All Memories Great and Small – Expanded Edition by Oliver Crocker (Book Review)

With one notable exception (Doctor Who) the production histories of many British television programmes aren’t terribly well documented. There are exceptions of course (the sterling work carried out by Andrew Pixley for a variety of series, David Brunt’s painstaking Z Cars tomes and recent books about programmes as diverse as Star Cops and The Brothers have all been more than welcome).

Until the original edition of All Memories Great and Small in 2016, the BBC version of All Creatures was one of those neglected series, but Oliver Crocker’s wonderfully exhaustive book certainly rectified that. Now reissued with additional interviews and fascinating production information for 35 of the series’ 90 episodes, it’s better than ever.

Since the original publication, several of the interviewees (such as Bill Sellars and Robert Hardy) have sadly passed away, which makes the book even more of a valuable resource as there’s no substitute for first hand recollections. The roster of those who agreed to be interviewed is impressive – not only key regulars such as Christopher Timothy, Robert Hardy, Carol Drinkwater and Peter Davison, but also a plethora of guest stars and behind the scenes crew who are able to share many stories about the series’ production.

The icing on this particularly succulent cake has to be a slew of wonderful production photographs with the odd studio floor plan thrown in for good measure,

The format of All Memories Great And Small is straightforward and effective. Each episode (from Horse Sense in 1978 to the final Christmas Special in 1990) is given its own chapter. All have reminiscences from a variety of contributors (some specific to that episode, some more general) whilst selected episodes also contain production info (handy if you’re looking to pinpoint specific locations used, for example).

Clocking in at just over 400 pages, it’s plain that this book was a real labour of love. If you’ve got the original edition then it’s still worth an upgrade for the additional material. But if you’ve yet to buy it and have any interest in the BBC series, then All Memories Great and Small is an essential purchase. An absolute treasure trove of a resource, I know that it’ll be something I’ll return to again and again in the future.

All Memories Great and Small can be ordered directly from Devonfire Books via this link or from them via this Amazon link.

Secret Army – A Matter of Life and Death (6th December 1978)

Poor hapless Francois (Nigel Williams) bites the dust ….

Hardly the most rounded or interesting character, at least he’s given a starring role in his final episode.

The fact he and Natalie are especially lovey-dovey today is an early hint that something rather nasty will happen to him. This bad feeling is then compounded by his refusal to seek the advice of Albert – he’s keen to go it alone and speak to the Communists, who have located two British airmen (even though Francois is warned that they play by their own barsh rules and don’t work well with outsiders).

Max and the Communist leader, Phillipe (Michael Graham Cox), have been planning the takeover of Lifeline, with Albert and Monique to be liquidated. So the cheery Francois turning up on their doorstep is the last thing they need.

Max’s next move (anonymously informing on Francois to Kessler) carries a certain punch, especially since earlier in the episode they had seemed to be on friendly terms (Francois giving Max some materials which would prove more than useful in his forging activities). Although by now it’s plain that Max is more than capable of appearing affable on the surface whilst remaining cold and calculating underneath.

The two airmen holed up with the Communists remain shadowy characters. Much more time is spent with another pair – Tommy Miller (John Flanagan) and Joseph Walden (Leonard Preston) – who have been wandering the countryside looking for help.

Having been turned away from a church by a frightened priest, they land on their feet when an affable baker called Victor Herve (Duncan Lamont) takes them under his wing. Lamont gives, as you’d expect, an excellent guest turn in what would turn out to be one of his final television credits.

Anyone who has worked their through the series up to this point has to marvel at the way so many British airmen manage to latch onto someone who has direct contact to Lifeline. I know it’s a bit of a stretch, but you just have to accept it.

With Miller and Walden being straightforward, affable chaps there’s not a great deal of drama to be found in their part of the story (although we’re left hanging for a short while before it’s finally confirmed whether Victor is a friend or foe – the casting of Lamont was a canny move in this respect, as he was equally adept at playing both).

As has been his lot for most of series two, Bernard Hepton doesn’t have a great deal to do as Albert remains firmly stuck inside the Candide and somewhat buffeted along by events outside. This works in story terms though – Albert’s complacency and inactivity convinces Max that takIng control of Lifeline will be easy.

Francois gets a dramatic death – shot on a railway platform whilst a helpless Natalie looks on in distress (it’s a peach of a reaction moment for Juliet Hammond-Hill). The third of four SA scripts by Robert Barr, A Matter of Life and Death never drags, even if the outcome of events seems inevitable from early on.

But it’s what’s going to happen now with Max and Lifeline that’s the more intriguing question.

Blakes 7 coming to Forces TV – September 2021

Blakes 7 will be teleporting to Forces TV (Sky 181, Freeview 96, Freesat 165, Virgin 274) from next month.

For us old sweats who have the series on DVD (and before that VHS) this won’t be news to get the pulse racing, but it’s always worth bearing in mind that most people have never really assembled DVD archives of any size, so this will be their first opportunity to see the series for a few decades (and it might even pick up a few new fans along the way).

Forces TV have made some interesting digs into the BBC archives recently (such as No Place Like Home, which was only ever partly commercially available) and hopefully they will continue in this vein.

Colditz – Name, Rank and Number (2nd November 1972)

The third of three pre-Colditz episodes, this one centres around the travails of Lt. Dick Player (Christopher Neame). Having already followed an army officer (Pat) and a member of the air force (Simon) it makes sense not to leave the navy out, which is where Lt Player comes in.

Washed ashore in France, Player is taken to a nearby hospital. The French doctor who deals with him is either on his side or rather incompetent (he tells a keen as mustard German officer that Player won’t be in a fit state to be interviewed for at least two days – but as soon as the pair leave, Player opens his eyes and begins to plan his escape).

As Player moves through the hospital, there’s a vague element of farce to his frantic attempts to pinch some clothes (rather reminiscent of Jon Pertwee’s debut Doctor Who story). For example, he steals some trousers (much to the indignant chagrin of their owner) and, when looking for shoes, initially comes across a nice ladies pair.

The episode boasts some well played cameo performances. The first comes from Alistair Meldrum as a chatty German soldier who runs into the absconding Player. Next up is David Garfield as Diels (he’s the sort of actor – rather like Michael Sheard – who portrays cold German officers with casual ease).

Recaptured and forced to admit his identity, Player is interrogated by two Gestapo officers (played by Nigel Stock and Terrence Hardiman). Their scenes together are a highlight of the episode – Stock’s character (the senior of the two) appears to be full of bluster whilst the other (Hardiman) is seemingly more friendly. But you must always be wary of a friendly Gestapo officer ….

Hardiman, of course, would later appear in another Glaister series (Secret Army) playing a not totally dissimilar character. Neame would also be a Secret Army regular for a while (his character was written out at the end of series one).

Player is then released into the care of an old friend, Paul Von Eissinger (John Quentin). That Player has German friends (and indeed, can speak the language like a native) might explain why he’s not immediately slung into a prison camp.

Von Eissinger, like his friend, enjoys a privileged background and professes to be no friend of the Nazis. He paints a compelling picture – Hitler removed from power and an alliance forged between the new Germany and Britain (together they could rule the world). Quentin’s clipped, mannered performance is a slightly odd one, but his dueling dialogue scenes with Neame are still absorbing.

The viewer knows that Player’s brief stint of luxurious living with Von Eissinger will only be transitory, as the price on offer for his freedom is just too great for him to pay. The episode ends with his arrival at Colditz, where he meets some familiar faces (Pat, Simon) and some others that the viewer will get to know during the next few weeks.

These first three episodes have been much more than just padding, but it’s hard to deny that the pulse quickens just a little when we pass through the gates of Oflag IV-C for the first time …

Colditz – Missing, Presumed Dead (26th October 1972)

Like the first episode, Missing, Presumed Dead introduces us to a single character – today it’s Flt. Lt. Simon Carter (David McCallum). But unlike Pat, we get to see something of Simon’s home life before he becomes a prisoner of the Germans.

