THE CHARMER

Nigel Havers and Rosemary Leach

THE CHARMER (1987 PBS mini series). Director: Alan Gibson.

"It's a very hard world if one is without money."

I believe this excellent mini-series was first presented on Masterpiece Theatre in the U.S. It is based on Patrick Hamilton's novel Mr. Stimpson and Mr. Gorse, but takes certain liberties with the story, which may be why the name was changed to the more provocative The Charmer. In pre-WW2 London (the later chapters take place after war has broken out) Ralph Gorse (Nigel Havers), an attractive, likable mountebank, hopes to live like a gentleman even though he unfortunately wasn't born to the class. He befriends, romances, and steals from a variety of women, gaining the enmity of Donald Stimpson (Bernard Hepton), a stolid, small-town stick-in-the-mud who had always hoped to marry one of Ralph's victims, Joan Plumleigh-Bruce (Rosemary Leach). All the while Ralph is pursuing the unconventional upper-class Clarice Mannors (Fiona Fullerton), whom he initially assumes is a hooker when she was really just looking for her brother in a whorehouse (but sleeps with Ralph there anyway). 

Bernard Hepton with Havers

Later Ralph marries a sweet young thing named Pamela (Abigail McKern), and begins an affair with a war widow named Alison (Judy Parfitt). But the stalwart Stimpson is still on his trail. I have not read the novel in quite some time, but if I remember correctly neither Stimpson nor especially Plumleigh-Bruce had as much to do in the second half of the book as they do in the latter chapters of this mini-series, although it's understandable why they were included. This is an absolutely fascinating, darkly humorous (although never "comic") portrait of a borderline sociopath and the people whose lives he crosses (some to their regret; some not) with a psychologically penetrating script by Allan Prior and some superb acting, especially from Havers, Hepton and Leach. The others already named are also top-notch, as are Gillian Raine and George Baker as Pamela's heart-broken parents. This has been released on DVD and is certainly worth tracking down.

Verdict: Nearly six hours well-spent. ****.

THE BIG FOUR

David Suchet as Hercule Poirot

THE BIG FOUR (2014 telefilm/PBS: Masterpiece Mystery -- Poirot.) Director: Peter Lydon.

Agatha Christie's "The Big Four," published in 1927, was an unusual Hercule Poirot novel in that -- while there were elements of classic detective fiction in it -- it was seemingly inspired by pulp fiction. Poirot was up against four powerful and well-known individuals -- one of whom was a former actor and supreme master of disguise -- who had banded together to achieve world domination. While Christie's prose lacked the rich atmosphere and descriptive power of, say, Sax Rohmer (who wrote the Fu Manchu novels), the novel moved at breakneck speed, was suspenseful and exciting, and had Poirot solving intricate cases (which always had to do with the Big Four)  in his usual adept and clever manner. After many skirmishes with the enemy, Poirot triumphs in the literally explosive conclusion.

In this adaptation of the novel, script writer Mark Gatiss has taken the basic premise of the book and turned it on its end. [The teleplay takes place much closer to WW2 than the novel does.] Along the way it at times becomes just as absurd as one could accuse the book of being, although the producers of the series probably think they are being more reasonable. There is a reporter (Tom Brooke) who believes rumors of a Big Four; an American millionaire, Ryland (James Carroll Jordan); and a French lady scientist of distinction, Madame Olivier (Patricia Hodge). One man is murdered while playing chess, while another meets his end with his head in a fireplace. Two other individuals embroiled in the events are actress Flossie Munro (Sarah Parish) and Dr. Quentin (Simon Lowe); the latter in particular is a cast stand-out. Assistant Commissioner Japp (Philip Jackson), secretary Miss Lemon (Pauline Moran), and dear old friend Hastings (Hugh Fraser) are along for the ride, albeit briefly. David Suchet [Dracula] is, as ever, superb as Poirot. This is vastly inferior to the novel, but not bad for what it is.

Verdict: Entertaining and well-acted. **1/2.

PLACE OF EXECUTION

Greg Wise and Juliet Stevenson

PLACE OF EXECUTION PBS Masterpiece Contemporary/2008. Director: Daniel Percival.

This was shown in three parts in the U.K. and in two parts here in the U.S. Based on a novel by  Val McDermid, this concerns a journalist, Catherine Heathcote (Juliet Stevenson), who is putting together a television documentary about the disappearance of a 13-year-old girl forty or so years earlier in the isolated town of Scardale. Her chief witness to these events is the former Detective Inspector George Bennett, who is played by Lee Ingleby in the frequent flashback sequences and by Philip Jackson as his older self [both are excellent, and indeed the acting in the mini-series in general is very good]. The chief suspect back in the day was the girl's stepfather, the snide Philip Hawkin (Greg Wise), but there were others as well. But now the formerly cooperative Bennett suddenly wants to pull out of the film, and Catherine doesn't know why, only that the townspeople seem to know more than they're telling. This is an absorbing, well-made telefilm for the most part, but it sort of falls apart with an ending that stretches credulity. Fans of the novel who were surprised by the final twist SPOILER ALERT have probably never seen Laura. Instead of being a real clever surprise that makes sense, the ending is merely contrived.

