The recent death of David McCallum has spurred me into another rewatch of Sapphire & Steel (my previous thoughts about their first adventure begins here).
Assignment Two (the one with the railway station) remains the favourite of many, although it’s one that has always slightly niggled me. Yes, it’s a high quality and disturbing 200 minutes, but it has a few issues.
The first is that it’s just a little too long. At eight episodes it demands a certain loyalty on the part of the audience to keep returning week after week with the plot only moving at a snail’s pace (even more so back in 1979 when it was unfortunately affected by the ITV strike – the first four episodes aired in July and August, the remainder didn’t surface until October and November).
The second problem I have (which we’ll discuss more a little later) is that the ending feels somewhat rushed and perfunctory, which is odd given the serial’s lengthy running time.
Positives? The production design (the abandoned railway and hotel) is first rate and – like the first story – the relatively small cast (in addition to S&S there are only two other major characters – Tully and Price) hold the attention throughout. Gerald James gives a splendid and touching performance as the doomed ghost-hunter George Tully with Tom Kelly exuding both menace and vulnerability as the ghost of Sam Pearce.
Watching, as I tend to do, a fair amount of archive television from the same period, you tend to see the same faces crop up again and again. So it’s proved recently, as I went from this serial to Angels 3.5 (Patterns, written by Pat Hooker) which featured the television debut of Tom Kelly. It’s a small world ….
Sapphire & Steel was a series which generated a certain amount of its strength from what some might regard as a drawback – the fact it was taped on multi-camera videotape in an electronic studio. But while this means it lacks the gloss of single-camera film, the benefits – lengthy takes allowing the actors to “breathe” – help to outweigh the negatives.
Studio vt recordings are often referred to as “theatrical” (indeed, in the early days of television, this type of drama was dubbed electronic theatre) and this feeling is pushed to the extreme here. For example, when Steel is drawn into the fantasy of a WW2 pilot, we don’t see him in a plane (sound effects suffice). And later, Tully and Sapphire are trapped in the illusion of a doomed submarine (created with nothing more than a change of clothing in addition to altered lighting and sound).
This might be budget related, but it also feels like an artistic choice. Maybe this won’t be to everyone’s tastes (the viewer is given an impression of something and then required to fill in the blanks themselves) but it works for me.
What doesn’t quite work for me is the ending. We learn little throughout the serial about the darkness, the malevolent force that has reanimated Pearce and others like him. Steel has a way of dealing with it though – by offering up the life of poor Mr Tully.
This seems very harsh on Tully (Gerald James never better than at the moment when Tully appears to realise he’s being offered as a sacrificial lamb) and leaves a few unanswered questions. Such as, what the danger would have been had the darkness carried out its plan with Pearce and his colleagues. Also, if the darkness wanted Tully, why couldn’t it just take him?
And oddest of all, Steel tells the darkness that if he takes Tully and releases the ghosts, then the resentment generated (by tine – which would be more than a little miffed that someone had died before they were due) would be substantial. Given that Sapphire and Steel’s job is to protect time, this seems a little cavalier. Unless, of course, Steel was bluffing (or indeed, that the sacrifice of Tully is a way to keep the darkness dormant for some time, and therefore Steel regarded it as the lesser of multiple evils).
Given that P.J. Hammond’s scripts often tend to be opaque, it’s not surprising that the viewer is required to supply some of these answers. But after such a long serial, you might expect just a tad more closure (so that’s always been a black mark against it for me).
The series would never attempt an eight parter again (future serials would run for either four or six episodes) which was probably wise. But minor niggles apart (and if you absolutely love this one, please don’t feel compelled to tell me I’m wrong – it’s just my opinion) there’s more than enough here to always make any rewatch a rewarding one.