Simon seems to enjoy giving everyone a hard time. If he’s not bawling out the ground crew then he’s crossing swords with his boss, Wing Commander Cannock (Peter Halliday). Simon might have a point – sloppy maintenance work could endanger the whole crew – but equally he may just be a perfectionist asking for the impossible.

Things are also sticky on the domestic front. Recently married to Cathy (Joanna David), he’s very icy with her (employing emotional blackmail with no compunction). About the only person he’s civil to is her father, Devenish (Noel Johnson). Devenish is clearly very well off (his well stocked wine cellar is testament to that).

Simon’s blunt working-class attitude should grate against Devenish’s upper-class sensibility, but they seem to have a relationship of perfect equanimity (although the pair only share a brief few moments of screentime). It’s a nice turn from Johnson though, managing to suggest that there’s a lot more to Devenish than his surface persona of a distracted wine snob.

Later that day Simon is shot down over Germany. His attempts to evade capture are reasonably interesting, but this section is mostly enlivened by the people he meets along the way, such as a friendly priest (played by Joe Dunlop) and a decidedly unfriendly Gestapo officer (Michael Wynne).

Eventually he winds up at a prisoner of war camp run by Kommandant Esslin (Oscar Quitak). It’s always entertaining, when watching a series produced by Gerard Glaister, to spot the actors who had either appeared in a previous production of his or would go on to work with him in the future. For example, Quitak later played Joseph Mengele in Kessler, the Secret Army spin-off, as well as Richard Shellet in Howards’ Way.

Today, Quitak is shaven-headed and like Michael Sheard in the previous episode has no trouble in playing an implacable German Kommandant.

Another good cameo performance comes from the always dependable John Ringham as Major Dalby. The Senior British Officer at Simon’s current camp, whilst he may initially appear to be a little Blimpish, he’s actually quite happy to assist Simon in escaping. The only problem is that Simon will have to wait his turn (no half-baked attempts which only lead to instant recapture will be tolerated).

When everybody ends up at Colditz this sort of rule is understood and (generally) obeyed. But Simon simply can’t stomach the fact that he may have to remain at the camp for a year or so until his name goes to the top of the list. So it won’t surprise you to learn what happens ….

Recaptured after an opportunistic escape attempt, there’s a sense of deja vu when Kommandant Esslin delights in telling Simon that he’s being sent to a very special camp – Colditz.

Colditz – The Undefeated (19th October 1972)

Like The Colditz Story by Pat Reid (the book which the television series drew liberally from) the television series also didn’t begin at Castle Colditz. We had to wait a little while before entering the imposing edifice of Oflag IV-C.

The opening few minutes of this debut episode are interesting. It features a selection of black and white archive footage, over which is dubbed Churchill’s defiant post Dunkirk speeches. Only slowly (when Edward Hardwicke is spotted amongst the throng of captured British soldiers) does it become apparent that the original footage has been mixed with newly shot material, degraded into flickering black and white.

You have to tip the hat to a number of extras who gamely agreed to have their heads shaven (all part of the process for prisoners of the German system). Understandable that Hardwicke didn’t go through this, but it’s a shame that his bald cap is so incredibly unconvincing. Luckily he only has to wear it for a short time – the fact he swiftly regains a full head of hair serves as a handy indication that his time spent in this camp can be measured in months.

Michael Sheard was born to play nasty Nazis, meaning that it’s no stretch for him to take on the mantle of the Kommandant. It’s just a shame that he didn’t have more to do.

Pat Grant (Hardwicke) quickly falls in with a group of fellow prisoners who are equally dedicated to escaping as he is. Mark McManus (as Lt. Cameron) is instantly recognisable but it took me a little longer to pin down where I knew Julian Fox (playing Capt. Freddy Townsend) from. Eventually the penny dropped – a late era Jon Pertwee Dalek story ….

John Golightly (Capt. Ian Masters) gives a nice performance. Pat’s first point of contact in the camp, Masters initially seems to be resigned to his fate – content simply to sit and play cards whilst the news of the war from the Allied side goes from bad to worse. But once Pat mentions that he plans to escape, Masters springs into action with considerable zeal.

There’s a lot packed into this episode – it features multiple escape plans, which culminate with Pat and some of the others tasting freedom (albeit only briefly). Pat’s recapture means that he’s earned entry to a very special prison camp, one which is supposed to be escape proof. Colditz ….

Secret Army – Guests at God’s Table (29th November 1978)

A badly wounded airman has been found and hidden by a group of street children. Desperate for food and clothing, they attempt to sell him for a handful of Christmas treats ….

Given that a sense of repetition is unavoidable (oh look, it’s another important airman who has to be returned to Britain as quickly as possible) it’s always good when the series does something a little different.

The Group Captain (played by Mark Taylor) remains mute throughout – only occasionally opening his eyes and managing a smile before slumping back into unconsciousness.  So since the focus isn’t on him (we don’t even learn his name) it can instead be directed towards the four grubby children who’ve found him.

They’re led by Wim (Keith Jayne). Easily the most experienced actor of the four, by this point Jayne had already racked up credits in a number of popular series (Upstairs Downstairs, Survivors, Angels, Rumpole of the Bailey, etc).  Marie-Clare (Rachel Beasley) is his trusted lieutenant, with both taking it in turns to look after the two younger children – Bobo and Gaby (John Nani and Natasha Green).

Throughout the story there are numerous reminders that winter is really biting – with things made especially hard by the reduced rations and lack of fuel (Albert has secured a coal supply, but only because he was willing to pay way over the odds). Even the Germans aren’t immune to these cutbacks, with Kessler doing his best to eke some warmth out of his office fire.

Despite this, Monique and Natalie remain in a festive mood – even more so when the demands of the children reaches them. The items they request – clothing, jelly, a doll, etc – are piffling (in total, about the cost of a bottle of wine). So once the reluctant Albert gives the go-ahead, they begin to assemble the box of goodies with glee (Monique even going so far as to raid the till to give them a little extra cash!).

Throughout these scenes, Albert finds himself in the role of a stern father (with Monique and Natalie as a couple of unruly children) but there’s a sign that his bark is worse than his bite.When no-one is looking, he takes some notes from his wallet and adds it to the cash already pilfered from the till.

All this is quite low-key and touching, and that’s how the first half of the episode plays out (as a nice character piece, bereft of tension). But as we reach the conclusion of the story a sense of danger and anxiety begins to build.

Key scene of the episode, in terms of character development amongst the regulars, occurs between Kessler and Brandt. Kessler is concerned about Brandt’s excessive intake of alcohol, but Brandt is more concerned about the rumours he’s heard regarding German atrocities in the East. That the pair choose to have a row in the middle of the Candide only adds a little extra spice – as does the fact that after Kessler leaves, Monique (with Albert’s blessing) shares a drink with Brandt. Albert’s smug expression makes it plain that there could be a weakness to be exploited here.

Max continues to be a mild topic of conversation, with the others wondering what he gets up to when he’s not with them. The audience has long known about his Communist sympathies, but the other Lifeline members remain ignorant – for now.

Max keeps a watching brief on the children – even after they’ve handed over the airman – much to Albert’s puzzlement. Although when it’s revealed that Max was an orphan himself, things become clearer.  The episode’s conclusion – a snow-covered Max gives the children some money before being forced by the Germans to move on – means that things end on a slightly hopeful note. Although with food and fuel becoming scarcer and scarcer, the situation still looks bleak for them.

Guests at God’s Table is a totally studio-bound story, but a well designed street set helps to give the “outdoor” scenes some depth. It’s another strong script from John Brason, SA‘s most prolific writer.

Secret Army – Little Old Lady (22nd November 1978)

Wing Commander Kelso (Andrew Robertson) is required back in Britain as soon as possible. But it won’t be easy to move him – as he sustained severe facial burns when his plane crashed. There are ways though, but will Kelso agree?

