Good Salary - Prospects - Free Coffin - Series 5 Episode 5, Saturday 10th May 1975 (ITC movie title "Mirror of Deception")

The story...

American student Helen Terek is sharing a flat with Wendy Phillips and Babs Bryant. Soon though Wendy is gone when she sees an advert for an exciting job involving travel, just getting in her application before Babs can do so. Helen isn’t too surprised that Wendy doesn’t get back in touch – she’s got used to the transitory nature of relationships with flatmates.

A couple of months later the same job advert turns up. Babs is excited to see it and with a shade of schadenfreude speculates that the job has reappeared because Wendy got fired. This time around Babs gets in her application and is successful. Soon after she moves out, Helen gets married to her English boyfriend Charley. The pair seem very happy although Helen is a little surprised not to have heard back from Babs. However she becomes much more worried when she sees the same job advert again; even worse when she visits the Embassy to get her passport changed and meets a member of staff called Babs – Babs Bryant – whose background is the same as her former flatmate. She starts to believe that something awful has happened to Babs and Wendy, her new husband unable to settle her mind…

Review

This episode doesn't quite live up to the great expectations of its excellent story idea. However it remains a valuable and thought-provoking effort.

It was the third and final of the espionage stories. Espionage was perhaps not the best material for Thriller and for me only Night is the Time for Killing ranks (just) above the average although all three were sound efforts and not far below the norm. As with the other two examples impersonation is the technique used by the villains. Once again their country of origin is never specified but it seems safe to assume that they represent the Eastern Bloc. A virtue of this vagueness is it allows for conjecture and avoids stories getting bogged down in Cold War propaganda. Carter and Gifford are intended to blend in as thoroughly English but are enemy agents. Carter though seems almost too English and has a rather odd, ultra-refined accent that could easily be that of a foreigner trying rather too hard to pass as a native.

The plan is an extraordinary one: to replace Britons with lookalikes who can then act as spies. Women with few friends and family are deliberately targeted. Quite why women are chosen is unclear. Maybe the instigators feel they are less likely to be suspected as spies but it was probably to satisfy the standard Thriller theme of "women in danger". Conversely though, it does mean that women get to break the stereotype by acting as assassins. The replacements take the same name and personal history as their victims, such as the Babs Bryant impersonator, but are not exact copies. It's a clever idea but does raise a few questions. Although these are women with few connections there might still be some, like Timothy Bryant, asking after them. There is no guarantee that the agents will get jobs with real spying potential. However, as Gifford notes, they have been told that any information is meaningful.

The brilliant teaser sets up this idea. We never see the replacement for the tall blonde but we do see those for Wendy, Babs and ultimately Helen. The scenes in which the women are disturbingly confronted by their replacements and then killed are very powerful, especially that of Babs in which Babs Two runs through her victim's whole personal history while Babs moves from excitement and astonishment through to horror. The nervousness of two of the female assassins - who had not killed before - are also very well depicted.

Gifford (Julian Glover) gives some advice to the woman about to "inherit" the role of "Babs Bryant" (Gillian Hawser)

There is an interesting contrast in attitudes between the two villains. Carter appears to find the whole business unpleasant but necessary. He regrets, "I wish they didn't have to be so young." He never lets slip his charming and dignified exterior. Gifford on the other hand seems to enjoy what he is doing - a delight that Carter finds sickening. Maybe Gifford has become hardened by violence and this is his way of coping. Perhaps he has managed to depersonalise the victims to avoid any pangs of conscience. In a very revealing exchange Carter protests, "They're human beings!" and Gifford retorts, "On the other side!" These may be ordinary young women to others but they are just members of the “enemy” to him and no pity should be extended. A parallel might be to contemporary terrorists with Gifford representing the attitude that anyone in the enemy country is a legitimate target. These tensions between the pair are excellently demonstrated. One annoying aspect though is how Gifford continually repeats Carter's remark about him being, "a pig". However as he points out to Carter maybe his brutality is very necessary and he does seem to play a key part in giving the assassins the resolve for their deadly tasks - Carter insists he could do such things if necessary but Gifford has his doubts.

