Play For Today – The Fishing Party. Simply Media DVD Review

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Three Derbyshire miners – Art (Brian Glover), Ern (Ray Mort) and Abe (Douglas Livingstone) – set out for a weekend’s fishing. It may be out of season but they’re determined to have a good time, although Art (the self-appointed leader) is keen to ensure that they don’t disgrace themselves.  “We ain’t pigs. No brown aleing, no being sick over the wall – we’ll show our wives we can be civilised without them.”

But after being fortified with a greasy chip supper and a bountiful supply of brown ale, their good intentions start to dissipate once they take to the choppy waters ….

Originally broadcast on the 1st of June 1972, Peter Terson’s play is an entertaining comedy that’s rich in character detail. The first in a trilogy by Terson featuring Art, Ern and Abe (slightly surprising that all three haven’t been collected together in one DVD set) The Fishing Party has a wonderful sense of place and time.

There’s just something so very evocative about this small Northern fishing port.  This is best observed when our hapless trio roll up to the boarding house that they’ve taken a shine to. It’s run by the domineering Audrey (Jane Freeman) and her thoroughly hen-pecked husband Brian (Frank Mooney).

Shortly afterwards, Freeman would begin thirty seven years of service in Last of the Summer Wine (as Ivy, a not totally dissimilar character to Audrey). And there’s another Summer Wine connection, as John Comer (who would be cast as Ivy’s long-suffering husband, Sid) also makes an appearance – here playing the owner of a quay-side tea van.

Brian Glover started out as a professional wrestler (billed as Leon Arris, the Man from Paris) before switching to acting in the late sixties and building up an impressive list of roles. Comedy was his speciality (shortly after this PFT he’d make several memorable appearances in sitcoms scripted by Clement and La Frenais – first as Flint in Whatever Happened to the Likely Lads? and then as Heslop in Porridge).

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Glover’s Art is a wonderful creation. Overawed by the fairly modest boarding house that they’re all staying in (which he likens to a small hotel) he paints a totally unrealistic picture of the sort of culinary delights they’ll be treated to later. He’s convinced that entrées will feature, along with a selection of wines.

Alas, we never learn exactly what Audrey would have served up for their evening meal as she’s unwilling to change her serving up time from 6:45 (which is when they’ve booked their boat for) meaning that they have to head out for a bite to eat instead.  But there’s no sense of disappointment from Art and the others, indeed they never lose their sense of innocence and optimism throughout the play.

There’s a lovely moment when the three – all safely deposited into single rooms – communicate with each other by shouting through the walls. Art is initially reluctant to join them in one of the other rooms (considering that consorting together is simply not quite the thing). He’s not at all convinced when told that James Bond does it all the time (delightfully, his argument with the solid wall is accompanied by a great deal of gesticulating).

The fishing trip – a nightmare journey of sea-sickness – is another obvious highlight, as is the aftermath when our shivering heroes find themselves back on solid ground. At least they have an impressive haul of cod to take back home – even if the fishy glances from the cod are all rather reproachful.

Like Glover, Ray Mort would become an instantly recognisable television face. Active from the mid fifties, he was equally at home both in drama and comedy.  Douglas Livingstone’s acting career had virtually come to an end by the time The Fishing Party aired, but he’d already established a parallel writing career which would continue well into the 21st century.  He would contribute to both Armchair Theatre and Play For Today in addition to a number of other series and serials. One notable later credit was his well-remembered 1981 adaptation of John Wyndham’s The Day of The Triffids.

Running for 57 minutes, The Fishing Party is an earthy comic treat.  Featuring three strong performances from Glover, Mort and Livingstone and a number of sharply-defined supporting turns, the hour just flies by.

The Fishing Party is released by Simply Media on the 1st of October 2018, RRP £9.99. It can be ordered directly from Simply here (quoting ARCHIVE10 will apply a 10% discount).

Three films from the Play For Today series to be released by Simply Media on the 1st of October 2018

Simply Media will be releasing Our Day Out, The Imitation Game and The Fishing Party on the 1st of October 2018. Below are details on all three, taken from Simply’s press release.