The second series of Secret Army has already suffered from some melodramatic music cues, but there’s several in today’s episode which take the biscuit (especially the one during the opening few minutes). Rather than helping to create tension, their over the top nature somewhat dissipates the mood.

Although Albert briefly escapes from the Candide to meet Kelso, he otherwise remains pretty much rooted to the spot. But Hepton does have some decent scenes today, which makes a nice change (he’s been somewhat underused so far during this second series). Albert’s love for the Candide is displayed after someone drops a bomb into the middle of the dining room (luckily it doesn’t go off). More than helping the airmen to escape, more than his relationship with Monique, you do get the sense that Albert’s first love is the Candide – mainly because of the money it makes him.

Albert’s close fraternisation with the likes of Kessler hasn’t gone unnoticed, hence the bomb. We never discover if it was a dummy or whether it had a faulty fuse. But in story terms that doesn’t really matter as it serves to shake everyone up – especially Madeline, who is feeling isolated during Kessler’s absence.  She latches onto Monique and the pair strike up a hesitant friendship – encouraged by Albert (who can see the benefits) and despised by Max (who has no love for collaborators).

One running theme throughout the episode is Madeline’s fur coat, which she gives to Monique. She decides to wear it when taking Kelso down the line and gifts it to him as a parting present (he later throws it away). Amazingly it’s found by a German soldier and Brandt mentions it to Kessler. Could this be a clue that leads Kessler a step closer to discovering that the Candide is the headquarters of Lifeline? Presumably not, but you never know ….

Andrew Robertson gives a solid performance as Kelso. Despite notching up over fifty flying missions, Kelso eschews the aura of a hero – maintaining that he’s simply been lucky. His abrasive nature means that initially he clashes with Monique, but in a not terribly surprising plot twist they part on much better terms.

Things get a little odd mid way through the episode when Kelso decides, for no good reason, to hop off the train he and Natalie are travelling on. Partly this seems to have been done so that Kelso (a locomotive expert) can pinch another train and go chugging down the track. Commandeering a steam engine is not exactly the thing do to if you’re trying to keep a low profile.

Later safely ensconced with Sophie and Madeline (two old ladies who we’ve met before), Kelso is then introduced to Louis-Victor Condé (David King). An experienced actor, he uses his knowledge to instruct Kelso how to masquerade as a woman (as a female he’ll be able to use heavy make up which will disguise his scars). The scene where Louis-Victor fashions a tablecloth into a baby and proceeds to demonstrate the art of the actor is another of those odd moments. It’s certainly an unusual scene for SA.

Francois pops up again. He continues to be Lifeline’s least interesting member as either he’s fretting that Natalie’s in danger or he’s embracing her heartily once she returns.  Max doesn’t have a great deal to do, but Stephen Yardley’s aura of simmering danger is put to good use – particularly when Albert is carted off by the Gestapo. Albert returns later – shaken, but unharmed – although Max continues to brood.

Angela Richards probably comes off best, script wise. Not only does she share a fascinating two-hander with Hazel McBride which helps to bulk up both their characters, but later there’s a handful of strong scenes between Monique and Kelso (who by now is thawing somewhat).

Little Old Lady lacks many moments of real tension, but David Crane’s script is a good character piece and, apart from a few minor plot niggles, works well.

Secret Army – The Big One (15th November 1978)

The RAF mount a massive raid over Berlin – the big one. But things go awry after bombs are dropped short, destroying a residential suburb on the outskirts of the city. Amongst the dead are Brandt’s wife and son ….

The Big One is an episode that could easily have centered totally around the Germans as Lifeline’s contribution is pretty negligible.  Opening with the bombing raid (stock footage mixed in with newly shot material and somewhat melodramatic music cues) we then cross to the Candide, where Brandt is dining with Oberst Neidlinger (Mark Jones).  Neidlinger is the latest oficer attempting to draw Brandt into the conspiracy to kill Hitler, but Brandt still refuses to commit himself.

The conflict between the aristocratic military (as represented by Neidlinger) and the thuggish Gestapo (as represented by Kessler) is given another airing today. Kessler, dining with Madeline, repeats his views on the subject (he’s still fuming about the way the Gestapo is treated with arrogant comtempt by the military elite). The cliché of the good German hovers in the background of this episode, but by the end the lines between Kessler and Brandt have been somewhat blurred.

Brandt travels to Berlin in order to arrange the transfer of his family to a safer location – ironically on the same day that the bombs hit. There’s some more stock footage patched in, along with a small rubble strewn set which is the only bit of desolated Berlin we see. Brandt’s collapse (after he learns of his loss) is nicely underplayed by Michael Culver.

The relationship between Kessler and Madeline inches forward (he gives her a chaste kiss).

I like the way we switch from Lifeline (listening to the BBC radio broadcast stating that 22 RAF aircraft failed to return) to Kessler and Madeline (German wireless reported 45 aircraft shot down). Both Max and Albert have a suspicion that the German figures are more likely to be correct.

Lifeline pick up one airman, Flight Sgt. Bert Lewis (Daniel Hill), but they don’t hold onto him for very long. Frankly it’s not surprising as their interrogation of him is brutal and hectoring. Plot-wise the reason for this is obvious – Lewis, believing they were German spies, later makes a run for it – but given the experience Lifeline have, it’s hard to believe that Monique and Alain would be quite so clumsy.

And this is Lifeline’s major contribution to the story. Whilst a little tension is generated (will Lewis betray any of Lifeline’s secrets?) this falls flat as Lewis doesn’t really know anything about them. So this part of the plot would have played out just the same had Lewis spent a couple of days wandering around the countryside before getting picked up by a German patrol.

Brandt returns to Brussels and is treated to a meal by Kessler. This is a fascinating scene, not least for the way that Brandt behaves (in a very jolly and hyperactive manner). Seemingly shrugging off the death of his wife and son as matters of no consequence, he then playfully begins to mock Kessler’s liaison with Madeline. The reason for doing so is obvious – it’s Brandt’s way of telling Kessler that whilst others may gossip about his totally innocent relationship, he doesn’t (and hopes in turn that Kessler doesn’t read anything into the meetings he’s had with known anti-Hitler officers).

Given that Brandt earlier confessed to being somewhat wary of Kessler, it’s strange that he decided to be quite so blunt. But maybe it’s a sign that he’s not thinking clearly.

Matters come to a head for him during his interrogation (or debriefing, as he calls it) of Lewis. It begins amicably enough, in his trademark friendly style (something which Kessler has long derided). But a still grieving Brandt eventually loses control and takes out his frustration on Lewis. The few minutes leading up to his sudden outburst of violence are mesmerising – it’s framed as a tight two-shot of Brandt and Lewis, which slowly closes in on Brandt as his anger increases.

The Big One is Michael Culver’s episode and he doesn’t disappoint.

Secret Army – Weekend (8th November 1978)

Kessler is taken hostage by two desperate American airmen whilst Lifeline are keen to get their hands on three priceless paintings by Rubens ….

Even those with only a rough working knowledge of ‘Allo! ‘Allo! will be able to spot that this episode was used as the inspiration for the long-running saga of the Fallen Madonna with the Big Boobies (by Van Klomp).  And whilst the later parody by ‘Allo! ‘Allo! means that the paintings subplot raises a titter (as it were), events later in this episode take a rather grim turn.

I’ve previously raised an eyebrow at some of the series’ plotting and I’ll do so again here. Kessler knows that three paintings by Rubens are stored in a convent somewhere in the country, but he doesn’t know their location. Then up pops Oberleutnant Horst (Christian Roberts) who helpfully tells him exactly where they are. Well, that’s lucky.

Not only that, Lifeline are preparing to take possession of the paintings with the full consent of the Mother Superior (Sylvia Barter) and plan to leave expert forgeries in their place. What were the odds that Kessler and Lifeline would suddenly both decide to take a great interest in art?

