Roger Masters (Michael Jayston) is a butler employed by widow Laura Vallance (Nyree Dawn Porter). Unknown to her he has already poisoned his last employer. Immediately he is at odds with the existing maid Betty (Clare Sutcliffe) so he frames her for a theft to get her fired, then brings in his girlfriend Lisa (Janet Key) as her more accommodating replacement. The pair slowly poison Laura, aided by a disgraced doctor (Thorley Walters).
Over time Laura becomes sicker and suspicious as Masters cuts her off from outside contact, particularly with her American friend displomat Hugo Fane (Barry Nelson). He also becomes worried by Masters' refusal to let him see her. Masters starts to realise that he is under pressure and the stage is set for some very fateful decisions...
 |
| Laura Vallance (Nyree Dawn Porter) tries to get help |
Review
This was the first of two appearances in very quick succession by Michael Jayston. No need for whodunits in either case as he is clearly playing a villain from the outset, and both times he is in excellent form. Masters is a great character and an intriguing villain. Behind the very correct exterior lies a truly vindictive and dangerous man. While he is outwardly obedient and concerned about appearances he exudes no genuine warmth at all. Quite how many victims he has chalked up is unclear but without question Laura Vallance is now his target. The motives for his murders may be more complex than they seem. Money seems the obvious motivation but Masters has humble origins and bitterness towards those who squander their advantages. It's possible that behind his outward concern with deference he harbours a hatred of the rich - maybe to the point of psychological damage. This is a rare insight in the show into class tension and would also have been welcome elsewhere.
Masters has no compunction about bullying and manipulating those around him. He is prepared to kill not just his intended victims but also those who get in his way. Even his girlfriend and accomplice Lisa feels his wrath at times and it is unclear how willingly she is involved.
Nyree Dawn Porter was the big name in this story and gives a strong performance as the unfortunate Laura. She generates great affection for the character who is tricked by Masters. Ultimately she realises the danger but by that time is imprisoned and grievously sick. Her descent into illness echoes that of Tony Mansell in Terence Feely's earlier script for Spell of Evil, albeit this time the cause is rather more prosaic than witchcraft. In both instances the suffering of the victim is a little painful to watch.
The American characters probably set the episode back. Barry Nelson (the oldest US guest star seen in the show) gives a decent account as the supportive Hugo Fane but the character is rather bland and sometimes tiresome in his preoccupation with Laura. The reference to his speech on "Arab affairs" is a rare intrusion of politics, although cleverly what side of the fence Hugo was on is never made clear although it is something that Masters is able to use to his advantage.
Even less effective is his son Piers. The performance of Richard Oldfield as Piers has certainly attracted some criticism. Although that may be a touch excessive it is true that is a rather unconvincing part and the character doesn't really work. Although the principal US actors in Thriller were generally impressive the secondary ones were often less successful. Maybe this part could have been rewritten or recast for better effect.
The climax is impressive, with Masters and Rainer in great form. Just a few months later Michael Jayston was back in the superior A Coffin For the Bride. Maybe this might have met the same standards if, like the later story, it had reserved itself to British characters although the presence of the Americans was key to an American sale as well as giving the show more international appeal. Perhaps the casting of these parts was where things sometimes went awry.
This was the first of two appearances in very quick succession by Michael Jayston. No need for whodunits in either case as he is clearly playing a villain from the outset, and both times he is in excellent form. Masters is a great character and an intriguing villain. Behind the very correct exterior lies a truly vindictive and dangerous man. While he is outwardly obedient and concerned about appearances he exudes no genuine warmth at all. Quite how many victims he has chalked up is unclear but without question Laura Vallance is now his target. The motives for his murders may be more complex than they seem. Money seems the obvious motivation but Masters has humble origins and bitterness towards those who squander their advantages. It's possible that behind his outward concern with deference he harbours a hatred of the rich - maybe to the point of psychological damage. This is a rare insight in the show into class tension and would also have been welcome elsewhere.
Masters has no compunction about bullying and manipulating those around him. He is prepared to kill not just his intended victims but also those who get in his way. Even his girlfriend and accomplice Lisa feels his wrath at times and it is unclear how willingly she is involved.
Nyree Dawn Porter was the big name in this story and gives a strong performance as the unfortunate Laura. She generates great affection for the character who is tricked by Masters. Ultimately she realises the danger but by that time is imprisoned and grievously sick. Her descent into illness echoes that of Tony Mansell in Terence Feely's earlier script for Spell of Evil, albeit this time the cause is rather more prosaic than witchcraft. In both instances the suffering of the victim is a little painful to watch.
The other British characters are good value. Betty the feisty maid deserves much sympathy for her treatment at the hands of Masters but avoids being a simple victim. She has a neat turn of phrase as well and in the hands of Clare Sutcliffe - who regularly played feisty young woman who push at the boundaries - has a comic, entertaining but also steely edge. Janet Key is very good as Lisa, aptly conveying a character who is in two minds about her activities and seems uncomfortable with the misery she is inflicting. Thorley Walters is highly impressive as Ledworth. Although the doctor is an accessory to murder he is a pathetic character, a shambling, unemployable alcoholic who has no one else to turn to but the ruthless Masters, Rainer displays some sharp wit, and although it is a fairly small part, he is one of the better Thriller detectives, well conveyed by Victor Winding.
 |
| Even Masters' girlfriend Lisa is not safe from his ruthlessness |
The American characters probably set the episode back. Barry Nelson (the oldest US guest star seen in the show) gives a decent account as the supportive Hugo Fane but the character is rather bland and sometimes tiresome in his preoccupation with Laura. The reference to his speech on "Arab affairs" is a rare intrusion of politics, although cleverly what side of the fence Hugo was on is never made clear although it is something that Masters is able to use to his advantage.
Even less effective is his son Piers. The performance of Richard Oldfield as Piers has certainly attracted some criticism. Although that may be a touch excessive it is true that is a rather unconvincing part and the character doesn't really work. Although the principal US actors in Thriller were generally impressive the secondary ones were often less successful. Maybe this part could have been rewritten or recast for better effect.
The climax is impressive, with Masters and Rainer in great form. Just a few months later Michael Jayston was back in the superior A Coffin For the Bride. Maybe this might have met the same standards if, like the later story, it had reserved itself to British characters although the presence of the Americans was key to an American sale as well as giving the show more international appeal. Perhaps the casting of these parts was where things sometimes went awry.
No comments:
Post a Comment