Our Day Out

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An anarchic, bittersweet comedy drama from Oscar-nominee Willy Russell, creator of Educating Rita and Shirley Valentine. Rated 8.2 on IMDB. Directed by BAFTA-winner Pedr James (Our Friends in the North) and produced by David Rose (Z Cars).

A hilarious and chaotic romp about a group of inner-city Liverpool schoolchildren let off the leash for a day’s outing. Different teaching approaches clash when the compassionate Mrs Kay (Jean Heywood – Billy Elliot) and disciplinarian Mr Briggs (Alun Armstrong – Krull) attempt to supervise.

Stopping at a cafe, a zoo, the beach and a funfair, the children take every opportunity to cause havoc. This tender comedy draws on Willy Russell’s own experiences of school trips as both pupil and teacher.

Originally broadcast in 1977, it was later adapted as a stage musical and still features today as a popular school text.

What the Press Said:

“I laughed out loud a great deal, and secretly wept a little.” The Sunday Times

“A gloriously funny and touching play.” Guardian

The Imitation Game

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Bestselling writer Ian McEwan (The Children Act) wrote this impassioned drama, inspired by stories of women who helped to crack the Enigma Code during WWII.

Rated 7.8 on IMDB and first shown in 1980. Directed and produced by BAFTA-nominee Richard Eyre (Notes on a Scandal).

Starring Harriet Walter (Sense and Sensibility / The Sense of an Ending) in her first major screen role alongside Oscar-nominee Brenda Blethyn (Vera) and BAFTA-nominee Patricia Routledge (Keeping Up Appearances).

19-year-old Cathy Raine (Harriet Walter) lives in 1940’s Frinton on Sea, expected to spend the war working at the local munitions factory. Against the wishes of her family she signs up for the Auxiliary Territorial Service.

There she befriends working-class Mary (Brenda Blethyn) and moves to the code-breaking centre at Bletchley Park where Cathy meets Turing-like mathematics don John Turner (Nicholas Le Provost). But Cathy is being kept in the dark by the secretive male hierarchy – until she stumbles upon a secret intelligence file that may jeopardise her safety.

What the Press Said:

“A Play for Today of rare distinction” Clive James

The Fishing Party

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Crown Court creator Peter Terson’s comedy of class and manners. Rated 8.9 on IMDB, and first shown in 1972. Directed by BAFTA-winner Michael Simpson (Prince Regent).

Derbyshire miners Art (Brian Glover), Ern (Ray Mort) and Abe (Douglas Livingstone) head north to Whitby for a boys-only fishing escape.

Checking into a shabby B&B run by haughty landlady Audrey (Jane Freeman – Last of the Summer Wine) and her henpecked hubby, the trio are bamboozled into paying a high price for their rooms.

Their boat is piloted by a stern ex-fisherman, who warns them about mixing chips and brown ale on choppy waters. The boys are half-cut before they leave the harbour, and as they head out to sea they’re decidedly off-colour.

What the Press Said:

“A joyous comedy… overflowing with brilliant observation and wonderfully circular dialogue.” TV Cream

All three DVDs have a RRP of £12.99, Our Day Out runs for seventy minutes, The Imitation Game for ninety two minutes and The Fishing Party for fifty seven minutes.

Blakes 40 – Blakes 7 40th Anniversary Rewatch: Series Two, Episodes Eleven to Thirteen

Gambit

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Gambit‘s an odd one. The main plot – the hunt for Docholli – moves very slowly whilst the production design is somewhat on the tacky side. But since Robert Holmes’ script is packed with entertaining one-liners this isn’t really a problem.

If you like your B7 stories on the gritty side, then you’re out of luck. Aubrey Woods’ overpowering Krantor sets the tone. Woods is clearly having a great deal of fun – the banter between Krantor and Servalan being one of the episode highlights.