For Albert the paintings mean security – at least for a little while. With no money currently coming in from London, once the paintings are sold they will allow the escape route to carry on (although not indefinitely). The shifting objectives of the war are touched upon here, with Albert unhappy at the way London are attempting to take more control (insisting that Communist spies are weeded out from the line). Although given that Albert’s first love has always been money (others in Lifeline may be patriots, Albert is much more mercenary) I’m not quite sure why he doesn’t just go with the flow.

It’s interesting to ponder what Kessler’s motives are. He tells the Mother Superior that the paintings are being taken into protective custody, bemoaning the fact that other art treasures have been looted. Is he telling or truth or does he plan to squirrel them away for his own use?

Christian Roberts gives a nice performance as the hapless Horst. Keen to impress Kessler at every turn, he nevertheless ends up a fellow prisoner after the pair are captured by Peter Harris (Paul Wagar) and Charles McGee (Vincent Marzello). The series has presented us with unpleasant airmen before, but McGee is in a class of his own.

Whilst Harris is mild-mannered and conciliatory, McGee is arrogant and reckless. Both are lucky to stumble across a friend of Lifeline who takes them in for the night – but McGee isn’t prepared to wait around to be collected the following day. Instead he ambushes a car (containing Horst and Kessler) and puts his masterplan into operation. Actually I don’t really think he’s got a plan, so it’s rather fortunate that he happens to stumble across the barge owned by Hans Van Broecken (this seems a tad contrived).

Kessler, now a prisoner on the barge, seems to be deriving a certain pleasure from the situation, confiding to Horst that he rarely has had the chance to study evaders at such close quarters. Clifford Rose, yet again, is on top form – contrast Kessler’s early (and quite informal) conversations with Horst to his later business-like persona.

Another plot oddity concerns the three Rubens. They’re in the boot of Kessler’s abandoned car which is located quite easily by Monique and Max (they swop the originals for the forgeries). How did they know where the car was, especially since it was moved off the main road and hidden?

The episode really springs into life towards the end.  When McGee and Harris finally end up with Lifeline, McGee’s sexist banter doesn’t go down well with either Natalie or Monique. Angela Richards has a mesmerising moment as Monique spells out the facts of life to McGee at gunpoint.

And for those thinking that everything has gone just a little too smoothly, there’s a late sting in the tail – Hans and his wife Lena are taken away by Kessler for questioning. Kessler is at his most chilling when he tells them that they have nothing to worry about – provided they have nothing to hide.

Lena – unable to face the prospect of interrogation – commits suicide by stepping out into the path of an oncoming car. The bitter irony is that Kessler’s questioning was (or so he says) purely routine. Hans tells him that he doesn’t realise the fear he instills in people. Kessler replies that he does ….

It’s a slight surprise that we don’t see Natalie’s reaction to the news that her aunt has died.

Weekend was written and directed by Paul Annett. It’s an unusual double for this era of British television (Annett was much more prolific as a director, his only other television writing credits being a couple of episodes of Agatha Christie’s Partners In Crime).  Apart from a few plot niggles, it’s a decent episode. Not the best the series has to offer, but still very watchable.

Secret Army – Scorpion (1st November 1978)

Major Brandt’s wife, Erika (Brigitte Kahn), is in Brussels for a brief visit. Their interactions later provide the spur which kicks the plot into gear, but before that there’s plenty of nice character development on offer.

Brandt is clearly delighted to see her (something she reciprocates, although in a rather cooler way). This is partially explained by the fact that, as a General’s daughter, she suffers from something of a superiority complex – for example, she has no wish to meet Kessler. A member of the SS is plainly a much lower form of life.

Plot-threads which pay off later in the year are established here. Erika now finds living in Berlin, which is suffering heavy bombing raids on a regular basis, intolerable. Fearful for her own life (and that of their children) she begs Brandt to move them to Brussels. This he declines to do, although he concedes that they should leave the city.

There’s an intriguing moment when she finds a photograph of an attractive young woman in his wardrobe. His mistress? Since we know that he’s a workaholic it would seem not and his protestations of innocence do appear to be sincere. And yet ….

You have to say that his explanation for its presence (the cleaning woman could have left it there) is a bit feeble.

Brandt has already tried and failed several times to infiltrate the escape line with one of his officers. Indeed, during series one it seemed like he was doing it every other week.

He hasn’t attempted it for a while, so I suppose it was bound to happen again. The way that the audience (and Lifeline) learn about it today is a touch contrived though. Brandt and Erika are having an argument in bed and he tells her the whole story (an infiltrator – accepted as genuine by London – will shortly be going down the line). But at that precise moment his cleaning lady happens to overhear the whole thing.

That’s hard to swallow moment number one. Hard to swallow moment number two is the fact she knows that Albert is the person who needs to be told about this straight away. Slightly clumsy plotting then.

Hans Van Broecken (Gunner Moller), Natalie’s uncle (and no friend of Albert), returns. As a German himself, he’s the ideal man to try and identify the spy, but given his loathing for Albert, will he agree? Yes of course, otherwise the plot would have floundered somewhat.

If he’s unsuccessful then there will be some difficult decisions to be made. With nineteen British airman in Brussels, one way out would be to shoot them all. It seems cold-blooded, but it might be necessary in order to protect the line.

Some familiar faces can be found amongst the motley collection of airmen. James Wynn (later to play Sooty Sutcliffe in Grange Hill) is one whilst Harry Fielder (someone with a list of credits longer than several arms) is another. The spy isn’t either of these though – but he’s eventually dealt with by Max, with a horrified Hans looking on.

Hans’ disgust that Max resorts to murder is a little difficult to credit. Did he think they’d just let him walk away? He might not have discovered too much about the escape route, but he still would have been able to identify a number of people (Max and Hans, for two).

As touched upon eadlier, the plotting of the episode feels a little suspect in places. We’re told several times that various airmen have been cleared of suspicion, but it’s not explained how this is done. Considering that the infiltrator appears to be, until the very last minute, a perfectly normal British officer it’s hard to work this out.

Kessler only features briefly, but his scene – a meal with Madeleine (Hazel McBride) – is still a fascinating one. There’s some light shone onto Kessler the private man (he admits to being lonely at times, which is why he’s sought the company of Madeline – he’s decided she’s a kindred spirit). And he almost (but not quite) declares that Brandt is his friend, explaining to Madeline that normally he’d be irritated by the superior attitude of Erika, but given his respect for Brandt he’s content not to make a scene.

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I’ve just dug out series one of Angels for another watch. Whilst it’s a shame that only the first two series made it to DVD, that shouldn’t dissuade you from picking them up as these early episodes are first rate.

Along with the colour Dixon of Dock Greens, Angels is probably the series I’ve found myself reassessing the most.  Based on hazy memories of the later, twice-weekly soap format, I’d long held the opinion that it was a rather cosy, pedestrian show. Maybe it did later lose its spark, but to begin with Angels is rich in interest in all areas – acting, writing and directing.

That a core group of female writers were assembled (and each assigned one of the main characters to write for) is noteworthy. Others also made valuable contributions, such as P.J, Hammond (who provides a typically disorientating offering later in the first series). I’d previously written about the first two series episode by episode here.

Given that Simply now seem to be out of the DVD game, it might be that their various BBC licensed titles will slowly begin to drift out of print. If so, you may want to pick up their Angels releases (and indeed anything else of interest) sooner rather than later.

The 1970’s Angels fan was well served with merchandise. There were the obligatory tie-in novels as well as annuals and (most eye-opening of all) a range of dolls. That most of the merchandising was aimed at the child market – even though the series wasn’t always child-friendly – is slightly odd, but it was common at the time (various post watershed programmmes like The Professionals and The Sweeney did something similar).

Terrance Dicks (1935 – 2019)

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Growing up, Terrance Dicks’ Doctor Who novelisations were my staple reading diet. The Target range had other writers of course, but some of their books (like the two by David Whitaker) seemed a bit intimidating (especially the dense Crusaders).

Terrance may sometimes have been criticised for being a plain, straight-ahead sort of writer, but it’s undeniable that his books were perfectly pitched for his young readership. When I was slightly older I had the confidence to tackle The Crusaders, but had Terrance not been there first then maybe I wouldn’t have made the leap.

