Reviews

11 Reviews
Sort by:
Filter by Rating:
Please Sir! (1968–1972)
Learning To Laugh
17 August 2002
Normally the words "ITV sit-com" are enough to strike fear into viewers. However in the past ITV did produce some good comedies and this is one of them. It is not a great one but it was very entertaining and deserves more recognition.

It is one of very few sit-coms to have been set in a school. Like all sit-coms though, the situation isn't that important - the humour comes from the characters and their relationships, although the school setting provides a nice variation from the usual domestic comedies. It follows the travails of a group of extremely mature-looking fifth-formers and their hard-pressed teachers.

The pupils are a motley bunch: the dominant Eric Duffy; tarty Sharon; slow-witted but endearing Dennis; cocky Peter Craven; god-fearing Maureen who has a crush on the teacher; and fantasist Frankie Abbott. They are the nucleus of the "class from Hell" 5C - most of whom silently sit in the background. However they all have hearts of gold and their behaviour is surprisingly good - certainly comparing well to what many real students and teachers experience. They are lovable rogues. All work well from a comic viewpoint with the exception, I feel, of Dennis where the humour seems to rest almost entirely on his stupidity. All the actors are clearly well beyond school age, and could easily have been playing teachers!

Much of the success of the series lies with the staff characters. John Alderton played the central character of Bernard Hedges, teacher of 5C. While apparently mild-mannered, he actually has few problems managing his class and has a good relationship with them. However his indecisiveness and determination to stick up for his pupils often leads him into humorous scrapes.

He has often fractious relationships with the Head Mr. Cromwell (Noel Howlett) and Deputy Doris Ewell (Joan Sanderson). These are tremendous characters and splendidly played. The Head is quite out-of-touch, a misguided liberal, pretentious but capable of engaging in quite juvenile behaviour. Miss Yuell is a haughty disciplinarian whose harsh exterior only relents in the presence of the Head, with whom she is infatuated. Joan Sanderson often played such roles, and always to perfection.

Price (Richard Davies) is another superb figure - a cynical, sarcastic professional Welshman with little affection for teaching but great affection for beer. Again a great acting performance. Finally there is the doddering, ancient Mr. Smith, devoted to his wife and again capable of some very juvenile behaviour, usually in his conflicts with the Head. The interplay between all these is very funny.

However for many viewers the favourite staff member was Mr. Potter, the caretaker (Deryck Guyler). Potter was an ex-soldier, obsessed with the war, with ideas above his station. He as constantly at odds with everyone in the school except the Head. He received his deserved come-uppance regularly in the series.

Obviously the show is of its time, and not just in the fashions such as the remarkably short skirts. Some of the humour might be seen as very innocent in today's more cynical age. The language used was quite strong for its time, but still acceptable to a family audience. It would seem very tame by today's standards. There are some occasions when the show borders on the politically incorrect. However the show stands up much better than many others from that period and the 1970s. For example in one episode an Indian student joins the class. Typically for the time he is played by a white actor and wears stereotypical Indian dress. However he is shown to be intelligent, polite and articulate, with committed parents. His classmates avoid the prejudice of their parents. Liberal ideas generally are given a sympathetic airing, particularly by Hedges. They are though less effectively expressed by the bumbling Head. "I would rather resign than be forceful," is one example.

The show avoided becoming a one-joke, innuendo-laden affair unlike many others. The humour chiefly comes from defective people, defective relationships and defective situations, as most comedy does. The show still lives on, in video format and also on satellite channels. It is well-worth checking out, whether you remember it originally or, like me, are of a younger but curious generation. I feel you will be pleasantly surprised, and satisfactorily entertained.
25 out of 27 found this helpful. Was this review helpful? Sign in to vote.
Permalink
Thriller: Death in Small Doses (1973)
Season 2, Episode 5
Not Such a Devoted Servant...
9 August 2002
Another exceptional episode of "Thriller" - one of the best.