Blake, Jenna and Cally (the two girls glammed up to the nines) are involved in the main plot, but it’s Avon and Vila (attempting to break the bank at the casino) who get all the best scenes. The Avon/Vila subplot is so played for laughs that it feels more like a parody than proper B7 – the notion of Avon sneaking down to Freedom City (is he afraid of getting a ticking off from Blake?) and the way he persuades Orac to shrink himself (how handy and how odd it was never done again) are just two examples of this.

Oh, and the moment when he spits out his food after learning that Vila’s been tricked into playing the Klute at speed chess ….

With Holmes scripting, it’s possibly not surprising that the dialogue is a little different from the norm (Avon’s comment of “you dummy” doesn’t feel like something he would ever say).

There are also some prime examples of Holmes’ colourful command of the English language. Servalan’s thoughts on Krantor for one. “He is a despicable animal. When the Federation finally cleans out this cesspit, I shall have that vulpine degenerate eviscerated with a small and very blunt knife”.

Krantor’s counter-comments are equally as eye-opening (“one of these days, Toise, I am going to have Supreme Commander high-and-mighty Servalan ravaged until she does not know what month she’s in. I’ll have her screaming for death …”).

With an unforgettable turn from Sylvia Coleridge, an appearance from Bill Filer and Travis in a silly hat, Gambit is top class entertainment.

The Keeper

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If you’ve seen The Pirate Planet then you’ll know what to expect from Bruce Purchase’s Gola – except that the Captain had hidden depths, whilst there’s no such luck with Gola (who’s just all bluster). The Keeper is another example of Blake’s shaky leadership qualities – no sooner has he, Vila and Jenna teleported down to the surface of Goth than they’re overpowered with embarrassing ease.

Vila (obviously) becomes the King’s new fool whilst Jenna becomes the King’s new … well, you can probably guess. Sally Knyvette manages to mine a few comic moments from this fairly unpromising scenario. Meanwhile, Blake mooches about doing nothing much whilst Avon, aboard the Liberator, leaves the others on Goth to fend for themselves as he sets off to destroy Travis’ ship. One point, how did he know that the ship belonged to Travis?

If you like ripe overacting then you’ve come to the right place. In addition to Purchase there’s also Freda Jackson as Tara (she has a nice line in cackles). Servalan’s on/off relationship with Travis is now back on, since he’s once again at her side (Travis changing from being Servalan’s enemy to her ally multiple times since Trial has been decidedly odd). The way he cuts and runs some twenty minutes in does generate the episode’s only surprising moment though.

Fifty minutes of running on the spot, The Keeper ends up as something of an also-ran although with Derek Martinus onboard as director there’s some decent camerawork in evidence.

Star One

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Star One (rather like Terminal and Blake in fact) does indulge in a fair amount of running on the spot. Some of the scenes set on Star One (especially the hunt for Lurena) aren’t that interesting, but since the episode also features several of B7‘s most memorable moments the good outweighs the bad. Despite the fact that this is Blake’s last hurrah as a regular, Avon is still the one who gets all of the best lines. “As far as I am concerned you can destroy whatever you like. You can stir up a thousand revolutions, you can wade in blood up to your armpits. Oh, and you can lead the rabble to victory, whatever that might mean”.

His face-off with Travis (“Now talk or scream, Travis, the choice is yours”) is also rather good.

But at least Blake does have that brief chat with Cally, where the pair discuss the ethics of destroying Star One. It’s a fascinating scene – not least for the fact that Cally (next to Blake the most fanatical) was the only one to voice a tentative concern that killing millions of people might possibly be a bad thing.

Some of Star One’s functions are discussed in the opening few minutes. They seem rather benign (climate control) rather than oppressive and domineering. And the way the episode begins with Servalan effectively cast in the role of the goodie (discussing how to bring Star One under control in order to prevent further deaths) before crossing over to the Liberator (where Blake and the others are plotting to destroy it in order to generate chaos) shows how far the lines between good and evil have become blurred.