Wendy and Babs are both vulnerable because of their isolation and quest for what seems a great opportunity. Like the shy and lonely Jenny in Lady Killer they are easy prey for deceivers. Helen's remark about departing flatmates being, "ships that pass in the night," reflects the fleeting and fragile nature of many apparently strong relationships when one person moves on to another job or partner. Helen though is rather more perceptive than her flatmates. She spots the warning signs as the advert reappears and realises their silence may well be involuntary. In true heroine style she picks up on danger signs despite the derision of her new husband Charley and sticks to her beliefs despite his opposition. The friction this causes between them is starky portrayed, and her independent sprit leads him to suspect the influence of "Women's Lib,", a topic never far from the surface in the minds of many 1970s male screen characters. .

Linking to chauvinistic male attitudes, Timothy Bryant (Babs' brother) initially invites hackles with his awful chat-up of Helen but once he appreciates she is unavailable he makes a very valuable contribution. He is wise enough to see there may be something strange going on and gives her much-needed support. His meeting with Carter is electrifying. Inspector Bruff offers a diplomatically sceptical perspective, in neat contrast to Charley, before being won around.

The final minutes are quite strong. There is a struggle which doesn't entirely work on screen but there are a couple of striking twists in terms of who will save the day. In this respect it's a little like the climax of If It's a Man - Hang Up! a few weeks earlier where there were a couple of very late surprises as regards who was the ultimate villain and who was the ultimate hero. Both conclusions are well done overall but perhaps a little rushed.

Although the story is generally a fascinating one it doesn’t best serve some of the characters and the performances. The central couple of Helen and Charley Masters are not particularly appealing on screen and this limits the scope of actors Kim Darby and Keith Barron. Helen spends almost all the episode in negative emotion mode, understandably very worried about the fate of her former flatmates or in conflict with her new husband who not only disbelieves her but is angered at her concerns. While these emotions are entirely justified given the story they do make her character rather dour. Worse is Charley who comes across for most of the action as selfish and unsympathetic. Although the pair get married within the episode their spells of happiness are brief and so the couple are rarely at ease. While the sceptical partner wasn’t unknown in Thriller (e.g. Bruce Nelson in A Place To Die) earlier examples came across as rather more supportive and less antagonistic. The hostile reaction of Charley might be quite realistic in terms of how many partners would respond but all the same it can be somewhat relentless for the viewer. Both actors give capable displays but would have benefitted from more light as well as shade in their characters.

Probably for most viewers the most memorable characters and performances will be by the villains. James Maxwell gives the best display as the enigmatic, ambivalent, even sympathetic Carter, contrasting well with Julian Glover who is typically strong in his role as the brutal Gifford. Martin Read is impressive in his cameo as Tim Bryant but again might have been better served by not having to spout the dreadful chat-up dialogue in his first lines. Helen’s unfortunate flatmates Wendy and Babs also run the emotional gamut from excitement and joy to bewilderment and ultimately horror and are well-performed by Janina Faye and Susan Dury respectively.

In general a little reworking, maybe broader characterisation and performances and more innovative direction might have turned an average episode into a fine one. The results remain though very entertaining by general TV standards.

Notes

Although over thirty actors appeared more than once in Thriller, Susan Dury (playing the real Babs Bryant) was the only one whose character was murdered on both occasions. She had previously appeared in Killer with Two Faces and it may not be coincidence that the director each time was John Scholz-Conway who may have felt she "died beautifully" in the earlier outing and cast her again for a similar role. James Greene also appeared in both these episodes, each time playing a policeman.

It seems odd that Inspector Bruff's detective colleague (seen with him at the US Embassy) is not credited even though he is prominent on screen and has a few lines of dialogue. At the same time an actor is credited as "Police Driver" even though he only appears briefly in the background and has no dialogue. it is possible the driver originally has more dialogue which was cut from the broadcast episode.

The ITC Movie version was named "Mirror of Deception". Opinions will vary but I prefer this more enigmatic title to the more attention-grabbing though less subtle original one. Generally I prefer the more intriguing titles such as Someone at the Top of the Stairs and An Echo of Theresa to the more graphic ones including words such as "Kill", "Death" and variations thereof which predominated. While such episode titles are certainly eye-catching they are perhaps "overkill" (pardon the pun) for a show already called Thriller. 

The opening titles for the movie also overlays dialogue from the original episode onto a new scene of a killing (a similar approach was taken in the "movie" version of Killer with Two Faces). There is a photograph of the intended victim (below - and not played by Susan Dury, just how the credits rolled at that point!), a rare case of a face being seen in a movie version but as this was an extrapolation of events in the episode (we know other victims were killed and replaced by agents) the depiction is plausible. The end credits play over a freeze-frame rather than an artistic montage as in most versions.

