Short answer: Because of the "noir" in film noir.

"Perry Mason" is widely seen as an attempt to translate the film-noir style of big-screen crime dramas (think 1944's "Double Indemnity" or 1941's "The Maltese Falcon") to the small screen.

According to film blogger and critic Terence Towles Canote, "Perry Mason" often used "the same techniques as film noir, including harsh lighting, extensive use of shadows and even low angles."

"Noir" in this context literally means "dark." Of course, the French film critics who developed the term film noir were mostly referring to themes that were figuratively dark — every character in a classic film noir is either corrupt or cynical or both, and they all seem to do a lot of murdering. However, the filmmakers often echoed that metaphorical darkness through a literal lack of light.

The cast of "Perry Mason," most notably its star Raymond Burr ("Rear Window," 1954), had a lot of experience doing big-screen film noirs. The same is also true of the directors and cinematographers. Frank Redman, the cinematographer for the first four seasons of the show (and therefore the guy with the most say over lighting choices), was behind the camera for a bunch of film noir classics, including "Conspiracy" (1939) and the landmark classic "Dick Tracy" (1945).

The dark lighting on "Perry Mason" must have been a style choice, because it certainly wasn't about cost. "Perry Mason" was reportedly one of the most expensive shows on TV at the time, with each episode having a six-figure budget.

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