Servalan’s surprisingly a fairly minor character in this one, but the moment when she instigates a palace revolution is chillingly played by Jaqueline Pearce. “The President and those members of the Council who are unable to accept the realities of the situation are even now being arrested, as are those of our own people whose loyalties may be divided. At a time like this complete unity is an absolute essential”. The inference is that under military rule the Federation will become an even more oppressive force, although the aftermath of Star One rather negates this.

Travis’ death is a mercy killing (both for the character and the audience). A shame the effects shot of him tumbling to his doom isn’t terribly effective though.

And that cliffhanger ….

Blakes 40 – Blakes 7 40th Anniversary Rewatch: Series Two, Episodes Four to Seven

Horizon

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I love the opening ten minutes or so, which shows that tempers aboard the Liberator are getting rather frayed, with the result that everybody – especially Jenna – has become rather snippy. Well, everybody except poor Gan, who’s been exiled to the teleport bay for no good reason.

Horizon might be a fairly unsubtle colonial satire, but both Darien Angadi and William Squire are very watchable. Angadi’s Ro is a fascinating character – when he displays disinterest in the continuing deaths of his people at the mine (whom he refers to as primitives) is this an example of his Federation indoctrination or is he genuinely unfeeling about their fate?

Squire’s Kommissar oozes seductive villiany (a much better role than the Shadow in The Armageddon Factor – especially since this time he’s not hidden behind a mask).

The one part of the plot which doesn’t quite hang together is the revelation that Blake was intimately acquainted with one of Ro’s best friends. It’s far too much of a coincidence to be credible (unless Blake knew about Ro and Horizon all along and simply pretended to the others that he didn’t).

The scenes of Avon alone on the Liberator, debating whether to cut and run, are a highlight as is his explosive appearance on the planet, where he mows down a number of Federation troopers in his best Clint Eastwood style.

Not as bad as its reputation suggests, this is pretty decent fare.

Pressure Point

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Brian Croucher’s performance is considerably dialled down compared to Weapon. He still doesn’t quite convince, but a calmer Travis is a better Travis for me. It seems barely credible that Servalan would have hung about for eighteen days, waiting for Kasabi to turn up. She’s the Supreme Commander for goodness sake, who’s doing all the paperwork?

Jacqueline Pearce’s crocodile smile is on overdrive today – and she’s the recipient of some dramatic scenes with Jane Sherwin’s Kasabi. It’s always good to see Servalan slightly discomforted.

The main plot’s a bit of a run-around which doesn’t make a great deal of sense. If Central Control is only a shell, why does Servalan have so much trouble in getting the barriers deactivated? And since Travis has already snaffled the teleport bracelets from Blake and the others, he doesn’t actually need to follow them down – all he has to do is wait at the entrance, as eventually they’ll all have to come back up that way.

Blake’s cry (“We’ve done it! We’ve done it! We’ve done it! I’ve done it!”) and his subsequent collapse to the ground is a S2 highlight. That one of Blake’s merry gang dies in a totally pointless way seems apt – from start to finish this was a doomed exercise. For all of Blake’s optimism (his year of secret planning) his lack of foresight and tactical planning has been cruelly exposed.

Trial

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It’s hard to get too invested in the travails of Blake and Zil, so it’s lucky that the other plotline is rather stronger.

Travis gets his moment in the sun (explaining that his misdeeds are a direct result of his Federation training). Croucher starts to go way over the top here, whereas earlier in the episode – possibly because he didn’t have too many lines – he was somewhat more restrained.

Surprising that Servalan doesn’t feature more, but presumably there were political considerations precluding her appearance at court. Kevin Lloyd gives a nice performance as Trooper Parr – it’s always good when the Federation rank and file are given a voice.

Pretty watchable, but not a favourite.

Killer

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No surprise that Holmes quickly latched onto Avon and Vila as a team. Both are given plenty of good lines (such as Vila’s “When Avon holds out the hand of friendship, watch his other hand. That’s the one with the hammer”). This does mean that the others (especially Jenna and Cally) are somewhat sidelined though.

Ronald Lacey and Paul Daneman are both decent guest stars, Lacey as the untrustworthy “friend” of Avon and Daneman as a “good” Federation man. Given the way that Blake in the past has tended to regard the Federation as a single evil entity, it seems a little out of character for him to be so keen to warn the base about any possible danger from the mysterious vessel.