Won't Write Home Mom - I'm Dead - Series 5 Episode 3, Saturday 26th April 1975 (ITC movie title "Terror from Within")

The story...

Abby is an American who arrives in the UK looking for her boyfriend Doug. She comes to a village where she believes he stayed but can find no trace. She has a telepathic link with him and still hears him call her name; she is worried but still has hope. Also in the village is a bohemian group of mainly American artists, most notably Alan Smerdon, a half-cousin of Abby's she hasn't seen since childhood.

Abby has high hopes of Doug visiting Alan for his birthday party, especially as his sister was also due to come. However neither of them arrive and she then fears the worst. She starts to investigate with dangerous results.

Review

This was Pamela Franklin's second Thriller apearance in quick time in early 1975. Her earlier episode Screamer is controversial but generally well-regarded, although I find it disappointing. This outing gets a less favourable reception from fans on the whole, commonly considered one of the show's lesser episodes. Indeed that was generally my view but on very recent viewing (the first time in many years) I was very impressed and feel it has a lot more to offer than it might first seem,

Prolific TV writer Dennis Spooner (a long-time colleague of Brian Clemens) supplied his first script on-screen for Thriller here with the other - The Crazy Kill - airing the following week although in each case Clemens wrote the story outline as he did for all Thriller episodes. The basic story is certainly a very good one - a young woman arrives in an isolated small town to find her boyfriend missing. The presence of a telepathic link between them adds another dimension. Most viewers have found the actual results on-screen underwhelming, chiefly because the episode is seen as very slow. It certainly is slow although that can also be seen as atmospheric or useful in developing a mood of unease and I would tend to subscribe to the latter on recent viewing. Each viewer draws their own conclusions - which can change over time - and there is no right or wrong about whether an episode satisfies viewers but often it is useful to revisit a production to see how it comes across years later. Sometimes (maybe most of the time) opinions are little changed but occasionally they become notably more or less favourable.

The episode revolves around the heroine's concern about a missing person. This is a noted similarity with the Series 2 episode One Deadly Owner but in both cases the teaser makes clear that this person has actually been murdered and the hope they might be found alive and well is a forlorn one. The episode title here makes even more emphatic that the person concerned is dead. This is made more poignant here because the missing person is not a stranger to the heroine but her boyfriend. It's an interesting question whether the episode might have been more effective if the fate of the boyfriend (Douglas) hadn't been made clear in the teaser and viewers also held out hope he would return. While that would have its advantages it would also mean that the episode would lose some of its melancholy character - events here (and in One Deadly Owner) can become sadder because viewers know that he is dead and ultimately Abby is going to discover the tragic truth. There is of course still mystery about who killed him - and why. It might also be argued that, with this being Thriller, viewers would always suspect that the missing person had been killed so there may have been little value in not making this clear from the start. The teaser itself is a good one to draw attention as we see Doug frightened and anxious before being stabbed by an unknown assailant, then falling against the piano keyboard to create a jarring, discordant sound. 

The hippy artistic community is a weak spot. By the mid-1970's hippies had faded away but the message hadn't always got through to TV producers. The "American" ancillary characters such as Hank are rather stereotypical and of limited value. It is an irony that the episode with the highest number of American characters should contain not a single American actor. Thankfully these ancillaries are not seen that often. Their presence early on does help to create a contrast between their high-spirits and hedonism and the seriousness - even sadness - of Abby. They also provide a contrast with the intense and simmering Scottish sculptor Frank.

Abby (Pamela Franklin, right) with artist Beryl (Suzanne Neve)

The other members of the community are rather better. Alan and Beryl (an English woman) are the central pair. Like the rest of the "community" they are funded by their wealthy families. However both of them try to stress that they have rejected materialistic values and are now trying to create something meaningful. Abby notes the hypocrisy of them saying this while happy to live off their parents' money - a practice of some middle class "radicals". 

Frank is a sculptor (although his sculpting largely consists of him continually scraping a small block of wood. In fairness convincingly depicting creative work on screen is difficult). He is on the fringe of the community and - like Abby - he is uncomfortable with their ways. Artistic life seems to have mellowed him and led him away from aggression but it doesn't seem to have extinguished all combativeness which never seems far from the surface. He is offended by the snide comments of the snobbish bank clerk about the artistic community. Maybe he has some loyalty to it but equally he doesn't challenge Abby's criticisms of Alan and Beryl. 