It’s a common refrain to hear people say that Terrance Dicks taught them to read, but it’s also true in so many cases ….

His contribution to Doctor Who in general was immense.  He wrote and co-wrote some excellent stories, but his work as possibly the series’ most efficient script editor really stands out. Having witnessed the script chaos which bedevilled the series during the late Troughton era, Dicks (with Barry Letts as a strong and supportive producer) brought stability back to the production office.

Dicks’ formula was simple – find a small group of writers you could depend on (Robert Holmes, Brian Hayles, Terry Nation, Malcolm Hulke, Robert Sloman, Bob Baker & Dave Martin) and then keep on recommissioning them. Sounds simple, doesn’t it?

Outside of Doctor Who, his work as first script editor and then later producer on the Classic Serials is worthy of further investigation. Like Doctor Who they had to get by on fairly small budgets and this might be one of the reasons why eventually they fell out of favour. By the mid eighties, glossy all-film productions of classic novels were the way forward and the humbler Classic Serial began to look second best by comparison. But many have stood the test of time well and still entertain today (such as the 1984 Invisible Man).

I’m also prepared to fight the corner of Moonbase 3, a series which I have a great deal of love for. It’s far from perfect (indeed Letts and Dicks’ series opener is especially stodgy) but it’s something I find myself drawn back to again and again. Although I’m not quite sure why ….

This evening I’ll be spinning Horror of Fang Rock in tribute. Not only is it a great story, it’s also a perfect example of Dicks’ no-nonsense style. Forced at the eleventh hour to cobble together a new story (after his previous submission was vetoed) Dicks didn’t panic – he simply rolled up his sleeves and got on with it.

Fang Rock is archetypical Doctor Who – take a group of bickering characters, trap them in an enclosed space with no hope of escape and then kill them off one by one.  It’s hard to go wrong with such a formula and Dicks didn’t disappoint.

He was inadvertently helped by Tom Baker who was in an even more stroppier mood than usual – but his disdain for the script, his co-star, Pebble Mill studios, director Paddy Russell and just about everybody and everything else actually seemed to work in Fang Rock‘s favour. Tom’s Doctor was never more alien and foreboding than he was in this story – and even if this was something to do with the fact that Tom was missing his regular Soho drinking haunts, no matter.

The Fang Rock DVD also boasts a lovely Terrance Dicks documentary and a lively commentary track where Dicks, Louise Jameson and John Abbott swop stories (often about Tom of course).

Judging by the way Terrance is trending on Twitter at the moment I’m sure I won’t be alone in paying tribute tonight. RIP sir and thank you.

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Angels – Walkabout (29th June 1976)

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Paula Milne’s Walkabout wastes no time in repositioning Maureen as both judgemental and close-minded.  In the first scene, which sees Pat tossing a few pennies towards a street busker (as she does every day), the division between Maureen and her closest friend is marked.  Despite previously being depicted as an open and embracing person, Maureen has now morphed into a much harsher character (for example, telling Pat that people living on the streets have made their own choice).

The new Maureen is discussed by Pat and Jo in a later scene. Pat is of the opinion that her friend has now become the perfect nurse (which isn’t a compliment – Pat contending that her responses to the patients are now mechanical rather than honest).

The reason for this set-up becomes obvious when we observe Maureen spending the majority of the episode shadowing community health nurse June Morris (Miriam Margolyes).  June is everything that Maureen isn’t – a freewheeling, impulsive person who thrives outside of the regimented hospital set-up (describing it as an isolating cocoon).

In the wide world there’s no doctor or senior nurse to turn to, meaning that the community nurse has to operate autonomously – June revels in this, but looks as if it’ll come harder to Maureen. June then explains that the patient/nurse dynamic is totally different when making a home visit – in hospital the patients are rather dependent whilst at home they’re in their own environment and therefore more confident.

Maureen, continuing to be written in a somewhat negative light, wonders why they simply aren’t all shipped off into care homes. This is a somewhat unfeeling attitude and is the type of comment that later causes Pat, in a moment of anger, to label her a bigot.

The first notable patient on June’s round is Mrs Faulkener (Natalie Kent).  Her health may be failing but she’s still gloriously combative.  As June gives her a bath, Mrs Faulkener reflects on old age and the poor quality of presents she receives. “That’s what happens when you’re older, people think all you want is lavender, talcum powder and manicure sets”.

Mind you, she has had an impressive present recently – a plant which is currently taking pride of place in the bathroom. A gift from her son, who otherwise apparently rarely seems to visit, Mrs Faulkener has elected to coat the leaves in nail varnish. When an appalled Maureen tells her that this will cause the plant to die, the old lady counters with the observation that at least it’ll look nice for a while. This is impeccable logic.

The lion’s share of the episode revolves around today’s major guest star, Maurice Denham (as Jack Knight). A former academic and a current alcoholic, Jack is gifted several well-written monologues by Milne as well as numerous other sharp lines. Here, he’s reflecting on the difference between his imaginary picture of nurses and what he actually discovered when he spent some time at St Angela’s.

On the one hand, the Florence Nightingale variety – a silent gowned figure gliding in and out of a dimly-lit ward, bearing a lamp to symbolise the virtue of her calling. And then there’s the other sort – the type depicted in low-budget comedy films with skirts up their backsides and a knowledge of the male anatomy gained through practical research, rather in the classroom.

But what did I find in reality? Heavy-legged girls, white with ferocious vocation, or off-hand creatures with one eye on the clock and the other on their unfortunate patient’s grapes.

Maureen, left alone with him for a while, crosses verbal swords with the combative Jack. No doubt by the end of their time together, as she witnesses Jack in all his many guises (from articulate to broken), she’s learnt something of value.  Denham is as good as you’d expect whilst Erin Geraghty more than holds her own.  The sight of a subdued Maureen, returning to the hospital to join the others in wishing a safe passage to Sita (who’s heading off to India), shows us that some of her dogmatic views have taken a knock.

This is the point of the story of course and whilst it could have come across as a little contrived, the fact that Denham was given so much material (and delivered it so well) proves to be a major plus.  And it was pleasing to close series two with a story centered around Maureen, a character who tended to be sidelined during most of this run.

Building on the groundwork of the first series, Angels continued to impress during this second series. That it’s not better appreciated is a shame, as the fusion of actors, writers and directors certainly produced something rather special. Maybe one day Simply will relent and release series three on DVD ….

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Angels – Celebration (22nd June 1976)

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Shirley amongst her psychiatric patients – who has the problems? (Radio Times Listing)

A P.J. Hammond script set in a psychiatric unit? This probably isn’t going to be average then ….

It’s worth remembering that Angels was a pre-watershed series (this one went out at 8.10 pm). There’s nothing graphically violent about the episode, but the elliptical conversations, allied to a feeling that something bad could happen at any moment, makes for an uncomfortable – if bracing – fifty minutes.

An initial group therapy scene with Shirley and a collection of disparate patients sets the tone.  Over the course of the episode they’re all allowed at least one moment which illuminates their character, but to begin with their interplay is so fractured that – as Hammond intended no doubt – the viewer is left slightly confused and breathless.

Familiar actors, such as Alan Lake and Joseph Brady, tend to catch the eye first.  Lake (as Tony) plays to type as an individual who can change from charming to threatening at the drop of a hat.  His antipathy towards Shirley (as someone who’s been institutionalised all his life, he believes that he’s better placed than her to pass judgement on his fellow patients) is a theme that’s teased out as the episode progresses.  Given Lake’s life and death, it’s very easy to wonder about which facets of Tony’s character were close to his own.

Joseph Brady (Jock) doesn’t have a great deal of dialogue but the sight of the perpetually rocking Jock, softly babbling away to himself, helps to deepen the already building sense of unease.  As does Arnold (Jack Chissick), who is plagued by murder thoughts and has now taken to jotting them down in a book whenever a new one arrives.  That he immediately reaches for his book after seeing Jo for the first time is an interesting little moment.

