(Appropriately enough for a dying paper, the one thing The New York Times does well is the classic obituary — in style at least, if not in terms of bullet-proof accuracy.)
An understated comic actor, he was especially adept at conveying life’s tiny bedevilments. (…)
Even Rockford, a semi-tough ex-con (he had served five years on a bum rap for armed robbery) who lived in a beat-up trailer in a Malibu beach parking lot, drove a Pontiac Firebird and could handle himself in a fight (though he probably took more punches than he gave), was exasperated most of the time by one thing or another: his money problems, the penchant of his father (Noah Beery Jr.) for getting into trouble or getting in the way, the hustles of his con-artist pal Angel (Stuart Margolin), his dicey relationship with the local police.
Every episode of the show, which ran from 1974-80 and more often than not involved at least one car chase and Rockford’s getting beat up a time or two, began with a distinctive theme song featuring a synthesizer and a blues harmonica and a message coming in on a newfangled gadget — Rockford’s telephone answering machine — that underscored his unheroic existence:
“Jim, this is Norma at the market. It bounced. Do you want us to tear it up, send it back or put it with the others?” (…)
What distinguished his performance as Rockford was how well that more-put-upon-than-macho persona came across. Rockford’s reactions — startled, nonplussed and annoyed being his specialties — appeared native to him.