fulton mackay

Special Branch – Depart in Peace (25th August 1970)

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Edward Kirk (David Langton), an ex-colonial policeman, has been invited to return to Kenya in order to give evidence at the trial of a notable Mau Mau terrorist. Despite the best efforts of both Jordan and Inman he flatly refuses, but Moxon isn’t prepared to let the matter rest there ….

Alun Falconer’s sole script for the series, Depart in Peace is something of a slow burn. We eventually learn the reason for Kirk’s reluctance to leave the country, but the episode is in no rush to get there.

Before that point, there’s several entertaining confrontational scenes between Moxon and Inman to enjoy. The friendly relationship between Kirk and Inman is something that Moxon attempts to use to his advantage – indeed, this is an episode where he’s at his most silkily manipulative.

When even Inman can’t make any headway with Kirk, Moxon speaks to a journalist called Sullivan (Brian Marshall). Whilst not mentioning Kirk by name, Moxon drops enough hints to link him to a massacre in a Kenyan village – old history maybe, but possibly it’s the sort of lever that will galvanise the inactive Kirk.

David Langton plays to type as the patrician Kirk (Pauline Letts compliments him as Mary, Kirk’s wife). It seems that their idyllic life – running an antique shop in Surrey – is due to be disrupted by ghosts from their Kenyan past, but the truth is a little more complex.

Their current surface happiness is something of a sham, as it’s finally revealed that Mary is suffering from leukemia and may only have months to live (hence the reason why Kirk doesn’t want to leave the country). What’s remarkable is that she’s totally unaware there’s anything wrong with her. No doubt Kirk thinks he’s doing the right thing by keeping her in the dark, but it’s hard to sympathise with this point of view.

Although Jordan takes something of a back seat today, he does have a few memorable scenes. My favourite is when he partakes of lunch and drinks at Moxon’s club (Moxon asks him if he has a club, Jordan replies “only ones with bunnies”). Inman doesn’t take the news that his DCI has been chumming it up with Moxon very well, although eventually he calms down.

By the end of the episode everything’s been neatly wrapped up – Kirk agrees to go to Kenya and Moxon tries to plant another story with Sullivan (singing Kirk’s praises).  All in all it’s rather a low-stakes sort of story, but the guest playing of Langton and Letts certainly gives the script a lift.

Special Branch – Dinner Date (18th August 1970)

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Jordan and Morrissey travel to Frankfurt. They’ve come to collect Selby (John Rolfe), a British national who went missing in East Germany three years ago and has just resurfaced in the West. It seems like a straightforward job, but appearances can be deceptive ….

The return of George Markstein to scripting duties also heralds the reappearance of Christine Morris (Sandra Bryant). Since all of her six SB episodes were scripted by Markstein he clearly felt that the continuing relationship between Christine (now confirmed as a senior KGB officer) and Jordan was something that had legs.

Her sudden return initiates a sharp story shift – before that it seemed that Morris would be the focal point of the episode. Instead he turns out to be something of a MacGuffin, existing purely as an excuse to bring Jordan and Christine back together.

Their first meeting – in Jordan’s hotel room – is an early sign that she holds the upper hand. Having booked the room next to his, she then orders a slap up meal for two and champagne. Although he’s initially reluctant, he drinks the champagne with her and we’re told later that they enjoyed the meal.

The action deliberately cuts from their champagne sipping to Jordan waking up the next morning, so it’s never make explicit what (if anything) happened during the night. But when he picks up Christine’s cigarette lighter from his bedside table the inference is plain.

Today’s DCI Jordan fashion-watch. He sports a rather natty pink shirt and tie combination. And when Christine breaks into his hotel room to take photos of any interesting documents lying about, she pauses to admire his collection of ties hanging up in the wardrobe.

Since this is a Markstein script, you’re never quite sure who to trust. Are the hotel staff colluding with Christine? And then there’s the West German police authorities, represented by Otto Pohl (Frederick Jaeger) and Bauer (John Bailey). Pohl is relentlessly jolly whilst Bauer is clipped and abrupt. Neither play a central role, but both provide some local colour (and it’s always a pleasure to see both actors).

