S01E12 (12th February 1970). Written by Robert Barr, directed by Vere Lorrimer

It’s another Robert Barr script, so you can expect a story rich in procedural detail but possibly low in excitement.

There’s been a robbery at the palatial home of Major Hartley. Hartley is currently out of the country, but his devotedly waspish Scottish housekeeper Miss Mathieson (Dorothy Smith) is on hand to give Evans all the details. I wonder why so many housekeepers are Scottish? Possibly it’s just a dramatic convention.

She tells Evans several times exactly how she maintains the house (when she opens the windows to air the rooms, etc). This stultifying detail is an early reminder that Barr’s hand is on the tiller today.

The story begins to pick up momentum when Watkins (Peter Madden) returns to the house. Watkins is Hartley’s manservant and clearly has something to hide. Madden’s on good form as the shifty Watkins, although it takes him an age to admit that four guns (army souvenirs) were stolen during the break-in.

This revelation leads the Task Force, in the shape of Hawkins and Evans, to an ex-con called Alec Patterson (William Marlowe). Marlowe would later join the police force (as a series regular on The Gentle Touch) but during the early seventies he tended to operate on the wrong side of the law.

He’s excellent value as the cool and cocky Patterson. One observation – Patterson offers Hawkins and Evans a cigar each. Evans accepts, which is fair enough, but it seems slightly odd that he should light up as Hawkins continues his questioning!

Another familiar face – Tom Baker – makes a very brief appearance as a site foreman (possibly the first, but by no means the last, time he’d be on a building site). Although Baker could steal even the smallest of scenes (his earlier appearance on George and the Dragon is a good example of this) sadly the handful of lines he has today gives him nothing to work with. So he appears and disappears in a flash.

The story rather stutters to a conclusion. Given that Patterson and his criminal colleagues seem so well organised, it slightly beggars belief that they would be panicked into retrieving the guns (which is precisely what the Task Force have been waiting for). As they knew the police were watching them, why not wait for a few weeks until the heat had died down?

One another observation – John Watt gets married but it’s handled in an off-hand way (he simply mentions it in passing at the end – which explains his unexplained disappearance earlier in the story). Clearly SS:TF was a series with little interest in the private lives of its regulars …

S01E11 (5th February 1970). Written by Elwyn Jones, directed by Peter Cregeen

Illegal immigration was clearly a hot topic during the late sixties/early seventies, as it featured in a number of popular series (apart from this episode, other examples can be found in programmes such as Strange Report and Special Branch).

What marks this one out as unusual is the fact that we never see the immigrants – although I think that’s mainly because, despite the story’s dock-based setting, the series wasn’t able to mount a location shoot there. This meant that filming inside the ship’s tanker (where the illegals were hiding) wasn’t possible.

Rumours have reached John Watt that the docks are a likely place for illegal immigrants to come ashore. He sends a number of coppers down to investigate – including WDC Donald, who masquerades as a fairly mature juvenile delinquent. This is an odd bit of plotting – Donald (in her disguised persona as a stroppy little madam) does manage to tease a lead out of café owner Bateson (Tommy Godfrey) but she’s swiftly chased away by Snow, who then proceeds to question him more closely.

Given this, Donald’s presence was entirely superfluous since Snow could have got the info by himself. Was this an intentional comment on the way Donald is sometimes side lined? It’s very much a man’s force, as the paternalistic Sgt. Evans implies (he appears to regard her like a daughter and so hates to see her getting into potential danger).

For those who like to spot familiar faces, there’s plenty to choose from today – like Joe Gladwin, Kenneth Cranham, Sally Geeson and Christopher Benjamin. Cranham (who’d have a larger role in 3.17 – Anywhere in the Wide World) is entertainingly truculent whilst Geeson also essays a decent cameo as a young girl who’s old before her time. Gladwin’s lugubrious features are always a pleasure to see whilst an avuncular and bearded Benjamin doesn’t have a great deal to do except puff on his pipe and look interested.