Identity theft is a distinctive angle taken up by the story. Today it is very topical and highly sophisticated but in the 1970's little skill is required for the subterfuge - a faked signature of Alan Smerdon seems to be sufficient. Abby hasn't seen him since childhood so she is none the wiser. Whether Abby's boyfriend Doug was killed because he had stumbled upon the fraud is unknown. Much of the episode is occupied with Abby wondering about the fate of Douglas, hoping that he will turn up but being disappointed. She cuts a very melancholy figure in what is generally a very bleak tale, not just in its themes of loss and uncertainty but also in the cold, lonely and harsh winter landscape.

The telepathic link between Abby and Douglas makes this a seemingly supernatural story (although it's not impossible Abby is imagining he is contacting her) and possibly more could have been made of the subject. It is largely restricted to her hearing him whisper her name, almost pleadingly. The lack of any further detail makes his fate rather enigmatic from her viewpoint but it limits its potential within the episode. Maybe if there had been more communication between them before his disappearance it could have been explored further. This story could easily have been rewritten without the telepathy altogether as a conventional mystery but it would have been best to make full use of an intriguing angle.

The performances, leaving aside the minor hippy characters, are sound. Pamela Franklin is typically dependable and Ian Bannen broods along capably. Oliver Tobias and Suzanne Neve are good value as the central artists. The direction by James Ormerod is distinctive and impressive. Light and dark are very well-contrasted throughout and there are a lot of location scenes including night-time ones that are especially effective. There is also some striking use of visual effects with a few scenes shot through coloured filters. Although the daytime outdoor scenes don't offer the same potential for directorial flair the cold, wintry landscape and bare trees do contribute well to the bleak atmosphere. 

James Ormerod directed three episodes including the last to be broadcast in the UK - Death in Deep Water - and there are certainly similarities between this and the latter in extensive use of remote location scenes and general emphasis on "atmosphere" rather than pace. The later outing has generally had a much better reception among viewers, perhaps because of its more daring story elements and "noirish" feel and while Death in Deep Water is probably the better episode - indeed one of the best in my view - this one is underestimated.  As mentioned earlier the teaser and the theme of a missing person draw parallels with One Deadly Owner but there are other similarities. Both also involve a Rolls-Royce which is somehow connected with murder and in each case there are shots highlighting its luxurious interior and of it driving at night. It may be no coincidence that Series 5 producer Ian Fordyce had directed One Deadly Owner and he may have contributed ideas to James Ormerod here, especially as it was Ormerod's first Thriller episode. All these elements add up to an instalment that is certainly not one of the show's greats but which has rather more to offer than it might first seem. 

Notes 

Perhaps due to the presence of Ian Bannen but maybe also the cold, wintry landscape I can't escape thinking that this episode is set in Scotland! This is despite the fact that he is the only Scottish character. Other viewers may have cases where they find it hard to shake some curious idea about where an episode was set or other events within it.

The ITC movie version was renamed "Terror from Within", a misleading title given the low-key events on screen although it may provide a valuable reference to the voices (supernatural or imagined) that Abby hears. This is somewhat similar to the other renamed episode featuring "Terror" - "Anatomy of Terror" (originally An Echo of Theresa) which was also similarly slow-paced and more about mystery.

On Friday 2nd September 1983 this episode (in its movie version) was broadcast by four UK TV regions (Border, Yorkshire, TSW and Channel) - the most of any episode on a particular date.

A Killer in Every Corner - Series 4 Episode 5, Saturday 1st February 1975

The story...

Sylvia, Helga and Tim are students thrilled to be invited to the home of renowned psychologist Professor Carnaby to learn about the experiments he is conducting into how conditioning techniques can be used to prevent violent behaviour. At the home they find two men - Boz and George Kesselheim - whose violent outbursts can be controlled simply by the Professor playing them a specific piece of music. However both Tim and Helga later go missing and Sylvia starts to fear that the Professor is not all he seems. She fears she is in great danger with Slattery - a journalist also staying at the house - her only ally...

Review

Another popular outing among fans. While I wouldn't place it in the show's top rank - testimony to the exceptional quality of many of its counterparts - it is certainly highly impressive and creates tension skilfully leading to an excellent final ten minutes or so. 

