If Target is remembered today, then it’s usually because of its reputation as a cheap Sweeney knock-off or possibly due to its Doctor Who connection (incoming Doctor Who producer Graham Williams created Target, outgoing Doctor Who producer Phillip Hinchcliffe would become Target’s producer).
The lack of a DVD release or recent screenings (series one aired on BSB in 1990, whilst series two hasn’t been seen since selected repeats back in 1980) have no doubt added to the series’ mystique. It’s not a classic by any means, but there’s plenty to enjoy (although Patrick Mower’s performance is an acquired taste, it must be said).
Mower had starred in the Euston Films revival of Special Branch (generally regarded as a dry-run for The Sweeney) as well as two episodes of The Sweeney itself, so was ideal casting as Det Supt Steve Hackett. Mower is never less than totally unsubtle, rampaging through the series like a bull in a china shop. I can’t decide whether he’s playing it tongue-in-cheek or if he’s being serious – either way you can’t take your eyes off him (although not always for the right reasons).
One of Hackett’s snouts gives him a tip-off that an incoming ship (containing a supply of silver) will be robbed. Hackett and his men organise a stake-out but no attempt is made. The infuriated Hackett runs back to his car to remonstrate with his snout, only to find him murdered.
It’s a very decent pre-credits hook scene, even if it makes no sense. Who would be stupid enough to kill a police informant when there are so many police nearby?
Naturally, Hackett is out for vengeance and he’s convinced that he knows who’s responsible – Maynard (Jon Laurimore). The quality of actors is one of Target’s main strengths (we also see Bernard Kay as a forensic officer and Jack May as the ship’s Chief Officer in this episode).
Another actor it’s always a pleasure to see is Philip Madoc as Hackett’s boss, Det Chief Supt Tate. Sadly he’s got very little to do, so on the basis of this episode it seems odd to cast an actor as good as Madoc in such an unrewarding role.
It may come as no surprise that the episode ends in a punch up. David Wickes’ direction is suitably muscular (he also co-wrote the episode with Hinchcliffe) and the lessons he must have learnt earlier on The Sweeney are put to good effect here (it’s also not surprising that he directed several episodes of The Professionals the following year).
Given his work on Doctor Who, it seemed an obvious choice for Hinchcliffe to draft in Dudley Simpson to compose the theme tune and incidental music, but it’s a little distracting. Dudley always had a distinctive style, shall we say, so hearing music not dissimilar to his Doctor Who scores on Target is rather disorientating. It’s also worth pondering how he had the time to work on Doctor Who, Target and shortly afterwards Blakes’ 7 all at the same time. It’s no wonder that occasionally all his music does sound rather similar!
A decent opener, then. Low on subtlety but high on action, with the character of Hackett clearly defined.