Gay Hamilton makes her first SS:TF appearance as Jean Morrow (although the same character had appeared in SS). Jean’s stuttering relationship with John Watt (which progresses slightly in this episode) helps to lighten the tone somewhat.

The lack of dock-based location filming does rob the episode ending of a certain impact (instead of seeing what’s happened, we can only be told about it). But that apart, it’s an above average effort.

S01E10 (29th January 1970). Written by Allan Prior, directed by Frank Cox

The episode opens with a bang – as Tom Jarrett (Athol Coats) attempts to throttle the life out of Jerry Proctor (Douglas Rain). It’s just a slight pity that (as often happened with live or as live productions) the action cue wasn’t given slightly earlier as there’s a brief pause after the titles have rolled before they start acting …

Jarrett, Proctor and the blowsy Betty Brewer (Gillian Martell) have the first six minutes to themselves. This lengthy scene is somewhat indigestible, due to the overacting of both Coats and Martell (although Gillian Martell, unlike Coats, is given the opportunity to redeem herself later).

After this long scene of histrionics, it’s a blessed relief to switch over to Barlow who receives a report of murder. Jarrett is the victim, with Proctor and Betty insisting that the other did it. Both have clear motives – we’ve already seen the fight between the men and it’s also explained how the leech-like Betty has spent most of Jarrett’s money.

The episode title, as well as Hawkins’ blithe early assumption that Betty is guilty, will suggest to the informed viewer that things are not going to be as straightforward as they first appear. And so it turns out …

Post murder, Betty spends a large part of the episode apparently in a state of shock. We never learn if this is actually the case or if she’s simply shamming. The more affable Proctor begins to sweat when Barlow applies some pressure, but again we don’t know for certain whether he’s guilty or not – so it’s either impressive acting on his part or the squirming of an innocent man.

This open-ended conclusion (a disgusted Barlow stomps off to bed, after ordering that they both be charged with murder) is something in the episode’s favour. It’s good for once not to have everything neatly wrapped up just in time for the credits – after all, real life rarely works like that.

Although Open and Shut begins rather shakily, it gets into its stride with the performance of Douglas Rain a definite plus point.

S01E07 – The Aggro Boy. Written by Elwyn Jones, directed by Vere Lorrimer

Football hooliganism is the topic of today’s story. It’s viewed largely through the eyes of a teenage tearaway – Dixie Dickson (Barry McCarthy) – who ends up beaten to a bloody pulp after a revenge attack.

McCarthy (still acting today – his latest credit was a 2023 episode of Call The Midwife) gives a fine, brittle performance. We never really delve that deeply into Dixie’s character (he claims to enjoy a good punch up and that’s about it) but then Allan Prior’s script doesn’t demand any more of him.

Elwyn Jones offers an explanation for the explosion of violence on the terraces – young men with no Army or National Service experience, locked into dead end jobs …

Of course that can’t be the full story but it seems to satisfy Barlow who spends a large part of the episode trying to understand why. At one point he questions the truculent Dixie but can’t break him.

Those nostalgic for early 1970’s football will no doubt find the match footage appealing, although to me it all looks rather grim. Still, the amount of authentic location work is a definite plus point in the episode’s favour.

Winsdor Davies and Bernadette Milnes play Dixie’s parents. They’re not large roles but are still quite key. His parents know that he likes to dress up as a bovver boy, but seem to regard it as nothing more than a childish indulgence. Indeed, their indifference (they take it in turns to tease and mock him) might be one of the reasons why he’s turned into something of a yob.

S01E08 – Standing Orders. Written by Alan Plater, directed by Brian Parker

With Alan Plater on scripting duties, my expectations were pretty high for this one – and he didn’t let me down. Industrial unrest is the theme of Standing Orders with the Task Force – Harry Hawkins especially – caught in the middle and attempting to show favour to neither the strikers or the management.