Angels was never averse to bleak stories, but most episodes with dark themes would also drop in another plot with a lighter tone.  There’s not a great deal of respite in Celebration, although the wrong-footing ending (we’re primed to expect a crisis which doesn’t occur) does at least enable the story to conclude with a sliver of hope.

There is humour in the episode, although it’s of a rather dark nature.  Jo and Pat, corralled into helping Shirley organise a party for one of the patients, stumble into the room to find everybody dressed in party hats but sitting completely immobile.  It’s both comic and tragic, a feeling which is heightened when the two girls – neither of whom were terribly keen to attend – are forced to make excruciating small talk.

Shirley seems quite at home in the unit and treats the patients in a logical and rigorous manner.  Given that they can often act in deeply illogical ways this seems to be a risky policy.  Her style is commented upon by two people – first an Auxiliary nurse (Anne Ridler) and then Dr Fraser (Willie Jonah).

Both discussions are illuminating, especially the one with Dr Fraser. “We can’t just ask people,where does it hurt? The kind of wounds we’re looking for, they don’t show up on x-rays”. He then goes on to say that 90 percent of the work has to be done by the patients themselves with the remainder (“you and me and ECT and pills and Christian names and pots of paint and pictures”) supplied by the hospital staff

It’s slightly strange to see Pat and Jo teamed up (rather than one of the more usual combinations of Pat and Maureen or Jo and Sandra).  Pat seems to be acting slightly out of character (not unusual for a Hammond script, which often retooled the thoughts and views of the regulars) as she’s much more negative about Shirley’s work with the “loonies” than you might have expected.

It’s not totally out of character for her though and whilst she’s not central today, Pat is still gifted some fascinating moments – for example, the fact she so vehemently draws attention to her own complete normalness. Does the lady protest too much?

The episode is dotted with many items of interest, like George (George Waring) and Dianne (Mitzi Rogers).  Both day patients, they seem a good deal more “normal” than the others, although George’s cheerful and uncomplaining façade is brutally picked apart by Dianne.  But maybe this will prove to be beneficial for him in the long run – knocked to pieces so he can be rebuilt.

David Maloney’s direction is as assured as ever. There’s no particularly fancy shots, but in scenes – such as group therapy – where there’s around ten people present (and all contributing) it’s vital to be able to cut quickly and at the right time, otherwise you’re liable to lose a vital reaction shot.

Celebration is typical P.J. Hammond and therefore unmissable.

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Angels – Coming To Terms (15th June 1976)

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Having shared equal screentime in the previous episode, it’s a slight shame that Pat and Maureen have now reverted to type – Pat driving the main storyline with Maureen relegated to the role of observer and confidant.

Coming To Terms wastes no time in establishing the fact that Pat has bonded with a patient called Mrs Shepherd (Kathleen Byron).  For example, the way that Pat refers to her as “Shep”.  Their early scenes have a vague sense of foreboding – despite Pat’s bright and bubbly attitude, the seeds are already being sown about Mrs Shepherd’s terminal condition.

Mrs Shepherd is concerned how her son (referred to, but never seen) will react when he discovers that his mother and father never married. Pat’s decision to try and arrange a civil ceremony in the hospital then becomes the focal point of the episode.  There are various logistical hurdles to overcome as well as the thorny question of gaining the consent of Mr Shepherd (John Dearth).

Dearth only appears in a couple of scenes, but his imposing presence – both physically and vocally – creates an instant impression.  In his later career Dearth was cast on several occasions by Michael E. Briant (who directed this episode).

Rumours about Dearth’s issues with alcohol have made the rounds for decades and it’s hard not to think of that when watching his turn here. He does slur his words a little, but that sort of fits with Mr Shepherd’s character – who, after all, has just received the devastating news that his common-law wife is dying.

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Kathleen Byron also doesn’t have that many lines, but she makes the most of every moment.  A heavyweight actress (first in films, most notably Black Narcissus, and then later in a slew of television programmes) she gives Mrs Shepherd a sense of dignity and weary resignation. Although there are also moments of black despair and hopelessness.

By speaking to a social worker,  Pat kickstarts a chain of events which leads to an angry Mr Shepherd venting his frustration at the medical team.  This is a theme familiar from several previous episodes, just how involved should the nurses become with the patients? Other times it’s been more cloudy, but here there’s a definite feeling that Pat meddled for the good of all.

So this part of the story has a happy ending of sorts, with Mr Shepherd reconciled and happy to take part in the ceremony.  The wedding manages to close the episode on a positive note despite Mrs Shepherd’s terminal condition (which is an interesting trick).

Elsewhere, the other main plotline of Coming To Terms feels like it’s recycling a large chunk of the series one episode Case History. Both featured two male patients – one unfriendly (both to his fellow patients and the nurses) and the other voluble and somewhat irritating.

Today, the studious Keith Aldiss (Edward Wilson) is driven to distraction by a cheery and down-to-earth Northerner called Mr Kilshaw (Paul Luty).  Both were familiar faces (Wilson primarily from Rockcliffe’s Babies and Luty from All Creatures Great and Small and a host of other guest roles).  Mr Kilshaw’s good natured banter (telling Aldiss with grim enjoyment that he’s probably going to be sliced up!) helps to lighten the tone of an otherwise fairly sombre instalment.

The way they interact with Jo and Sita is the other reason why they’re present.  Both nurses clash with Aldiss, but whilst Jo is able to shrug it off, Sita reacts with anger.  As Sita’s been rather neglected recently, this episode goes some way to redressing the balance. She’s fretting about her upcoming exams and so hasn’t been eating or sleeping properly, which is beginning to impact her work on the wards.

It might have been nice to sow the seeds of this across a few episodes, as it all feels a little sudden (although it’s possible this might explain why she was so snippy at the start of series two).  Jo being temporarily put in charge of the ward causes a little friction between them, compounded after Sita makes an elementary blunder when treating Mr Kilshaw.

This is all good dramatic stuff for both Sita and Jo, although with Mrs Shepherd’s story dominating it feels a little rushed.

Apart from a brief film insert, Coming To Terms is studio-bound.  But Michael E. Briant keeps the interest up with a series of unusual shots.  He clearly liked shooting from behind the beds – this creates a bar-like, prison feel.

Easily the most notable sequence occurs when a stressed Pat staggers over to the rest room, only to find no succour there.  Thanks to an ever-increasing series of quick cuts (from one chattering nurse to another, over to the blaring television and then back to Pat) a nightmarish vision is deftly created.

Another very solid episode, Coming To Terms maintains the high standard of the second series.

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Angels – Home Sweet Home (8th June 1976)

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Holiday time for Maureen and Patricia. A whole week to see family, friends, boyfriends again. A week of discovery … (Radio Times Listing)

Having previously written the first series episode Off Duty, also a non-hospital story, Pat Hooker was clearly the ideal fit for this one.  Taking into account all we’ve learnt this year about Pat’s unhappy life with her parents, Home Sweet Home is an obviously ironic statement.

it also proves to be so for Maureen, although her week isn’t quite so bad. Maureen’s homecoming is however an excellent vehicle for Erin Geraghty, whose character this year has somewhat been shunted down the pecking order (Shirley, Pat and Sandra have been the three with the most interesting storylines so far).

Maureen’s arrival at the family farmhouse, set in the middle of the bucolic Irish countryside, has a faint air of tension due to the fact that there’s nobody home to meet her.  This feeling of unease is developed when Maureen’s youngest brother, Shaun (Gabriel Kelly), does make an appearance but shies away from her welcoming greeting.  That he doesn’t seem to recognise her is a signifier that she’s been away for a while and also that integrating back into the previously tight family unit might not be entirely straightforward.

Kate (Pauline Quirke) is equally unwelcoming, although it transpires that there’s several different reasons for this. Today’s episode is a rare opportunity for Erin Geraghty to use her comic skills – for example, I love Maureen’s delighted first sighting of her younger sister (“Kate!”) which quickly develops into a critical quizzing. “What in god’s name have you done to your hair?”. It may not sound much written down, but it’s a nicely played comedy moment.