If this was an ITC series then we’d have started off with some stock footage location shots of Frankfurt. There’s no such window dressing here – we just have to accept that the series of studio sets are real German locations.

With Jordan and Morrissey abroad, Inman complains that he’s somewhat short staffed. And indeed, at present Special Branch does seem to be comprised of just those three (along with the occasional silent, leggy female secretary). Morrissey contributes little to the investigation, but seems to enjoy himself offscreen by spending an agreeable evening with an obliging fräulein.

As for the specifics of the plot, was Christine sent to stop Selby returning to Britain or did she have some other purpose? Jordan’s decision to not tell Inman about her sudden appearance is a telling one, as is his reluctance to confirm whether he saw her again (all he will say is that everything will be in his report).

From a few hard looks Inman gives Jordan, it’s obvious that the friendly relationship between him and Christine is a cause of concern. And as she’s due to return later in the series there’s time for this story-thread to be developed further.

Special Branch – Inside (11th August 1970)

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Inside (the first episode of Special Branch‘s second series) features another new title sequence (the series’ third) and a new theme tune. The first title sequence was quite stark and downbeat whilst this one is very different (Inman and Jordan strike heroic poses whilst looking intently through their binoculars).  It never fails to raise a smile, although I’m not sure that was the intention.

The episode has quite a straightforward story to tell – Jordan finds himself banged up in Wormwood Scrubs, placed in the same cell as Gillard (Michael Goodliffe), a spy who’s due shortly to be released. Gillard knows the identity of another traitor high up in the British Establishment, but isn’t talking. So if Jordan can gain his confidence, maybe he’ll be able to learn something.

There’s a certain attraction in seeing the dapper Jordan dressed dowdily for once (although he’s allowed to keep his sideburns intact). Don’t worry, the neckerchiefs make a comeback later this series.

Goodliffe’s presence raises expectations, as he was always an actor who caught the eye. Gillard’s a rather taciturn sort of character though, so Goodliffe doesn’t have a great deal to play with (not until the end, when Gillard’s fears for the safety of his daughter opens up some cracks in his previously iron character).

That’s something of a story weakness. Gillard’s daughter, Sarah (Wendy Gifford), is the only thing in the world he cares about and it’s pressure applied to her which eventually forces him to speak to Inman. So Jordan’s undercover prison stay turns out to be fairly incidental, although it’s good fun seeing him pretending to be an irritating wide-boy.

We don’t get to see much of the prison, although at one point Jordan gets his hand scalded by a pre-Gan David Jackson. Although it’s hard to believe that he received that much of an injury as his hand was only plonked in a basin full of hot water (just how hot is the water in prison?).

And remaining in picky mode, we’re told that Sarah is a rather dowdy, unattractive sort. But as she’s played by Wendy Gifford there’s something not quite right there ….

One of those rare stories where Moxon doesn’t spring a last minute surprise on our SB boys, Inside is competent enough but I’d have expected a little more from a Trevor Preston script.

Special Branch – Exit A Diplomat (26th November 1969)

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Mira Kobylnova (Barbara Leigh-Hunt), the wife of a Czech diplomat, is arrested on a shoplifting charge. Since she carries diplomatic status, no charges can be brought – so why did she do it? Jordan discovers that she’s seeking asylum for herself and her husband ….

Exit A Diplomat is a slow-burner of a story. To begin with it’s difficult to feel too invested in Mira’s travails, but over time – as Jordan continues to question her – she begins to earn a little more sympathy. Since we don’t meet her husband until more than half way through the episode, we’re wholly dependent on her portrait of him until then. Does he really face censure (albeit not prison) when he returns home? And if so, does he actually want asylum or is Mira the one pushing him?

When Jan Kobylnova finally turns up, he’s played by the always reassuring George Pravda.  Pravda was an actor rarely out of work during the sixties and seventies, due to his ability to play characters from numerous Eastern European countries. He adds a touch of class to the story, despite having considerably less screen-time than Barbara Leigh-Hunt (who also gives a solid performance throughout).