Although there’s a little bit of bother from the strikers (cars are blocked from entering the factory, the odd brick is thrown) that’s not really developed by Plater. Indeed, the script seems at pains (just like Hawkins) to show no bias towards either side. Although Hawkins (and Plater) is less kindly disposed towards Bellamy (Christopher Matthews), a university student who – along with his long-haired friends – is parachuted in to wave some placards in solidarity with the workers.

Most of the regulars are present (with WDC Donald making a welcome return for the first time since 1.4) but it’s Hawkins who’s front and centre today (no mean feat with scene stealers like Barlow and Watt present). Hawkins’ refusal to back down when confronted by the irate Fleming (Stuart Saunders), a man convinced that Hawkins should have provided his lorries with police protection, is central to the latter part of the episode.

This incident allows Hawkins (and Plater) to make their feelings plain, which are applauded by Barlow and Watt. Katy Manning (billed as Katie) makes her television debut in a role that calls for little more than the ability to look cute and make terrible coffee. Robert Hartley (forever Grange Hill’s Mr Keating) is good value as a management type very eager to assist the police whilst Robert Flynn (Elliott) has a faintly pantomimic turn as an off-kilter striker who looks like he could turn nasty at the drop of a hat.

S01E09 – Private Mischief. Written by Elwyn Jones, directed by Ben Rea

This is very much an episode of two halves. It begins rather quietly with the Task Force tracking a group of unscrupulous private detectives who masquerade as police officers in order to get the information they require. My engagement level here was low, although there are a few points of interest such as Jeremy Young’s guest turn as the aggrieved Charleston (he’s one of the unfortunates targeted by the private detectives).

The story only kicks into gear when Scotland (Vincent Ball) and Fowler (Michael Beint) attack Sergeant Jackson in the mistaken belief that he’s working for a rival detective agency. Elwyn Jones’ script offers Jackson some nice character development – up until now he’s been pretty straitlaced (although still capable of the odd deadpan comment).

Taking him away from his desk and involving him in a spot of rough and tumble was unexpected, but it’s the motor that drives the remainder of the story. One interesting point occurs when Scotland and Fowler confront Jackson in the back of his car. The scene begins on location (shot on film at night) but quickly moves into the studio. That’s more than a little disconcerting, and I can only assume that they ran out of time on location (hard to imagine it would have been intentional – but given that so many car scenes in the series are on VT you can never be sure).

Everything’s now bubbling away nicely, but the tension’s ratcheted up further when Scotland (following his release from the police station) receives a vicious beating. Was this a revenge attack by Jackson? We sort of know that’s not the case, but it’s still dramatically satisfying to see him put through the mill a little (as well as noting the reactions of Barlow, Watt and Evans to the possibility that their colleague might be guilty).

It felt odd to me that Jackson was so quick to offer his resignation – purely because he was asked to account for his movements. As a police officer, surely he would have realised that it was just a matter of routine? But perhaps this was designed to show just how rattled the normally cool Jackson was (or maybe, as Barlow and Watt surmise, underneath his calm exterior there might be a vicious streak lurking).

The reveal of the actual attacker shouldn’t come as too much of a shock, but apart from my earlier grumble about the episode’s slow start there’s not too much I can find fault with. Aside from those mentioned, John Rolfe has a good cameo as a forthright lawyer who crumbles under Barlow’s withering attack and there’s also the familiar face of Reginald Barratt who plays an unflappable uniformed inspector.

S01 E04 – The Spoilt Ones. Written by Allan Prior, directed by Brian Parker

We’re on the wrong side of town today – where the streets are full of rubbish, the slum buildings are crumbling and everyone (including the children) seem to have fags permanently drooping from their mouths.

Old con Sid Stannnish (John Bennett) and his wife Jennie (Sally Sanders) exist in extreme squalor (you can almost feel the grime seeping out of the television screen). Their scenes of marital disharmony (violent squabbles followed by interludes of detente) carry something of a punch, although it’s true that they also feel a little artificial.