Some of the costumes are rather silly, but this is an occupational hazard with B7, especially during the second series.

Killer feels pretty trad – it’s almost as if Holmes was feeling his way at this point (crafting a story that wasn’t too dissimilar to what had gone before, but with a little extra twist). It’s his next one where he really starts to cut loose …

Blakes 40 – Blakes 7 40th Anniversary Rewatch: Series Two, Episodes One to Three

Redemption

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Redemption is a slightly odd way to kick off series two. Mainly because the first thirty minutes are Liberator bound, which gives it the feel of one of S1’s cheaper bottle stories (like Breakdown). Still, this does give us plenty of time to goggle at everybody’s new togs whilst the Liberator moves very slowly to a mysterious destination.

Avon – as usual – gets most of the best lines. His needling of Blake (“well now, you only had to ask”) is a delight. Sadly, the amount of time spent aboard the Liberator means that by the time we get to Space World there’s no time to explore it in any detail. Harriet Philpin and Sheila Ruskin look very nice but since the Altas are slaves to the machine they aren’t gifted distinct characters (so the creators of the Liberator remain just as much of a mystery at the end of the story as they were at the beginning).

There’s a nice bit of location filming, but Redemption doesn’t really amount to anything more than an amiable run-around.

Shadow

There’s a harder and more cynical edge to this story, which after a few fairly generic Terry Nation romps is more than welcome.

Blake’s desire to deal with the Terra Nostra, despite knowing exactly what they stand for, is a highly revealing character moment – clearly the ends justify the means for him. That Gan is the one who expresses the most vehement disapproval is a nice touch (this allows him to emerge as a character in his own right for once, but alas it’s too little and too late).

Blake is proved to be completely wrong, which demonstrates just what a flawed “hero” he is. Vila may be acting early on from self interest (he’s desperate to get to Space City) but his assessment of Blake – a pampered Alpha grade who wouldn’t last a minute amongst the underclass that Vila used to hang out with – seems spot on.

Avon delights in later telling Blake “I told you so”. And his ironic comment (“law makers, law breakers, let us fight them all. Why not?”) when learning of Blake’s next crazy scheme is a typically good Darrow moment.

Space City might be rather underpopulated (we have to rely on Vila’s vivid imagination to fill the gaps) and the subplot with Cally and Orac does seem rather bolted on to fill up an underunning script, but overall Shadow is a good-‘un and a favourite from S2.

Weapon

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Travis, after getting out of rehab, looks strangely different …

Brian Croucher doesn’t have a particularly auspicious debut (Travis here has all the subtlety of a bull in a china shop). Luckily, he would settle down a bit in later episodes.

The plot doesn’t make a lick of sense. If a perfect facsimile of Blake (or indeed two) can be whipped up, you’d think they’d be put to better use than what we see here. Clone Blake’s sole function is to inspect Coser’s wonderful weapon, IMIPAK, for a few minutes before Servalan arrives and takes it off him. Eh?

The earlier scenes with the Clone Master are fun though – all moody lighting, dry ice and Dudley going overboard on the organ ….

John Bennett does his best as Coser, despite the character’s funny clothes and the fact he’s only got one mood – very, very angry. Candace Glendenning also doesn’t have much of a part but is really rather lovely, so I’ll cut her some slack.

Scott Fredericks, despite his limited screentime, makes easily the best impression as the supremely confident puppeteer Carnell.

And what of our heroes? Well, they spend most of the episode on the Liberator, having a chat. Which sort of sums this one up, it’s mostly talk with little action.

Easily Chris Boucher’s least engaging story.

Angels – Commitment (8th December 1975)

Commitment is split between the action on a female ward and the end of episode prize-giving, where two of our Angels – Ruth and Shirley – are receiving their SRN badges following three long years of study. And as the episode title implies, several of the regulars are considering their futures ….