Later, when all the family are gathered around the table, there’s another illustration of Maureen’s growing estrangement from her family after she discusses the latest television programmes (Maureen’s mother mistakenly believing that Michael Crawford is a friend of hers, rather than a top television star).  This scene also confirms that just about everybody in the seventies could be called upon to do a Frank Spencer impression, although Maureen’s has to be one of the worst.

The main dramatic meat of Maureen’s storyline begins when Michael Doyle (Aiden Murphy) pops his head round the farmhouse door.  A smooth-talking Irish caricature, they quickly pick up where they left off (presumably they’d been “walking out” before Maureen left for London).  Although it’s not confirmed until the end, the audience no doubt would have quickly twigged that Michael had turned his attentions towards Kate during Maureen’s absence (which explains some of Kate’s distant feelings towards her sister).

Aiden Murphy doesn’t quite convince – in an episode that feels very theatrical anyway, he’s easily the stagiest performer. But at least he’s considerably better here than he was as Hippias in the Doctor Who story The Time Monster.

Although Maureen has sometimes been portrayed as a little naïve, it’s pleasing to see that today she doesn’t fall for Michael’s spiel (I like the way she recoils when his hands begin to explore previously unchartered territory).  “Well you haven’t been learning technique like that at agricultural college” is another glorious line from Hooker.

Interspersed with Maureen’s travails, Pat is having an equally dramatic time of it with her family.  To begin with, the viewer is called upon to parse the meaning behind the outwardly polite, but obviously brittle, three way dialogue between Pat and her mother, Rose (Georgine Anderson), and father, Lawrence (Geoffrey Palmer).

Big reveals are slowly bubbling to the surface, but they drip out a bit at a time (frustrating for Pat, but dramatically satisfying for the viewer).  First we learn that Pat’s mother is leaving her father, although the reason is initially unclear. Both deny that there’s anybody else involved (although we later learn that Lawrence was previously seeing someone).

Rose doesn’t seem to be a well woman. At times somewhat disconnected from reality (telling Pat the same thing several times) as a student nurse possibly Pat should have picked up on these danger signals.  The fact that later, at a stifling party, she labels her mother as “crazy” is a tad unfortunate in retrospect ….

Rose’s dream (of going to London and completing her training to join the legal profession) is later offhandedly dismissed as a fantasy by Lawrence.  This is after Rose has taken an overdose at the party (following Pat’s “crazy” comment).  Incidentally, the off-screen overdose is played in such an understated way that for a moment it wasn’t clear to me whether Rose had left the house in a fit of pique or had overdosed.

It’s interesting how Rose’s delicate mental state (this isn’t the first time she’s attempted suicide, although Lawrence believes the others weren’t serious) doesn’t really seem to engender any more sympathy towards her.  Pat is still very much a daddy’s girl, although he’s hardly that admirable a character. The way he dangles a foreign holiday in front of her (with the promise that he’ll then find her a job more suitable than nursing) is an example of the controlling nature which lurks beneath his affable surface.

There’s plenty to chew on throughout Home, Sweet, Home. For example, Pat’s distant conversation with an old friend, which shows how little they now have in common.  It seems to be that both Pat and Maureen have changed and developed considerably since leaving home – and only because they have left their old lives behind.

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Angels – Accident (1st June 1976)

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An accident in a chemical factory … Nurses Sandra Ling, Jo Longhurst and Shirley Brent all have a part to play in what follows (Radio Times Listing).

A fair chunk of Accident, the first fifteen minutes especially, takes place outside of the environs of St Angela’s.  To begin with we’re back on the beat with Sandra (who’s continuing her occupational therapy placement).  Last time I commented about how everybody seemed just a little too nice to her, but today things are a tad more realistic – on the way into work she’s confronted by the leering Geoff Fenton (Graham Fenton) who declares that he needs a touch of massage.  Sandra’s fiery expression leaves us in no doubt about what she thinks of him ….

Fenton’s the rather lackadaisical safety manager at a local chemical factory which will prove to be central to today’s story.  Indeed, the fact that we’ve already been told that things are a bit slack there might explain why Bob Hubbard (Barry Lowe) was left to tend the machines all by himself.

So whilst Bob is getting squirted with a dangerous chemical called phenol, his number two – Charlie Masters (Andy Bradford) – and seemingly eveybody else are getting the once over from Sandra. It does slightly beggar belief that Bob’s left to suffer all by himself. Surely it would have been a good idea for someone else to be in the factory with him?

Despite the episode title, this was no accident – it was deliberate sabotage.  The sight of a twitchy David Troughton (playing John Overton) tinkering with the machines earlier on had already set us up to expect something bad to happen, but another plot niggle is the later reveal that Overton was deliberately targeting Bob. How could he have known that Bob would be tending that particular machine at the precise moment it blew?

Jo is currently working in the intensive care unit which puts her in a more subservient role than usual. On the wards she and the other nurses tend to pretty much rule the roost, but here she’s very much down the pecking order. First comes Dr Miles (Terence Conoley), then Sister Ashton (Marcia King) and then finally Jo.  Dr Miles tends to give Sister Ashton the rough edge of his tongue and Sister Ashton is equally snippy with Jo. Poor Jo, on the lowest rung of the ladder, has no one beneath her she can be horrid to ….

The relationship between Jo and Sister Ashton (presumably playing the same character as the unnamed intensive care Sister from Vocation) isn’t explored in any great depth.  We know that Jo loathes her (she calls her a “bitch” out of earsbot) although Vocation did suggest that Sister Ashton’s dispassionate nature was simply a coping device. When dealing with a never-ending stream of seriously ill patients, this seems reasonable.

The anxious Mrs Hubbard (Patricia Lawrence), waiting for news of her husband, is a type familiar to regular Angels watchers, although Lawrence still manages to tease some interesting nuances from what could otherwise be a fairly stock character.

The fact that Bob was having an affair with John Overton’s mother (played by Barbara Young) is something of a twist. It helps to explain why Overton, already presented as a disturbed type even before we learn that he’s attending the psychiatric clinic, decided to attack Bob. Young’s performance is somewhat broad – indeed, during the scene where Mrs Overton confronts her son it teeters over the edge somewhat.

Another slightly odd turn comes from Andy Bradford as Charlie.  He seems so hyperactive and annoying that you’d assume he would be the last person (apart from the homicidal Overton) who should be let loose on dangerous machinery. Although to be fair, he’s much more subdued after Bob’s had his accident.

Troughton is much more restrained than either Young or Bradford.  Overton is easily able to function normally on a surface level (Sandra doesn’t pick up that anything is wrong when she gives him a routine check-up) and he only starts to devolve later on when the (unseen) police begin to close in on him. Overton’s child-like nature (reinforced by the fact that comics are his favourite reading matter) is played well by Troughton, who’s as good as you’d expect.

Shirley has decided that she’s interested in combining geriatrics and psychiatry, which helps to explain why she’s currently working with Dr Berry in the psychiatric unit.  This feels slightly contrived, but it does allow the impressively bearded Dr Berry (Roy Holder) to question Shirley’s reasons for being there.  It’s previously been suggested that working in geriatrics was something of a retreat for her and psychiatrics might be even more so (especially if she’s using it to work out her own unresolved issues).

This is an intriguing possibility, although given that the story is quite busy there’s not a great deal of time to develop it.  Indeed, this is one reason why Accident doesn’t quite gel for me – there’s plenty of story potential in the various issues raised, but the script would probably have benefited from having a narrower focus.  It’s still perfectly watchable, but does feel somewhat bitty.

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Angels – Facing Up (25th May 1976)

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Three very different stories relating to pregnancy unfold during the fifty minutes of Facing Up. The first features Ann Clark (Patricia Hassell) who is initially regarded with a jaundiced eye by Pat.  Maybe it was early in the morning, but Pat’s bedside manner seems decidedly rough and ready. When the slightly drippy Ann confesses that she doesn’t have a towel, Pat (through gritted teeth) tells her that she can probably find one.