Maybe it’s because Bennett’s such a well known actor, but he doesn’t quite convince as the feckless Sid (a small time crook living off the money his wife makes). The less familiar Sally Sanders (Jennie is a horrific creation – thinking nothing of smacking her children about when they demand food) fares a little better.

Jennie is befriended by an undercover WDC Donald (pop her in a headscarf and she fits right in). It’s another nice role for Susan Tebbs with the episode ringing the changes by  mostly staying away from the police station (the main focus of the previous three episodes).

Neither Karen Williams or Stephen Proctor (as the two Stannish children) had lengthy acting careers but both impress as a pair maybe doomed to repeat the mistakes of their parents. That they hold the key to solving the mystery of the numerous petty thefts which have blighted the neighbourhood is a nice plot twist.

S01E05 – To Protect the Innocent … Written by Elwyn Jones, directed by Frank Cox

Cullen is unable to attend an important civic function, so deputises Barlow to stand in for him. Watt is tickled when he discovers that it’s a carol service down at the local nick. This is the cue for Watt and Sgt. Jackson to break into a spot of impromptu carol singing. Of course, it was pretty obvious that Barlow would then come into the room …

It’s a pretty light-hearted way to open proceedings and this tone continues when Sgt. Evans (maintaining his character of the cliché Welshman) sorrowfully regrets that he hasn’t been asked to attend. After all, everyone knows that singing is in the Welsh blood.

Slowly through, the mood darkens. This begins when an inmate, Jack Gregory (John Normington), spies Barlow in the crowd and asks to speak to him. Rather like John Bennett last time, Normington doesn’t quite convince as a hardened criminal, but overall Gregory is a well drawn character who isn’t easy to read (is he villain or victim?)

I like the way the story ebbs and flows – with the main plot thread (child abuse) only coming into focus fairly late on. Gregory claims that he’s concerned for the welfare of his young son, especially since the boy’s mother – Mary Lester (Nerys Hughes) – has disappeared.

Hughes only has two scenes, but both are key and despite her lack of screentime Mary Is pivotal to the story. Although Barlow and Watt both have plenty to do, it’s Barlow who’s gifted most of the best lines. Concerned for the safety of the child, he confronts Dr Raymond (John Bryans) in a scene that’s the undoubted highlight.

Donald Burton, Edward Jewesbury and David Neal also appear in an episode which poses tough questions – such as the dichotomy between punishment and rehabilitation – but doesn’t offer any pat answers.

S01 E06 – Any Other Night. Written by Robert Barr, directed by Peter Cregeen

It’s New Years Eve, but that doesn’t mean that crime takes a holiday. And since tonight’s crime (the theft of £800 worth of tyres) occurs at police headquarters, it’s both personal and embarrassing …

SS:TF was rarely a fast paced series, but Any Other Night is especially glacial. It’s not totally without interest though – the lengthy opening scene between Cullen and Barlow is all good character stuff (Cullen’s plan to get his senior officers working closer together seems to involve plying them with copious amounts of alcohol!)

Victor Maddern and Douglas Livingstone play the two tyre thieves. Maddern (possessor of a well lived-in face that always seemed to exude an air of defeat) was no stranger to tackling criminal roles of this type. Although his moment of fame in Dixon of Dock Green (“Dick Green Dock. Dock Green Dick”) was still a few years in the future.

Livingstone (who I’m sorry to note passed away in 2021) was coming to the end of his acting career, but his secondary career as a writer would continue for decades to come. He had plenty of fine writing credits to his name, such as the 1981 adaptation of The Day of the Triffids.

Basil Dignam as Chief Supt. Marshall is seemingly on hand to spar with Barlow – but in the end they end up the best of friends. Kenton Moore also makes a brief appearance. It’s hard not to think of The Ark in Space and Noah when he pops up – especially as he seems to pull rather Noah-ish faces at times (although in this episode he’s supposed to be happy and not in agony).