Today’s ward activity is very bustling, with numerous patients all jostling for position. Chief amongst these is Mrs Ennis (Susan Field), a remarkably cantankerous type. Her highly objectionable personality clashes with Pat’s no-nonsense attitude and it isn’t long before the sparks start to fly in an entertaining fashion.

The chief flashpoint occurs when Mrs Ennis accuses Maureen of stealing her sponge bag. Maureen later finds it, but Mrs Ennis is far from convinced (declaring that Maureen simply had a crisis of confidence and returned it). This is the final straw for Pat who then gives Mrs Ennis both barrels.

Never the diplomat, Pat tells Mrs Ennis that she’s “really the most ungreateful, diabolical old bitch it’s ever been my misfortunate to meet”. Mrs Ennis, understandably, reacts in horror to this – but mainly because she’s been called old!

This one incident is enough to convince Pat that nursing isn’t for her, but the affable and tolerant chief tutor, Mr Farrar (Jeremy Wilkin), is able to talk her back from making any hasty moves. As touched upon before with other guest actors, it’s a pity he didn’t feature on a regular basis. Farrar’s lengthy one-on-one meeting with Pat (albeit broken up with a brief cutaway between Sister Young and Miss Windrup) places Pat in the centre of the action for once.

To begin with, I wondered why Miss Windrup wasn’t the one discussing Pat’s future with her. But the cutaway makes it plain that she continues to have a very low opinion of Pat (although she’s very much in the minority). The clash between tradition and modernity is another episode theme – as you might expect, Miss Windrup favours order and method (a loose cannon like Pat is anathema to her) whilst Mr Farrar is more understanding and therefore able to see that once the rough edges have been rubbed off there might be a more than decent nurse underneath.

If Mrs Ennis exists in the narrative mainly to generate a reason for Pat to question her future, then another patient provides a similar service for Maureen (although in not such a dramatic way). This other encounter makes Maureen consider the possibilities of becoming a home visitor, although as Miss Windrup tells her, she’s got years ahead of her to consider all the possibilities.

The contrast between Maureen (deeply committed to nursing) and Pat (deeply ambivalent) couldn’t be more striking. With Pat still looking unhappy as the episode closes, at this point you might have laid money on the fact that – out of the six – she’d be the one least likely to return for the second series.

With the two youngest Angels both considering their future, what of the older ones? There’s no movement from either Jo and Sita (although Jo is wistfully regretful that she’s yet to receive her SRN badge). Shirley is fully committed – her desire to work a split shift on Christmas Day speaks volumes for the fact that outside of nursing her life remains very undeveloped.

Although Ruth declares that she could earn much more as a secretary, her desire to remain a nurse seems strong. But since Lesley Dunlop decided against returning for the second series, Ruth’s story has come to an end. Was this known at the time the episode was scripted? Possibly not, as things seem very open-ended for her, with no suggestion that she wouldn’t be remaining at St Angela’s.

Sister Hammond (Pamela Duncan) is another who favours tradition (bunting in the prize-giving hall very much appeals to her). However, once she and Miss Windrup have partaken of a few sherries, both are able to turn back the clock and reminisce about their younger, more care-free days. Especially Miss Windrup (with a gobsmacked Jo looking on!).

Tradition continues to be upheld at the prize-giving, with the national anthem played prior to proceedings whilst the arrival of Ruth and Shirley’s parents serves as another character-defining moment. Only Shirley’s mother is present (the absence of her father clearly causes her some hurt) and whilst the pair converse politely, they don’t seem to have an especially warm relationship (although to be fair, Mrs Brent does seem pleased after Shirley receives her badge and certificate). Conversely, Ruth’s parents are both present and correct and are obviously incredibly proud of their daughter’s achievement.

An interesting nugget of trivia (thank you, the 1977 Angels annual) is that Shirley’s mother was played by Clare Clifford’s real mother, Nancy Gower.

With Michael E. Briant throwing in some unusual camera shots, Commitment closes the first series strongly. Coming to this run of episodes fresh, what’s remarkable is just how consistent they’ve been, with only a few minor dips along the way. This bodes well for series two.