Jordan drives this story, with Inman largely sitting it out (although he does enjoy a decent scene where he gives Jordan a hard time). There’s also a surprising moment towards the end of the episode as we drop in on Inman enjoying a sauna (luckily a towel covers his modesty). Moxon – fully clothed – pays him a visit, advising that any attempt by Special Branch to contact Kobylnova before he boards the plane home should be discouraged.

The reason for this is a neat one – Moxon has already recruited Jan Kobylna as a spy for the British, so any interference by Special Branch could jeopardise months of planning.  This is therefore another of those stories which would have been a lot shorter had Moxon decided to be less stringent about who needs to know what ….

Exit A Diplomat feels pretty low key but there are some definite highlights. For example, Jordan’s interrogation of Mira (despite Derren Nesbitt stumbling over his lines a little). The private meeting between Mira and Jan at the police station (well sort of private, since Jordan’s standing very close by) is nicely played by both Leigh-Hunt and Pravda. Moxon’s meeting with Bilak (Gary Watson) also catches the eye – a big wheel at the Czech embassy, he seems to be one of the few people to ever discomfort Moxon (although by that point, all the pieces of the puzzle hadn’t fallen into place).

There’s also an early screen credit for Cheryl Hall. Despite the fact it’s a blink and you’ll miss it part, she makes an impression as a shrill young shoplifter (who’s afforded far less courtesy than Mira).

Once again the episode ends in a downbeat fashion, with Jordan unaware why the mission to shadow Kobylnova has been aborted. He confides to Morrisey that they’ll probably never know, suggesting that Inman – like Moxon – knows how to keep a secret.

Special Branch – Short Change (19th November 1969)

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The Troika affair rears its head again after Christine Morris (Sandra Bryant) escapes from an open prison. She’s swiftly recaptured, but it seems that she might end up in Russia anyway ….

The move to colour is initially a little jarring (mainly because it allows us to appreciate for the first time just how gaudy many of DCI Jordan’s shirt and tie combinations are). There’s also a rejigged title sequence, which is notable for the way it features the series’ two leading actors, Derren Nesbitt and Fulton Mackay (previously the images were of unknown miscreants).

We’re don’t see the initial meeting between Inman (Mackay) and Jordan (Nesbitt), but their first scene together sets the tone. Inman is clearly throwing his weight around a little by attempting to tighten certain areas of procedure that he feels have got too lax (Jordan, of course, bridles about this).  No doubt over time they’ll find an amicable way to work together, but this initial friction isn’t unpleasing.

An early hot topic of discussion concerns the hapless DC Morrisey, who stands accused of assaulting a protestor at a demonstration. Jordan (despite indulgently regarding Morrisey as a somewhat hopeless case) stands firmly behind him – he has no evidence either way, but is happy to close ranks as he instinctively knows Morrisey would never give way to violence. But since Inman doesn’t know Morrisey he requires something more than blind faith. Mind you, as Inman later establishes his innocence (by studying the film rushes of the alleged attack) he does seem to have the best interests of his officers at heart.

Sandra Bryant returns as the unsettling Christine Morris. Apparently an innocent pawn caught up in a spy web, her coolness under pressure (not even the prospect of being sent to Holloway prison fazes her) begins to set alarm bells ringing for Inman. After a little digging it’s discovered that the real Christine Morris died in infancy, so the woman masquerading as her looks to be a Russian agent.

A pity this wasn’t discovered the first time around, which is a mark against the recently department Eden ….

The irony is that Moxon had long suspected this and is more than happy for her to be sent back to Russia. Partly because she can be swopped for a British student arrested in Moscow for selling two jumpers from Marks & Spencer, but mainly because it’ll enable a British shoe factory to be built over there.  As Moxon discloses to the Deputy Commander (David Garth) not only will the factory net HMG three million pounds, it’ll also be of benefit to the Russians (who have terrible shoes, according to Moxon).

As so often with the series, justice has to take a second seat to political maneuvering (although it’s best not to assume this particular story has concluded).

At one point the Deputy Commander wonders whether Moxon’s air of infallibility is all just a mask. He, of course, demurs – but the episode leaves a few questions unanswered. For example, since it looks like the Russians went to considerable trouble to arrange the swop, why did they attempt to spirit Christine away from prison in a rather amateurish fashion?