A couple of random observations. There’s a fair chunk of night filming, so clearly the episode had a healthy budget. At one point Evans is sitting in a police car with a colleague who turns out to be a non-speaking extra. This becomes clear when Evans continues to talk and his friend can only nod, raise his eyebrows, shrug his shoulders, etc, in response. Finally, the over-enthusiastic way a bunch of extras see in the New Year during a pub scene is quite the thing.

My New Year’s resolution is to rewatch all 149 episodes of Softly Softly: Task Force (I like a challenge). Hopefully I’ve got them all (and I’ll also have the stamina to stay the course). On both counts, time will tell ….

I won’t be able to jot down detailed reviews, but every so often I’ll put up brief capsule reviews of a handful of recently watched episodes, noting a few areas of interest.

S01E01 – Arrival. Written by Elywn Jones, directed by Peter Creegen

Strictly speaking (given the series title and music) this is actually the final episode of Softly Softly, but since it introduces all the new characters it’s easy to see why it’s been lumped under the Task Force banner.

DCS Barlow, now transferred to the Thameford division, is less than impressed with the level of efficiency he finds in his new force. There’s some good fun to be had with Barlow’s exasperation at their slack habits, although this quickly dissipates when everyone urgently begins the search for a missing child.

Professional Welshman Sgt. Evans (David Lloyd Meredith), by-the-book administrator Sgt. Jackson (David Allister), phlegmatic PC Snow (Terence Rigby) and his dog Inky, token female WDC Donald (Susan Tebbs) and chillingly friendly Chief Constable Cullen (Walter Gotell) are the new faces with Barlow, Harry Hawkins and (from episode two) John Watt providing links to the old series.

All of the newcomers’ characters are quickly delineated, and it’s good to see that WDC Donald gets a fair amount to do during these early episodes (although Barlow can’t resist a few “she’s only a woman” comments about her).

Like the second episode, in the end the crime turns out to be murder and (as with episode two) we never actually see the victim. The ending is grim indeed, but well handled – as always, Stratford Johns is excellent value.

S01E02 – Exercise. Written by Elwyn Jones, directed by Ben Rea

After a brief spasm of reluctance, John Watt agrees to take over the running of Task Force One. A move to Thamesford means promotion, but it also means working under Barlow again – which both men view with mixed emotions. It doesn’t take long before they click into harmonious gear, but I did like the flickers of friction before this happens (Cullen referring to them as a “pair of pansies”!  helps to date the episode).

As with episode one, it’s another where the crime feels a little distanced as we never see the victim (a Mrs Outwood, who dies in hospital following a violent attack). Patsy Smart (as a nosy neighbour) and Barry Jackson (Mr Outwood) are the familiar faces in a story that has a twist in the tale which I have to confess I didn’t see coming (although in retrospect, perhaps I should have done).

S01E03 – Diversion. Written by Robert Barr, directed by Vere Lorrimer

Barr wrote a good chunk of Task Force (25 episodes). His work is usually strong on procedure (as with today’s episode) but low on excitement. Diversion begins with a lengthy briefing concerning an operation to target a persistent housebreaker (you can’t help feeling a little cheated though – for now, this turns out to be a red herring as the story moves in another direction completely).

An armed robbery, led by Whitley (Brian Croucher), means that the Task Force are on high alert – organising road blocks and eagerly following up clues. A large part of the episode seems to take place in the information room, where the dogged Inspector Reid (Philip Ross) meticulously logs every scrap of information that comes his way (those who enjoy drinking games could try taking a slug of something every time he says “timed at …”)

Croucher’s rather wasted. Along with his accomplices, Whitley is riding a bus to freedom but little happens along the way (and even the moment when he’s disarmed is all over in a flash). Positive points – David Jackson (with a permanent grin on his face) plays a uniformed PC, Geoffrey Hayes (later, like Jackson, a Z Cars regular) makes a brief appearance and Reg Lye (as a newsagent with a memory that comes and goes) is another familiar face to spot.