Roger Masters (Michael Jayston) is a butler employed by widow Laura Vallance (Nyree Dawn Porter). Unknown to her he has already poisoned his last employer. Immediately he is at odds with the existing maid Betty (Clare Sutcliffe) so he frames her for a theft to get her fired, then brings in his girlfriend Lisa (Janet Key) as her more accommodating replacement. The pair slowly poison Laura, aided by a disgraced doctor (Thorley Walters).

Over time Laura becomes sicker and suspicious as Masters cuts her off from outside contact, particularly with her American friend Hugo (Barry Nelson). He also becomes worried by Masters's refusal to let him see her. Masters starts to realise that he is under pressure and the stage is set for some very fateful decisions...

This riveting story was written by the excellent Terence Feely. The direction by Robert D. Cardona is first class and creates a very tense ambience. The climax is superb. The script also features some very witty dialogue.

There are many fine acting displays. Jayston is marvellous as the spiteful Masters. Behind his terribly correct exterior Masters is aggressive and bullying. Jayston pulls this image off with ease. His nastiness is irresistible to watch. Especially powerful are the scenes with the disgraced doctor, very capably played by Thorley Walters, in which Masters's resentment at his humble origins explodes in the presence of the shambling, alcoholic doctor who has squandered his privileged upbringing. Nyree Dawn Porter is, as always, accomplished as the hapless Laura, and generates real affection for her character. Sadly she virtually disappeared from the screens after this. In the supporting roles there are strong displays by Janet Key, Clare Sutcliffe, and Victor Winding as a very sharp detective.

Definitely an episode to check out - you will not be disappointed!
9 out of 10 found this helpful. Was this review helpful? Sign in to vote.
Permalink
Timeslip (1970–1971)
Out Of Time, Not Out Of Mind
9 August 2002
An absolutely marvellous show, and certainly not just for kids. It details the adventures of Liz and Simon, two teenage children who discover that they can pass through an invisible time barrier into past and future ages. Along the way they are involved in remarkable events, illustrating all sorts of scientific issues, and even meet past and future versions of themselves and their families.

On the surface, it had a lot of things going against it - low budget, primitive special effects and (as a result of technical problems) transmitted in black and white. These factors have probably killed its chances of being re-broadcast but its video release in 1993 allowed a new generation to appreciate it and see how it easily transcended the low production values.

Why is it so good? The biggest factor is utterly superb writing. Throughout stories were written with tremendous care, ensuring continuity. The viewer is always eager for more. The scientific themes covered such as time travel, global warming, the dangers of technology, cloning and unsafe drug experimentation are done with great accuracy - unlike a lot of science fiction - but never become dull or pontificating. The show also explores issues of authority, ambition, surveillance, elitism, betrayal and ethics - no sugar-coated kids' entertainment. Thirty years after the show was made these issues are even more relevant.

However the best quality of the writing is the dialogue, which is often tremendously funny but never risks tipping the show into comedy or making light of the drama involved. The humour is that of ordinary interaction and relationships. One reason why this is possible is the real depth of the characterisations.

Over 26 episodes there is a real opportunity to flesh out the characters. Simon is a rather geeky, bespectacled young man, obsessed with science but aware of its proper uses, and never quite sure how to deal with Liz. Liz is truly unpredictable, emotional, sometimes careless but quite feisty. She also doesn't quite know what she feels about Simon. A possible future is revealed in one story where they meet their future selves and it transpires that they were once engaged before being found to be "incompatible" by a computer test. Their future guises are tremendously entertaining - especially Liz who in one story is a cold-hearted authoritarian scientist and in another a remarkably warm, positive and charming leader of a group of outcast children.

The other characters are very well-drawn. Liz's father, Frank, is aggressive and impulsive. Her mother, Jean, is protective but much more astute. More significant is the enigmatic and often sinister figure of Commander Trainor, a government scientist who is all too eager to manipulate Liz and Simon and about whom we discover some disturbing secrets. Morgan C. Devereaux features in two stories as a brilliant but utterly unprincipled scientist who risks mayhem on those around him in his pursuit of "progress". Each story also has a range of fine ancillary characters - none better than the disturbing clones seen in "The Year Of the Burn-Up" who no have the edge on their human creators due to their devotion to "service" and "authority". Their intrigues against their supposed masters are marvellous viewing.