This was the closest Thriller ever came to science fiction. Carnaby is a rare scientist highlighted in the show. His experiments take the powers of conditioning to remarkable levels. On the surface he is an extremely courteous and supportive man but in reality he is prepared to conduct the most shocking experiments on unknowing subjects. Cleverly the exact motivations and morality of Carnaby are never stated. Is he a villain? Probably, but not of a conventional sort. He does not seem prepared to use violence himself but is happy to use his "staff" in such a way. He claims to be conducting these experiments in order to cure those with homicidal tendencies and that may be his sincere intention. Carnaby is best described as amoral. He experiments on people with the same lack of feeling as a scientist would test on chemicals or maybe animals. He is more committed to science than to human life. He is quite prepared to deceive people and play with their lives. Good may ultimately have emerged from his experiments but at what price? Patrick Magee seemed to specialise in villainous or sinister roles and gives a typically good account on this occasion.

Professor Carnaby is witness to Boz's destructive tendencies - but believes he can control them

Boz and Kesselheim are making progress thanks to the Professor but they remain deeply unstable and insecure. The scene in which Kesselheim taunts Boz who then cuts him down is very strong. Boz in particular has great loyalty to Carnaby, and maybe with good reason, but Carnaby still treats him almost as a plaything. These parts are well-performed with Max Wall especially notable in a straight role. Fellow comic actors / comedians Arthur English and Ken Jones had appeared in the previous series in small but memorable parts. Max had a much darker role to play but showed it was well within his compass.

The students are all very likeable. They are enthusiastic and feel tremendously privileged to spend time with the Professor. It seems too good to be true - and so it proves. Joanna Pettet as Sylvia fills the American blonde heroine role with aplomb. She conveys skilfully the traditional heroine qualities - warmth tempered by perceptiveness to danger. There was a tendency towards blonde heroines in the later series of which she is a very good example and this may be why she was one of the few American guests to return for a second appearance in the rather less heralded AMidsummer Nightmare in Series 6.

The final ten minutes or so as Sylvia comprehends the deadly events in the house are very strong. There is an excellent mixture of chasing, stalking and struggling as Sylvia tries to save herself from Carnaby and latterly one of his "staff". This is not unlike the events of I'm the Girl He Wants To Kill, albeit neatly compressed into a few minutes. The climax is also unusual and probably rather more realistic (though still dramatic) than most in Thriller. 

All considered a very accomplished effort and one can see why it has made such a strong general impression.

Notes: 

Four of the seven featured characters are killed. This proportion of over half is the highest of any episode.

For the fourth episode out of five in Series 4, characters are seen travelling on a train.

For the second consecutive episode it's revealed that a character has to carry papers to prove he is not a murderous lookalike and a character is left unsure whether the man she is with is being truthful about his identity and whether he is safe or dangerous.

For the second time in three episodes a character finds that their sighting of a dead body is confounded when it goes missing.

The end credits of the movie version are one of the few to scroll over a freeze-frame of the final shot - less "creative" but more effective and less distracting than the bizarre and commonly inaccurate artistic montages that were usually used.

 

Killer with Two Faces - Series 4 Episode 4 (Saturday 25th January 1975)

The story...

Bob and Terry Spelling are identical twins but with a fundamental and deadly difference - Bob is a successful architect; Terry is a psychopathic killer confined in an institution for the insane. Terry manages to escape by overpowering staff and impersonating the prison doctor and then and goes on a killing spree, mainly of women who he considers "perfect" and with whom any relationship to his twisted mind can only go into decline. He takes advantage of his exact likeness to Bob and this puts Bob's friends and contacts in particular danger including American fashion designer Patty Heron who he has just met...

Review

This was one of the earlier episodes I saw when it was included in the Bravo repeats in 1996. It disappointed me then and has done on subsequent viewings. My experience has certainly not been unique and it generally comes well down viewers' Thriller ratings. However on my very recent viewing I was pleasantly surprised to really enjoy it. I'm certainly not going to say that this must now be considered a "Thriller classic" or that my past views were wrong. I hadn't watched it for many years and sometimes that means an episode is viewed with a much fresher mind which can lead to a much more positive - or negative - rating. Maybe next time I'll find it disappointing again but perhaps it does show that opinions can change over time and it's always important to speak as we find and not be led so much by past experience or other ratings.