Angels – Confrontation (1st December 1975)

An argument between Sister Young (Nadia Catouse) and head porter Harry Jamieson (Bill Owen) quickly escalates into a full-blown crisis after he instructs all the porters to down tools. Ruth, present during the original incident, then finds herself with severely divided loyalties ….

Having briefly appeared in On The Mat, Harry is much more central to this story. The episode opens in his office, which is a treasure trove of trinkets. A model cenotaph on his desk suggests that he had wartime experience (confirmed later on after he mentions Tobruk) whilst a record player is cued up with foreign language lessons. At first it appears that he’s doing a little extra cramming for his holidays, but it’s then explained that due to the variety of nationalities working at the hospital (many of whom can’t speak English) he has to keep abreast of a variety of languages.

He’s clearly popular with the younger nurses – Pat and Maureen pop in to have a brief chat and a sweet – but his relationship with the more senior staff, such as Sister Young, is trickier. Anne Valery’s script develops how the various departments – especially the nurses and porters – can find themselves locked into bitter disputes.

Sister Young is quick to blame the porters when anything goes wrong, whilst Harry can justifiably claim that if the correct procedures aren’t followed then the whole system collapses. His military background (as an NCO?) is put to good use as he efficiently marshals the bewildering number of forms required to keep the hospital running. Possibly old military habits (a disdain for some of his superiors) can be seen in the way he crosses swords with Sister Young. He’s certainly unafraid to speak his mind and stand his ground.

Ruth and Claire were at each other’s throats in P.J Hammond’s Initiation, but we’re back to a more normal relationship today – cordial, but with occasional irritated barbs (Ruth once again referring to her colleague as surly Shirley). The fact they’re both keen to nab the Staff Nurse job on Sister Young’s ward is obviously going to bring them into conflict – although initially this is done in a comic way (both attempting to butter the Sister up by offering her cups of tea or watering her flowers ….)

It’s only when Ruth finds herself having to choose between Sister Young and Harry that the situation turns rather more dramatic. If Ruth doesn’t side with her nursing superior then the path would presuambly be left open for Shirley.

But there seems to be no doubt who was in the right (Harry) with Sister Young admitting in private that her temper often gets the better of her (her blazing confrontation with Harry is an episode highlight). Given this, the fact she still expected Ruth to back her up seems a little unfair. To deepen the complexities, it’s suggested that Sister Young’s recent promotion request was blocked because she stood up for one of her colleagues (this example of her good nature is then used as a lever in order to persuade Ruth to stand with her superior).

Ruth’s strong union links have been stressed before, so despite Sister Young holding the key to her possible promotion, it was always likely she would plump for Harry’s side. But even though she does so in the end, Ruth then bitterly declares that she’s been manipulated for other people’s ends. Harry, like Sister Young, seems to be blameless in this – both are simply hot-headed individuals who weren’t prepared to back down – so maybe the union rep, Tom Goddard (Harry Landis), could be the villain.

But that’s not really the case. Goddard is keen to press for Sister Young to receive an official reprimand (even though this will impact her already shaky promotion prospects) but he sees this as safeguarding their position in future disputes. Goddard certainly isn’t the raging union militant we sometimes see in seventies dramas.

Pat and Maureen are now an integral part of the ward, having quickly settled down from their initial, hesitant steps. Pat’s still a little shaky in some areas, although she gets little sympathy from Sister Young (still smarting from her bruising reprimand).

For the first time, a patient – Mrs White (Rita Webb) – returns for a second episode. There’s a slight mystery here, since something seems to have happened to her husband. We’re never told what precisely, simply that he won’t be home to meet her when she’s discharged. Is he away on work, has he left her or has he died? A strange moment. It’s equally strange that Mrs White is put to work after the porters go on strike. Watching one of the patients scrub the floors (even though it clearly cheers her up) is an oddity.

Although Ruth’s choice is the key part of the episode, Bill Owen’s performance makes it memorable. Like a number of other performers during the first series, it’s a shame his time on Angels was so limited.