All the main cast give skilled acting displays - Cheryl Burfield as Liz, Spencer Banks (Simon), Derek Benfield (Frank)and Iris Russell (Jean). Particularly noteworthy are the displays of Denis Quilley as Trainor, John Barron as the odd Devereaux, Mary Preston as the future forms of Liz and David Graham as the future Simon. However it is hard to find fault with any of the guest cast as well.

The show is interesting in other ways. Liz dresses and sometimes acts well below her teenage years, even calling her parents "Mummy" and "Daddy" and wearing pig-tails. Characters regularly use the word "queer" when they mean "strange". The visions of the world in 1990 are rather more apocalyptic and much more scientifically advanced than actually happened, but the risks they point to are still present.

Anybody with an interest in thought-provoking, intelligent but witty entertainment would appreciate this show. A bit of hunting in the second-hand video stores may be the prelude to a lot of satisfied viewing...
24 out of 24 found this helpful. Was this review helpful? Sign in to vote.
Permalink
Thriller: The Carnation Killer (1973)
Season 1, Episode 5
9/10
Be Careful Who You Pick Up ...
1 July 2002
An exceptionally good outing of the splendid "Thriller" anthology.

In this story, Arthur Page, a psychopath, escapes en route to custody after being convicted of the killings of a number of women. At the same time Julie, a secretary, is about to meet a client she has never seen at Waterloo station to give him the proceeds of a will and take him to a large country house he has inherited. By chance she and Page meet up at the station. As they head off there is no way of contacting her to warn her of the great danger she faces, while she cannot contact others for help. However Page is not the only dangerous person on the loose ...

This brilliant story is quite captivating. Norman Eshley is quite superb as the superficially charming but utterly deadly and disturbing Page. The character evokes some sympathy as he is clearly tortured by his problems but cannot control his behaviour. The powerful last scene makes clear that he has no responsibility for his actions.

Throughout Julie never quite understands the true risks, although she is unsettled by him. Katharine Schofield is in impressive form as Julie, a far more complex character than first thought, while Garrick Hagon appears in a notable cameo as her boyfriend. In true "Thriller" style there is a marvellous twist that shows all the main figures in a new light.

For historical reasons this is also very intriguing. In this age of the mobile phone the story could not happen - Julie would not be incommunicado and she and her employers could alert each other of danger. Of course it is this lack of contact that makes her predicament much more unsettling.

The police scenes are a little cliched and some of the remarks about women - not just from the obviously misogynistic Page - are clearly from a less politically-correct age. However this remains gripping and quite indispensable entertainment if you are lucky enough to come across it.
9 out of 9 found this helpful. Was this review helpful? Sign in to vote.
Permalink
Thriller: Anatomy of Terror (1973)
Season 1, Episode 4
6/10
A Curious Mystery
8 June 2002
This is one of the earliest of Brian Clemens's "Thriller" series. It is not one of the better efforts, although it is a clever story, has one outstanding character, and a slick climax.

In this story an American couple visit London. While there the husband begins to behave extremely strangely, referring to someone called "Theresa", whom no-one knows, and even attacking his wife. Periods of normal, lucid behaviour are punctuated by outbursts. His wife calls for help that leads to the unorthodox detective Matthew Earp. Earp uncovers a tale of espionage that puts the couple at risk ..

The action moves very slowly, which is hard work for the viewer, and the story is very complex. The outbursts by the husband become very irritating. Things pick up strongly with the arrival of Earp, played with camp abandon and panache by Dinsdale Landen. However his comic style isn't wholly right for a tale of fear and suspense like this.

This is still worth seeing, and you have more chance of doing so as it was one of the few episodes released on video.
3 out of 4 found this helpful. Was this review helpful? Sign in to vote.
Permalink
Thriller: The Double Kill (1975)
Season 5, Episode 2
Deadly Deception
7 June 2002
This must rank as one of the very finest of Brian Clemens's splendid "Thriller" series.

Gary Collins plays Hugh Briant, an American married to a rich English woman. He has grown bored with her and takes the opportunity of testing a burglar he disturbs breaking into the house. He wants to see whether the man is prepared to kill. He is not, but later another burglar comes along who is not so principled. Briant blackmails this burglar, called Max Burns, into killing his wife. Burns makes it clear that he is quite happy to do the act.