Verdict: Not bad, but was the novel [or this film] really a masterpiece? ***.

BY THE PRICKING OF MY THUMBS

BY THE PRICKING OF MY THUMBS (2006 telefilm). Director: Peter Medak. Shown on Mystery on PBS.

"It wasn't your poor child?"

Presented as part of the "Miss Marple" series, this is actually based on Agatha Christie's novel of the same name -- in which Miss Marple does not appear. Pricking was actually a mystery in which the protagonists, included in the telefilm along with the old gal, were Tommy and Tuppence Beresford, who had previously appeared in other Christie works. The pair visit a grouchy aunt in a nursing home when another woman asks Tuppence about a "child" and intimates that one was murdered long ago. When this woman disappears, Tuppence becomes concerned about her and asks Miss Marple for her help in tracking her down. From then on the story only bears a passing resemblance to the far superior one in Christie's clever novel, although screenwriter Stewart Harcourt retains some elements and has added some depth to the characterizations [he's also made Tuppence a closet drinker]. The story has been pushed back to war time, making it a period piece, which the novel definitely wasn't. However, this is an entertaining alternate version that is reasonably satisfying as a mystery. Anthony Edwards plays Tommy, but he appears very little. Geraldine McEwan is quite good as Marple, as is Greta Scacchi as a middle-aged Tuppence. Charles Dance nearly walks off with the movie as the minister Septimus Bligh. I didn't even realize that was Claire Bloom playing Aunt Ada until I saw the cast list.

Verdict: Not genuine Christie, but entertaining on its own terms. ***.

GREAT PERFORMANCES AT THE MET -- TURANDOT

GREAT PERFORMANCES AT THE MET -- TURANDOT. Live Performance 2009. Rebroadcast May 2010.

This Franco Zeffirelli production of Giacomo Puccini's masterpiece Turandot is, in a word, magnificent.

Based on a Chinese fable, Turandot is the story of a princess who is desired by all the eligible and noble bachelors who come in hopes of winning her hand in marriage. But Turandot, under the influence of a female ancestor who was raped and beaten by men, will have none of it. She demands that every suitor answer three riddles, and if he fails -- as they all do -- he is beheaded. A mysterious prince [Calaf] is horrified by the woman's actions, but when he finally sees her it's love -- or at least lust -- at first sight, and to the dismay of his father and the young woman who has always loved him, he decides to try his hand at the riddles. So ends the first act of three.

Maria Guleghina is Turandot and Marcello Giordani is Calaf in this production and both have wonderful moments; for instance, Giordani nails "Nessum Dorma," the great aria in act three. [In a backstage interview during intermission with hostess Patricia Racette, both singers reveal warm and winning personalities.] Marina Poplavskaya makes a highly favorable impression as the tragic figure of Liu, who has dedicated her life to the father of the man she has forever loved from afar. Samuel Ramey is the father, Timur, and Charles Anthony [who also displays a winning personality in an interview] is the Emperor Altoum.

Andris Nelsons is the conductor, and Gary Halvorson the director of the televised program. Zeffirelli not only conceived the production but designed the memorably beautiful and striking sets.

Puccini's music is moving, uplifting, dramatic, and gorgeous.

Verdict: A stunner. ****.

GRAND OLD OPERA -- TOSCA AT THE MET ON GREAT PERFORMANCES

TOSCA by Giacomo Puccini on Great Performances at the Met/PBS, December 2009. Live telecast.

The first great opera of the 20th century as presented by the Met in New York and telecast live on Great Performances. This is the story of a great artist Cavaradossi (Marcelo Alvarez), and his lover, the jealous and tempestuous opera singer Floria Tosca (Karita Mattila), and how they come afoul of the venal Scarpia (George Gagnidze), who promises to set his captive Cavaradossi free if Tosca will only make love to him. Well ... the best laid plans ... This was conducted by Joseph Colaneri and directed by Gary Halvorson. One could quibble about certain aspects of the production, but basically this is first-rate, with great singing [and acting] from the three principles. Puccini's music combines beauty and drama for an often very powerful effect. One of the great operatic tragedies. NOTE: To read more about Tosca and other 20th century operas click here.

Verdict: The three singers certainly hit the high note! ***1/2.

MISS MARPLE: A POCKET FULL OF RYE

MISS MARPLE: A POCKET FULL OF RYE (2008). Director: Charles Palmer. Shown on Masterpiece Mystery/PBS. Teleplay by Kevin Elyot.

