Human Target

 ((Mon. (20), 10-11 p.m., ABC-TV))

By TONY SCOTT

Filmed around L.A. and at Warner Bros. Studios, Burbank, by Pet Fly Prods. in association with Warner Bros. TV. Exec producers, Danny Bilson, Paul De Meo, Steve Hattman; producer, Michael O. Gallant; co-producers, Michael Lacoe, David L. Beanes; director, Max Tash; additional direction, Bilson; writers-developers, Bilson, De Meo; based on D.C. Comics character created by Len Wein, Carmine Infantino.
 
Cast: Rick Springfield, Rick Baltz, SaMi Chester, Signy Coleman, Scott Paulin , Kathryn Dowling, Luke Edwards, Vito D'Ambrosio, Richard Belzer, Eloy Casados, Nick Angiotti, Russell Curry, Gregg Daniel, Ricardo Gutierrez, Sara Rose Johnson , Rachel Bilson, Ferdinand Carangelo, A.J. Nay.
 

The Great Impersonator now comes with a rubberized mask, a flying wing for transport/headquarters and with the name of Christopher Chance. With firepower and fights, second-grade dialogue and Rick Springfield as the D.C. Comics hero, "Human Target" opens with a lightweight story heavy on hardware; it'll delight undemanding kiddies.

Series' comic book premise sets ups Chance as a conscience-ridden Vietnam vet zooming around in an impressive aircraft designed by Michael Wm. Kaluta.

Performing good deeds for 10% of his client's annual salary, he's got a team borrowed from plenty of other adventure stories -- tech whiz-pilot-chef Jeff (SaMi Chester), makeup man Philo (Rick Baltz) and Libby (Signy Coleman), who's adept at operating a communication setup like nothing else in the world.

Out to rescue innocent folks in terrible danger, Chance's first client is construction boss Jay Palmer (Scott Paulin), who insists people are out to kill him in order to take over his business.

Taking on the man's identity, Chance puzzles the Palmer missus (Kathryn Dowling, a definite plus) and the kids before it's all ironed out. Chance and crew hit the road on their way to new hijinks in the time-honored tradition of such protagonists.

Opening program is a disappointment. Better stories and a tighter directorial rein are needed. The acting is surface stuff and too much of the action depends on the gadgets.

The supposed suspense depends on how much Chance can persuade the client's family, friends and foes he's who he is. Springfield lights no fires and Paulin's not that persuasive in this first salvo as either the endangered client or as the disguised Chance.

Tech credits are OK, but they can't cover the blatant foolishness of the concept. Series will play Saturdays, 10-11 p.m.

Camera, Robert Elswit; editors, Frank Jimenez, Greg Wong; additional art direction, Francis J. Pezza, Jack Jennings; sound, Jim LaRue; music, Anthony Marinelli; production designer, Greg Pickrell.