All episodes Season 1 S01E08 1957-11-09 60 min 1950s CBS

Perry Mason

Erle Stanley Gardner's The Case of the Crimson Kiss

TV Flash files “Erle Stanley Gardner's The Case of the Crimson Kiss” as hour 8 of 271 in the TV Flash guide — Perry Mason (1957–1966) on CBS, season 1, episode 8, aired 1957-11-09, 60 min.

From the desk

How this hour is filed

This leaf is S01E08: listed hour 8 of 271 in the Perry Mason guide, hour 8 of 39 in season 1. It aired 1957-11-09 (60 min). The listed hour before it is “Erle Stanley Gardner's The Case of the Angry Mourner” (S01E07). Next is “Erle Stanley Gardner's The Case of the Vagabond Vixen” (S01E09).

Perry Mason — Erle Stanley Gardner's The Case of the Crimson Kiss (S01E08)

Catalog log

Broadcast listing — not a TV Flash recap.

When a lipstick print is found on the forehead of a murder victim, Mason's client is charged with the crime, even though she and her roommate were poisoned and unconscious at the time.

Viewer FAQ

Where does Erle Stanley Gardner's The Case of the Crimson Kiss sit in the Perry Mason guide?

S01E08 is listed hour 8 of 271 — hour 8 of 39 in season 1, season 1 episode 8.

When did Perry Mason S01E08 air?

Erle Stanley Gardner's The Case of the Crimson Kiss aired 1957-11-09 and is listed at 60 minutes.

Where should I start?

Start with the 1957 restless-redhead opener to learn the grammar, then one tight first-season case. The pleasure is structure, not a serialized mystery box.

In the series

Why this series still plays

Burr’s stillness is the camera’s argument: delay as pleasure, court as stage, the last witness as a kept promise. Watch a weekly legal machine that made justice appointment theater — then the rare hour the rails fail, which is how you learn the contract was always a contract.

Watch the stillness first. Raymond Burr does not play brilliance as sweat. He plays it as furniture that has already been placed. Perry Mason, from the 1957 opener onward, is a legal procedural that understands delay as pleasure: investigation as a corridor, the courtroom as a stage, the last witness as a structural promise. The tabloids will say Burr’s public image was a managed cathedral — and they are not wrong, as gossip. The cut says something dryer. The camera trusts a man who barely moves, then lets the…

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Also in season 1

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