Much more vigorous and active than Eden, Mackay makes an instant impression as Inman. Jennifer Wilson, as DS Webb, appears to have vanished without trace. She had a pretty thankless role, but it’s surprising that she didn’t carry over into the colour era of the series.

As often happened with ITV drama from this period, there’s a mix of OB VT and film used for location work. Christine’s escape from prison is shot on film whilst her departure from the UK is captured on videotape (possibly there were logistical reasons for this – maybe it was easier to move the more lightweight VT cameras around the airport).

Short Change isn’t a story with many shocks (for once we know exactly why Moxon does what he does, and it’s difficult to argue against him) but the episode sets up the new dynamic between Inman and Jordan very effectively.

Porridge – The Harder They Fall

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Upon hearing the news of Peter Vaughan’s death, I decided  to grab one of his performances off the shelf to watch as a tribute.  But as you’ll see from a quick skim of his résumé on IMDB, he was an incredibly prolific actor (over two hundred individual film and television credits), so which one to choose?

He’s solid throughout The Gold Robbers (1969) as DCS Craddock.  It’s a series that I’ve now moved a little higher up my rewatch pile and I’d certainly recommend picking it up if you don’t own it.  Another memorable performance came in the 1985 BBC adaptation of Bleak House, where he played Tulkinghorn.  Vaughan’s trademark menace is clearly in evidence as he dominates every scene he’s in (frankly he makes Charles Dance, Tulkinghorn in the more recent adaption, look very ordinary).

Vaughan also graced numerous series with fine guest appearances.  One such was The Casebook of Sherlock Holmes in 1991, where he played John Turner in The Boscombe Valley Mystery, opposite Jeremy Brett as Holmes .  Generally, the last few series of Brett’s Sherlock Holmes are a little patchy – partly this was because of various real-life factors (Edward Hardwicke’s availability, Brett’s illness) but it’s mainly because most of the really good stories had already been adapted.  The Boscombe Valley Mystery is something of a rarity then, a decent early tale that hadn’t been tackled, featuring a brief – but compelling – turn from Vaughan.

Having considered these and more, in the end I plumped for one of his signature roles – Grouty in Porridge.  That Vaughan remains indelibly linked to Porridge is all the more remarkable when you consider that he only appeared in three television episodes (this one, No Way Out and Storm in a Teacup) as well as the feature film.  But although his screentime is incredibly limited, it’s interesting how Genial Harry Grout casts a shadow over the whole series.  He’s mentioned in several episodes before he makes his debut (quite late in fact, The Harder They Fall came towards the end of the second series) so the audience has already been well primed about exactly who he is.

Genial Harry Grout’s place in the narrative is quite straightforward.  He always pops up to ask Fletch to do him a little favour, making Fletch an offer he can’t refuse.  As seen throughout the series, Fletch either likes to steer clear of trouble or initiate it himself – only Grouty has the power to manipulate him.  Most of Vaughan’s scenes in Porridge were played opposite Ronnie Barker and it’s a treat to watch the pair of them at work.

Grouty’s first scene is a case in point.  Unlike every other prisoner, he has an impressively decorated cell – pictures on the wall, a bird in a cage, an expensive hi-fi system – which are clear signifiers of his special status.  Quite why Mackay and the Governor turn a blind eye to this is a mystery that’s never answered (there are a few possibilities though – all of them sinister).

Offering Fletch a cup of cocoa and a Bath Olivier, Grouty settles down for a chat.  He reminisces about his time in Parkhurst, this provides Vaughan with a killer line as he tells Fletch what happened to the pigeon he kept there.  This is a mere preamble though, as Grouty soon makes his intentions clear – he has a rival (Billy Moffatt) who’s running a book on the inter-wing boxing tournament.  Grouty wants him taken to the cleaners – so they have to nobble one of the boxers. The scene’s desgned to set up the premise of the episode, but thanks to the writing and playing this never feels obvious – instead, the audience is invited to enjoy the dangerous charm of Harry Grout.