Miss Marple (Julia McKenzie) investigates when a young lady who once worked for her, Gladys (the unfortunately named Rose Heiney), is found murdered in an uppercrust British household. But Gladys' murder isn't even the first one. Businessman Rex Fortescue is poisoned, found with rye in his pocket, beginning a series of strange and unfortunate events which the police and Miss Marple try to solve (guess who comes up with the solution?) This is a good, pretty faithful adaptation of a very interesting and satisfying Agatha Christie mystery novel. McKenzie plays a somewhat younger and sharper Marple than usual, and is very good in the role. Housekeeper Mrs. Crump is played by Wendy Richard, who once was the "dead common" Shirley in Are You Being Served? The British actors in the cast all know how to play this period piece with the right snap and style.

Verdict: Good show! ***.

POIROT: MRS. MCGINTY'S DEAD

POIROT: MRS MCGINTY'S DEAD (2008). Director: Ashley Pearce. Masterpiece Mystery/PBS.

David Suchet is again marvelous in the role of Agatha Christie's Belgian detective, Hercule Poirot, in this fair-to-middling adaptation of one of Christie's best novels. Poirot investigates when a policeman friend confides in him that he doesn't think a man about to be hanged is guilty of the murder he was convicted of, even though the evidence against him seems overwhelming. The case ties in with famous murderesses of the past, and centers on several couples living in the small town where Mrs. McGinty was murdered. Sort of helping Poirot in his efforts is Ariadne Oliver, a mystery writer who was meant to be a parody of Christie herself, only her fictional detective is a Finn. Oliver is played by Zoe Wanamaker, who is kind of gross, at least in this part. Paul Rhys acquits himself nicely as one of the suspects, Robin Upward. This is much more faithful to the novel than the British film Murder Most Foul, but it still can't compare to the book.

Verdict: Mediocre adaptation. **.

POIROT: CAT AMONG THE PIGEONS

POIROT: CAT AMONG THE PIGEONS (2008). Director: James Kent. Shown on Masterpiece Mystery on PBS.

The brilliant David Suchet is back as Belgian detective Hercule Poirot in this entertaining adaptation of Agatha Christie's excellent mystery Cat Among the Pigeons. In the novel Poirot doesn't show up until the story is practically over, but in this teleplay he turns out to be a friend of one of the major characters and is in for the whole show. The story takes place at a famous British school for girls, where a series of teachers are being brutally murdered. (A javelin is substituted for a gun in one instance.) Harriet Walter is the head of the venerable institution, Miss Bulstrode, and Susan Wooldridge is her able assistant, Miss Chadwick. One of the students comes from a country where there was a revolution and fears she may be a target of assassination, but it's the adults who seem to be dropping like flies all around her. Like most Christie adaptations, this isn't nearly as good as the book, but it does have its moments. Whereas the book had some shuddery sequences, this makes no attempt at creating an eerie atmosphere.

Verdict: Who let the cat out? ***.

WALLANDER: SIDETRACKED

WALLANDER: SIDETRACKED. Masterpiece Mystery/ PBS. 2008.

A frightened young girl commits suicide by setting fire to herself, and Swedish detective Kurt Wallander (Kenneth Branagh) wonders what horrible things did the poor child experience to drive her to do that? Then there's a series of ax murders of some prominent citizens -- could they be connected to the young girl's death? (And do you even have to ask?) This is a fairly absorbing mystery, the first in a 2008 series of British Wallander telefilms, currently being shown in the US on Masterpiece Mystery. Branagh gives a good performance, although the Irish actor is not exactly perfect casting as a Swedish detective. David Warner is excellent as the detective's artist father, who has Alzheimer's. A good cast and nice music help a lot. Based on a series of Swedish detective novels.

Verdict: Holds the attention but not very original. **1/2.

KNEE DEEP

KNEE DEEP (2007). Director: Michael Chandler. [Shown on PBS' Independent Lens.]

An interesting documentary about a young man who is accused of trying to murder his mother right after she announces that she's selling the farm he worked on all of his life and is evicting him. It's interesting how your sympathies go back and forth in this real-life story. The son was never educated -- his father believed a farmer didn't need an education -- and has presumed for years that eventually the farm will become his. The mother, although generally painted as a borderline monster, realized via the Internet that there was more to life than the tiny farm town she'd been living in and wanted out -- something many of us city folk can certainly relate to. It seems there were mistakes and misunderstandings made on both sides, although one might argue that attempted murder -- no matter what the provocation -- is never a viable option. While worthwhile, Knee Deep meanders a bit and a major flaw is that we never hear from the mother, giving it a rather lopsided perspective.

Verdict: How you gonna keep 'em down on the farm? **1/2.