Briant returns home to see the deed has been done but he has been framed for the murder. Burns is revelling in his deception and a detective seems quite happy to snare Briant. Can he save himself?

This outline does not do justice to the brilliance of this story. There are cracking performances by Collins and by Stuart Wilson as the loathsome Max Burns. The scenes between them are electrifying. Peter Bowles, better known for his later comedy guises, is exceptional as an unorthodox - more accurately unprofessional - detective. The writing and direction are always engaging. Through great writing and acting the viewer ends up rooting for the framed Briant - a man who organised the murder of his wife.

The climax though is utterly superb and really has to be witnessed. Suffice to say there is a remarkable twist ... See this if you can!
8 out of 8 found this helpful. Was this review helpful? Sign in to vote.
Permalink
Thriller: Killer with Two Faces (1974)
Season 4, Episode 4
6/10
Twin Trouble
5 June 2002
This outing of Brian Clemens's "Thriller" series is adequate and quite entertaining but well below the usual excellent standards. In my opinion it is the weakest of the lot.

The story revolves around a pair of twins - one a normal, sane architect; the other a deadly psychopath languishing in prison. Unfortunately for the wider world the psychopathic twin escapes and goes on a killing spree, mainly of women who do not meet his standards of "perfection". Obviously his brother finds himself the victim of mistake identity and his friends become endangered ...

While the premise is engaging, the execution of the story is disappointing. The key actors are in mediocre form; the writing and direction are pedestrian and fail to strike any real suspense or fear. The series had already covered escaped psychopaths far more effectively, e.g. "The Colour Of Blood".

If you do come across this, it is still worth watching. However if you have a choice of other "Thriller" installments, opt for them instead.
5 out of 9 found this helpful. Was this review helpful? Sign in to vote.
Permalink
Thriller: The Eyes Have It (1973)
Season 1, Episode 9
A Sight For Sore Eyes
4 June 2002
This is another splendid episode in Brian Clemens's "Thriller" anthology. The story centres around a group of assassins taking over a school for the blind to give them a good vantage point to launch an attempt on the life of a visiting statesman. When the only sighted member of staff is murdered by one of the assassins, the blind students have to find a way to disarm the killers, against all the odds ...

Not for the first time Clemens uses blindness as a theme to create great tension, suspense and toil against apparent impotence. The viewer has to guess how the students can succeed. The fear factor isn't actually as high as in other stories but the tale is very engaging and typically played and directed to a great level. Sinead Cusack is marvellously engaging as Sally, one of the students. The scene in which she obliviously "looks" through a window as her teacher is shot dead is incredibly memorable. Peter Vaughn is, as always, superb in a sinister role as one of the assassins. The episode also provides an early sighting of Dennis Waterman, just before his big breakthrough in "The Sweeney".

Another clever theme is the squabbling between two of the killers, and intriguingly the motives for their mission are never made clear.