Young Godber is the one chosen to take a dive and it’s down to Fletch to break the bad news.  Both Barker and Beckinsale are wonderful throughout this later scene – capped by the revelation from Godber that he can’t take a dive for Grouty in the second round, because he’s already agreed to take a dive for Billy Moffatt in the first!

The exceedingly good Cyril Shaps plays the twitchy Jackdaw, the newest and weediest of Grouty’s gang, whilst Fulton Mackay has a couple of decent scenes (Brian Wilde only pops up briefly – on film – at the start though).

If the ending’s a little weak (it’s hard to believe that everyone – especially Grouty – was happy with the outcome) then thanks in no small part to the interplay between Barker and Vaughan, The Harder They Fall is still a classic half-hour.

Seven of One – Prisoner and Escort

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Ronnie Barker’s most enduring comic character made his debut in this instalment of Seven of One, Prisoner and Escort (original tx 1st April 1973).  Norman Stanley Fletcher (Barker) is a habitual criminal and therefore someone who’s constantly in and out of prison.  It’s New Years Eve and Fletcher is being escorted to begin his latest prison stretch – in the company of two prison officers, Mr Mackay (Fulton Mackay) and Mr Barrowclough (Brian Wilde).

The three-cornered dynamic between Fletcher, Mackay and Barrowclough would yield plenty of comedy when the series proper launched, and the potential for humour and conflict is just as clear here.  Mackay is a Scottish martinet, unyielding in his contempt for all prisoners, but especially a cynical one like Fletcher.  After he nips off to buy some teas, the much more kindly Barrowclough decides that Mackay is upset because he’s missing the chance to celebrate the arrival of the new year.  Fletcher is rather lacking in compassion.  “Only one thing worse than a drunk Scotsman you know, and that’s a sober one.”

If Mackay is hard as nails then Barrowclough is soft as butter.  Mackay sees criminals as people who need to be punished, whilst Barrowclough wants to rehabilitate them.  It’s plain that his liberal nature is a gift for Fletcher, who begins to subtly manipulate him whilst at the same time he entertains himself by needling Mackay, but always ensuring that he stays just within the bounds of civility.

Barrowclough is proud of the prison, telling Fletcher that it’s an experimental one.  “We’ve got a cricket pitch and a psychiatrist.”  Fletcher’s not convinced but Barrowclough continues to evangelise, telling him that if he knuckles down he could come out as an intermediate welder or an accomplished oboe player.  Barrowclough paints a vision of the prison as a place where prisoners aren’t punished, but instead are treated with compassion and understanding.  This, of course, is far removed from the Slade Prison we see in Porridge, so either Barrowclough is hopelessly deluded or Clement and La Frenais decided to craft a more traditional prison environment when the show went to series.

After surviving a lengthy train journey, they’re now on the last lap – a prison van will take them the rest of the way, across desolate and isolated countryside, to their destination.  Fletcher, desperate to use the toilet, spies an irresistible opportunity after Mackay tells him to go behind the van – he unhooks the petrol cap and relives himself.  The combination of his urine and the van’s petrol is not a good mix and soon the van breaks down, leaving them stranded in the middle of nowhere.

Given that it’s clear, even this early on, that Fletcher has been in and out of prison all his adult life, there’s something not very credible about his attempt to launch a bid for freedom (as the voice-over states, he accepts arrest as an occupational hazard).  It works in the context of this one-off, but it’s impossible to imagine the series Fletcher ever attempting it.

With Mackay setting off to find help, Fletcher and Barrowclough hole up in a nearby empty cottage.  There’s more lovely interaction between Barker and Wilde as Barrowclough unburdens himself about his desperate homelife.  His wife isn’t a happy woman and this is manifested in different ways, such as “a bad temper and spots and sleeping with the postman.”  A great two-handed scene, which is really the core of the episode.

Fletcher’s escape attempt is dealt with quite neatly (if he’s as inept a criminal as he is as an escapee, then it’s no surprise he spends so much time in prison).  Ronnie Barker may have been initially unsure (as were Clement and La Frenais) that a sitcom set in a prison would work, but Prisoner and Escort clearly points the way ahead.

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