Later, when a concerned Maureen discusses Ann’s case with Pat, Ms Rutherford doesn’t seem too bothered about the news that Ann could lose her baby – surely it’s easy enough to get another one ….

Mind you, all of the doctors and nurses are a little offhand with Ann.  Mainly they spend their time telling her not to worry, which only tends to make her worry even more.  Marc Zuber, as a breezily unconcerned doctor, for example.

At first, it’s hard to see the relevance of a later scene – Pat enjoying a slap up meal with her Uncle James (Frederick Jaeger) – but things quickly begin to make sense as pregnancy story number two is developed.  Pat is shocked to discover that both her parents never really wanted children (although Uncle James is quick to back-peddle a bit as he tells her that her father loves her now). Derek Martinus, as he’s done before, favours ever-tighter close ups of both Jaeger and Fullerton as the drama unfolds.

This scene impacts the reminder of the episode as Pat, ruminating bitterly over the fact that she was an unwanted child, then has to go back to the hospital and care for Ann, who wants a baby more than anything else in the world.  Her husband, Tom (Conrad Asquith), might be as equally drippy as she is, but there’s no doubting the love he has for her (or the fact that he’s equally as committed to their baby).

When Ann breaks down in tears, it’s an interesting touch that Pat freezes for a second before swiftly crossing over to comfort her.  From this point Pat’s earlier tension is erased and the pair bond.  Although there’s been some doubt throughout the episode about whether the baby will survive, there’s also been a feelgood vibe about this part of the story – so it’s not too surprising that everything goes well and Mr and Mrs Clark take charge of a healthy – albeit small – boy.

The scenes of Ann giving birth are, as you’d expect for a pre-watershed series, not very explicit but are still effective (Ann’s blurry POV reaction is especially well done). Derek Martinus really only blots his copybook when we quickly switch to stock film several times in order to show the child. Having a freshly born baby in the studio would have been very tricky of course, but this moment doesn’t convince at all.

Pregnancy story number three concerns Sandra, who’s out and about and developing her occupational heath skills.  Attached to a trading estate covering several factories, this gives her plenty of opportunity to interact with a wide range of people.  Everything seems a little too jolly and tidy to begin with though – as a female in a predominately male factory environment you’d have expected her to be on the receiving end of some hefty dollops of sexism.  But no, everyone’s as nice as pie ….

Although one worker (the distinctive Declan Mulholland) initially bristles at the way Sandra chides him about the strain he’s putting on his back, he quickly realises that she’s talking sense and begins to lift the boxes just like she suggests. Another worker (Ken Kitson) is quick to pop by with an offer of a cup of tea whilst Denis Swainson (John Bardon) seems equally as affable.

But there’s a sting in Swainson’s tale which is connected to his daughter, Barbara (Vanessa Paine).  Barbara is sixteen years old and devastated to be told by Sandra that she’s pregnant.

Vulnerable and worried, Barbara is insistent that her father can’t be told. But when Sandra unwisely drops some broad hints to Mr Swainson, it results in a black eye for Barbara (who is also kicked out of the family home).  I find it interesting that this storyline veers off in a rather unexpected way.  We seem to have been set up for another happy ending – Barbara and her father coming together thanks to Sandra’s intervention – but this is brutally snatched away in an instant.

The episode also deliberately doesn’t follow this story to its natural conclusion. Mr Swainson hits Barbara off-screen (and doesn’t appear again after the scene he shares with Sandra).  It’s made painfully clear to Sandra that she had no cause to meddle in the case and that her rash action has only made a bad situation much worse.

Angels always favoured storytelling from the nurses point of view. It would switch viewpoints as and when required, but since Sandra is prevented from speaking to Mr Swainson again it makes sense for the viewers to also be denied the opportunity to see him.

The three separate storylines – Ann, Pat and Barbara – are all decent enough when taken in isolation, but the way they meld into each other is the episode’s main strength.

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Angels – Concert (18th May 1976)

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The second of Susan Pleat’s two scripts set in and around the geriatric ward, Concert, like Day Hospital before it, is an OB VT production shot on location.  As previously touched upon, this helps to make the story seem just that bit more real.  Sylvia Coleridge and Irene Handl return (the ranks of familiar senior actors is supplemented with the appearance of Leslie Dwyer) but it’s some of the background elderly players who, along with the location, are key to the documentary-like feel of the production.

They clearly are infirm and so don’t have to act the part.  We see Shirley attend to them via a series of brief vignettes – fulsomely praising one lady after she walks a handful of steps to the table, gently cajoling another into taking a bite of food – and these moments spark mixed emotions.  Shirley’s ever-growing connection to all her regulars is plain which makes her quick to react with anger when quizzed about the futility of looking after people who are clearly never going to get better.

This theme is developed when Jo, curious about the regular musical concerts organised in the hospital, decides to drop by and lend a hand.  Jo’s reluctance to get involved with the geriatric side of nursing has been mentioned in previous episodes and is put into words today by another character. “Feed ’em and clean ’em and that’s your lot. They’ll addle your brains and break your back”.

That seems to be a commonly held view and it’s the reason why many nurses elect to give geriatrics a miss.  Concert, aiming to challenge this opinion, is helped by the fact that both Annie (Handl) and Patrick (Dwyer) are still mentally sharp, even if physically they’re beginning to fail.  Their quick wits ensures that the viewer isn’t always dwelling on the frailer and more hopeless-looking cases.

But a feeling of melancholy is never far from the surface. At the same time that most of the old folks are having a jolly singalong at the concert (My Old Man being amongst the highlights) Ailsa, back in the ward, is being told by her son that they simply couldn’t cope with her at home.  She, naturally enough, descends into bitter tears whilst elsewhere Jim Murphy (Colin Higgins) lectures Jo about the growing population of old people and the issues with caring for them.

The series didn’t often take the opportunity to revisit one-off characters.  They do today though, with Gordon Massey (Colin Higgins) making a return (he’d previously featured in the series one episode Saturday Night). He doesn’t have a great deal to do in this episode (and there’s no particular link back to his previous appearance) but it’s still a nice touch.  Like Shirley, he’s passionate about his work on the geriatric ward – for him it’s because he knows what it’s like to be abandoned and therefore is adamant that it’s not going to happen to any of his charges.

No doubt Shirley would have loved to have been at the concert as well, but instead she’s sharing an evening from hell with the drippy Roland (Norman Tipton). Quite what their previous relationship has been isn’t too clear, but Roland – shortly to depart for a lengthy trip abroad – is keen to demonstrate to Shirley just how much he cares for her.  However it’s pretty obvious that the sooner he packs his bags and leaves, the better off she’ll be.  Shirley may usually be bereft of male company, but you have to draw the line somewhere ….

It’s bad enough when he’s attempting to force wine on her at the restaurant, but things get even more toe-curling when he decides that playing a deep and meaningful record on her Dansette is the way to go.  Not a good move. He may feel unfulfilled due to a lack of personal contact, but Shirley doesn’t.  She has her work, and that is her life.

When they can’t talk very much, or even talk at all, they can’t hear you, well then you really have to look at them. Because people’s eyes are really where they are. And if I have to talk to them in that way, then I can. But, say with you or my mother then I can’t do that at all. Or with a lot of people. But there I just get on with things. It’s me and it’s right somehow.

This is a nicely delivered monologue by Clare Clifford, which sees Derek Martinus flicking back between close-ups of her and Norman Tipton (an ironic touch, given Shirley’s comment about people’s eyes).

Concert may have a lecturing tone, but it isn’t done in a heavy-handed way. Jo, like the audience, is pitched into a strange new world and by the end she seems to have learnt something, although there’s still a sense that she’s reluctant to get too involved, unlike Shirley.  The episode doesn’t offer any pat solutions (given how complex the issues are, how could it?) but plenty of food for thought is generated.

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