The only real gripes are the conclusion, which is adequate but not wholly effective, and some very wooden radio and TV reports on the statesman's visit. However this is still a very fine effort, should you be lucky enough to be able to see it.
9 out of 10 found this helpful. Was this review helpful? Sign in to vote.
Permalink
Thriller: Lady Killer (1973)
Season 1, Episode 1
10/10
Beware Of Smooth Talkers
18 February 2002
Warning: Spoilers
This was the very first in Brian Clemens's superb "Thriller" anthology series and it is one of the very best outings. Jenny (Barbara Feldon), a shy American librarian, holidaying in the UK, is befriended by Paul (Robert Powell), an urbane, smooth-talking Englishman. They get married. It appears she has struck very lucky, but appearances are deceptive. We can see that he is plotting with someone behind her back. It transpires that he is already married to Toni (Linda Thorson) who is presumed dead, but is actually very much alive. Paul is planning to kill Jenny, and Toni is in on the plans and very much behind them... This episode is distinguished by three especially fine performances by Robert Powell, Barbara Feldon & Linda Thorson in the key roles. It also sees an excellent cameo by T.P. McKenna as a friend of Paul's who knows his intentions and wants to blackmail him. The show starts as it meant to go on with a disturbing mood skilfully created. This isn't as frightening as some other episodes but is none the worse for that. An excellent effort.
11 out of 12 found this helpful. Was this review helpful? Sign in to vote.
Permalink
Thriller: Someone at the Top of the Stairs (1973)
Season 1, Episode 3
Don't Go There!
15 February 2002
Warning: Spoilers
CONTAINS SPOILERS Brian Clemens's "Thriller" series is exceptionally good but sadly very unlikely to receive repeat showings or video coverage today. As a series of quite distinct stories and characters it does not have the identity of many "cult" TV shows, and its running time of around 65 minutes makes it awkward to schedule. This is a real pity as it has so much to offer. This particular story is one of the most frightening and disturbing of them all. Two young women rent a room in a dark, very mysterious house. Chrissie (Donna Mills) is rightly disconcerted by the ambience but her friend Gillian (Judy Carne) is oblivious. Chrissie becomes so frantic that she leaves for a while to clear her mind. On her return she cannot find her friend, whom she later discovers to have been murdered. She finds that all the house's residents are in fact dead, but have some ghostly existence. Responsibility lies with the otherwise never-seen man at the top of the stairs. The murders have a satanic, possibly sexual, motivation. Chrissie meets him and is lucky to escape with her life, although as the story concludes it is clear that she has fallen under the man's spell. The plot turns are largely predictable but are brought off brilliantly by Clemens's story and expert characterisation. Most of the acting superbly captures a sinister mood. The only slight flaws are some occasionally questionable acting and cheap production. Most impressive is the way that the story disturbs without having to rely on graphic violence. Throughout the series Clemens was a master at this. Unfortunately this reluctance to show violence would probably switch many modern viewers off. However for those with a subtler mind, it is highly recommended.
6 out of 6 found this helpful. Was this review helpful? Sign in to vote.
Permalink
Public Eye (1965–1975)
How It Really Is ...
11 February 2002
This is a quite exceptional, but sadly neglected, British series. There have been many detective series, most located squarely in a world of glamour or serious crime. "Public Eye" was exceptional in breaking this cliche. The programme centred upon private enquiry agent Frank Marker. Marker was a middle-aged man,of modest appearance, operating out of the most modest of offices. His cases were undertaken for minimal fees and usually centred upon mundane matters - missing persons, character checks, divorce, chasing debts. If crime was involved it was usually of a petty, often seedy, nature - no high-profile murder enquiries. The mundane nature of the investigations and the settings might make one think that this would be a very prosaic affair. Quite the opposite. It was refreshing to see stories set in the real world, with realistic people facing realistic problems. Superb acting, characterisation and clever story-telling made this a marvellously engaging series. The best example of this was the role of Marker, brilliantly played by Alfred Burke.

Marker was a thoroughly decent man, struggling to earn a crust, regularly disillusioned by the tales of misery, dirt and deception he engaged in. Like many detectives he was a loner but not in the confrontational sense of many others. He did not allow closeness, but was not aggressive. He was sharp and socially skilled but did not have unblemished success. He could make mistakes. The best example of this was in "The Man Who Said Sorry". In this extraordinary episode, which is almost entirely a two-hander, Marker has a frustrating dialogue with a man (Paul Rogers) who threatens both suicide and the murder of his estranged sons. The man, dogged by self-pity and indecision, does not convince Marker who gives him little sympathy. Later Marker has doubts and hears the sirens that confirm his error - the man has thrown himself under a train. Unlike many other detectives Marker is sometimes the victim, including taking a terrible beating from some gangsters in "Nobody Wants To Know". His painful, self-pitying recovery is superbly documented. Despite this he doesn't shirk a case. The show ended in 1975. As a video series it is unlikely to be repeated, certainly on terrestrial television. However it won new admirers when broadcast on "UK Gold" some years ago and just possibly it may return again.
42 out of 42 found this helpful. Was this review helpful? Sign in to vote.
Permalink

Recently Viewed