The phone connection was crackling, far from perfect, yet the voice that came through was instantly recognizable. In the vast expanse of voices from the past half-century, few are as uniquely identifiable as that of Peter Falk.
It was 2005, and the conversation revolved around his latest film, The Thing About My Folks, a movie penned by and co-starring Paul Reiser. This charming, understated film featured Falk as Reiser’s father, a man adrift after his wife (played by Olympia Dukakis) leaves him. Inevitably, our discussion drifted towards Columbo, the iconic, gravel-voiced television detective that Peter Falk embodied on and off from 1971 to 2003, a role that cemented his place in television history.
Reiser, for his portrayal of Falk’s character, drew inspiration from his own father. Crucially, he specifically sought out Peter Falk for the role precisely because of his father’s deep affection for Columbo.
“That was truly a pleasure to hear,” Falk admitted, his voice carrying a warmth that transcended the poor connection. “Paul’s father used to watch Columbo and just roar with laughter. That’s wonderful. That is wonderful!”
Peter Falk shared that playing Reiser’s father had prompted him to reflect on his own dad, recalling the defining characteristics that shaped his memory of him.
“He was a man who believed in hard work,” Falk reminisced. “My father’s entire existence revolved around work. He owned a retail store in Ossining, New York, and I mean, he was there without fail at 6:15 every single morning. The store didn’t even open until 9, but he had to be there. That was just his way. He loved that store deeply. And most of the women who shopped there, they genuinely liked him.”
Falk paused, then continued, “He was a kind man, without a prejudiced bone in his body. Race, religion, none of it mattered to him. He used to do business with this place, what was it called… Maryknoll…”
At this point, a sense of personal connection sparked within me, and as any Columbo enthusiast knows, when you find a link to Columbo, you seize it with both hands.
“Do you mean the Maryknoll Seminary?” I interjected, and it was as if Falk had discovered a shared childhood bond.
“Yes! Exactly!” he exclaimed, his voice rising in excitement. “How did you know that?”
“I’ve been there,” I responded, recalling childhood memories of Sunday drives through the Hudson Valley with my own father.
“No way!!” Falk boomed. “Isn’t that something? Gee whiz!!!”
I could practically hear the wide grin in his voice. It was remarkable to witness such genuine enthusiasm from someone of Peter Falk’s stature – a global icon thanks to Columbo – over a fleeting geographical commonality with a stranger.
“Well, my father used to sell them sheets and pillowcases!” he revealed with delight, erupting into hearty laughter.
“What else can I tell ya?” he asked, still chuckling. “Is there anything else I can help you with?”
My mind raced. I had promised to limit the interview to a brief five or ten minutes, focusing on his new movie. We chatted briefly about the scenic beauty of the Hudson Valley, where The Thing About My Folks was filmed, and he showered praise upon his co-star, Olympia Dukakis. “Within about ninety seconds, I felt like I’d known her my entire life. She’s as genuine as they come.” He mentioned he had just finished reading her book, prompting me to inquire if he had ever considered writing one himself.
“Actually,” he confessed, “I am in the midst of writing a book,” (Just One More Thing, a memoir about his illustrious career, was published in 2007). “I’ve had the privilege of working alongside some truly exceptional actors. The caliber of talent that graced the Columbo show was simply world-class – actors from across the globe. Oskar Werner, Laurence Harvey, Donald Pleasence, you know… international stars.”
“Robert Culp graced the show about three times, and Jack Cassidy, he also returned around three times.” Falk continued, emphasizing the quality of guest stars who became integral to Columbo‘s success. “They were simply perfect in their roles. And then there was Patrick McGoohan. Me, Universal Studios, and ( Columbo co-creators) Bill Link and Richard Levinson, we are all eternally grateful to Pat McGoohan.”
This statement caught me by surprise. Patrick McGoohan, forever remembered for his iconic 1960s series Secret Agent (also known as Danger Man) and the enigmatic The Prisoner, was indeed a recurring and memorable villain on Columbo. However, Peter Falk regarded McGoohan’s contributions as fundamental to Columbo achieving its timeless classic status.
“I believe he holds the unique distinction of being the only actor in television history to win back-to-back Emmys for guest performances in a two-hour movie,” Falk explained, admiration evident in his tone. “The first time he appeared on our show, he won the Emmy. The second time, he won again, and on that second occasion, he also directed the episode and made substantial writing contributions. And he never sought any additional compensation for that. He simply couldn’t resist contributing creatively. He was a brilliant writer. A true genius. And a magnificent Columbo adversary!”
I remarked that Peter Falk himself had begun his acting journey portraying villains, notably in films such as Murder, Inc., a role that earned him one of his two Academy Award nominations. However, studios soon recognized that audiences were too captivated by his persona to accept him solely as a villain. He chuckled at this observation, acknowledging that he was never quite cut out to be a Columbo-style villain. He lacked the necessary suave sophistication.
“I was a street-guy villain,” he clarified. “A street-corner villain. An illiterate villain. All rough edges. But someone like McGoohan, you could almost hear his intellect working, and I’m telling you, just acting opposite him in those scenes, playing those characters, I could sense his mind in motion. It was incredible.”
As the years progressed, and Peter Falk’s appearances on television and in films became less frequent (he would only appear in three more films after The Thing About My Folks before Alzheimer’s disease began to affect him), he found solace and creative release in a small art studio he had established in Venice, near Los Angeles.
“I’m a drawer,” he stated with conviction. “I’m old-fashioned in that way. I firmly believe you should master drawing before you even think about painting. I work with charcoal and graphite. I installed a skylight in my studio. Actually, in my house, I converted the garage into another art studio. So, I’m surrounded by art spaces.”
“I’ll hire a female model,” he added with a hint of playful mischief. “And occasionally, she’s even wearing clothes.”
Even today, you can still explore examples of Peter Falk’s artwork on his website, PeterFalk.com, offering a glimpse into his artistic talents beyond the screen.
Not long after our conversation, I watched Wim Wenders’ 1987 German cinematic masterpiece, Wings of Desire. This poignant fantasy film portrays angels observing the lives of ordinary Berlin residents. To my surprise, Peter Falk appeared in the film. His character is identified as “der Filmstar” in the credits, yet everyone within the movie simply calls him “Columbo.” One of Peter Falk’s most endearing qualities was his unwavering embrace of the character that propelled him to global fame. He never attempted to distance himself from the rumpled detective, a fact evident even in Wings of Desire. On the streets of Berlin, he flashes that signature squinty smile – a consequence of losing an eye to cancer in childhood – each time someone recognizes him and calls out “Columbo.” He’s also depicted sketching in the film, creating impromptu portraits of film extras during camera setups.
Consider revisiting a few Columbo episodes this week. Allow yourself to be reminded of the effortless charm Peter Falk brought to his craft, a charm that captivated audiences for decades. And perhaps, conclude your viewing with Wings of Desire, a surreal and beautiful film where Peter Falk’s character uniquely bridges the divide between the celestial realm of angels and the everyday world of humanity.
It’s comforting to imagine him now, arriving at St. Peter’s gates. He proceeds partway through the Pearly Gates, pauses, raises his hand to his forehead in that familiar gesture, and turns back. “Oh, St. Peter,” he calls out. The old Apostle looks up from his ledger, a touch of weariness in his eyes.
“I’m terribly sorry, St. Peter… but there’s just one more thing that keeps bothering me…”
