, this may feel talkier and more methodical, but if you love compelling cat-and-mouse suspense, it’s an excellent place to see why Columbo became beloved.

Ransom for a Dead Man is clearly aiming to be a slick, cat-and-mouse crime drama where a confident, brilliant attorney thinks she’s engineered the perfect scheme—until Columbo starts tugging at the loose threads. The catch is it can feel like it takes a while to get going, and the TV-movie pacing stretches the premise longer than it needs to, with a few dated stylistic touches that remind you it’s an early-’70s production. If you’re easily irritated by grating supporting characters (the stepdaughter is a common sticking point) or you want a twisty, surprising finish, you may find the outcome a bit predictable and the wrap-up slightly rushed. Still, if you enjoy watching Columbo quietly outthink someone who’s sure they’re the smartest person in the room, there’s a satisfying, methodical charm to it.