The basic story idea is certainly a good one - a tale of an escaped serial killer with the added dimension of confusion over identities. Admittedly the confusion with identical twins is something of an over-used idea but the foundation is promising. The escaped psychopathic serial killer had been the basis for one of the earliest and best-remembered Thriller outings - The Colour of Blood. Maybe for some viewers that was part of the problem - the story seeming somewhat derivative. The Terry Spelling character has also been seen as much less magnetic than that of Arthur Page (played by Norman Eshley) in Colour. There is no doubt that the characters are very different - Page is a younger man, outwardly charming, even playful in his demeanour and certainly very attractive to women; Terry Spelling by contrast is more introverted and lugubrious, less self-confident except when he goes in for the kill. Overall Page has better screen-presence but it would have been too tempting and too easy to just create a very similar character. The very different personality of Terry does create an important difference from the earlier episode - not as memorable but a useful variation and perhaps quite fitting for someone who (unlike) Page has been in custody for years and is more worn-down and less self-assured.

Ian Hendry was one of the best-known and most popular TV actors of the 1960's and 1970's and he has a heavy load here having to play both Spelling twins. He does a very good job even if the characters are not as compelling as others in Thriller. In fact both Bob and Terry largely come across as similar personalities. At first Bob - when he meets Patty Heron on the train - is a rather annoying, pushy "ladies man" type character but later he settles down into a more serious, even downbeat style. For example we see him resisting the advances of his former fiancee Jenny soon afterwards, feeling he cannot trust her. Discovering that his brother was on the loose also inevitably dampens his mood - not just worries about what Terry would do but also subject to being mistaken for him. This similarity in personality and even clothing (Terry having accessed Bob's flat and taken some of his clothes) does add to the confusion which is useful on-screen with those encountering the twins unsure whether they were with the safe or the deadly one. 

Villains in Thriller would often have a "trademark" and Terry is no different . He has a preocuppation with perfection and often uses the word "perfect" in prelude to his attacks. The use of this word is similar to the very sinister repetition of the word "marvellous" in Someone at the Top Of the Stairs although the impact was greater in the latter, perhaps due to it being used by many characters and adding to the macabre atmosphere of that house and its residents. The term does have a deeper significance here as it reflects how the twins' father had been preoccupied with achieving standards of perfection and Terry in particular had struggled to meet these, causing a difficult relationship with his father.

Donna Mills made her third and final appearance in the show as Patty but this is the least memorable. She is certainly not helped by a bizarre hairstyle which seems an architectural construction in itself! She acquits herself quite well, notably in the later stages as she starts to realise that the man she is with is not Bob but the highly dangerous Terry.

Patty struggles to work out whether she is with the safe or deadly Spelling twin

The police characters here are sound. There is an echo of Sign It Death in the way that they fail to notice a body hidden in a trunk. The other major character is the wealthy but rather dislikeable Mr Bradley (well-played by David Lodge) whose new fully-automated home forms the setting of the latter stages of the action. It's possible that the unappealing nature of Bradley plays a part in some of the low ratings but I feel the character's abrasiveness serves a useful role including tension with both Bob Spelling (who designed the house) and Patty.

There is quite a high body count in this edition but this does not always augur for a strong Thriller which is often at its best when the murders are used sparingly and attention focused on suspense. In this respect The Next Victim from the final series is rather similar (although probably a greater offender). Interestingly in both there is a scene of an attempted murder. Attempted murders - except at the climax of the hero or heroine - were unusual in the show where the villains were almost always successful in their actions.

Overall while this certainly not Thriller at its best it still has the capacity to intrigue and entertain and maybe benefits from fresh viewing. It's also possible it may be better received by viewers who see it before The Colour of Blood and who don't come to it with those expectations from what is arguably the show's definitive "psychopath" story.

Notes

It is perhaps a touch unlikely that in the later stages both Bob and Terry Spelling are wearing identical clothes even down to the same tie! However it makes other characters' confusion over who they are seeing more profound.

TV movie title-watch

These start with a very good, haunting refrain from a musical box with a rotating ballerina. Dialogue from Terry Spelling is interpolated into a murder in the opening titles, a technique that was also used in the new titles for Good Salary - Prospects - Free Coffin (renamed "Mirror of Deception")..

Night Is the Time for Killing - Series 4 Episode 3, Saturday 18th January 1975 (ITC movie title "Murder on the Midnight Express")

The story...

The action opens with an attempt to kill Ivan Malov, an Eastern European defector. It then switches to a young American woman, Helen Marlow. She is booked onto a luxury train journey to aid her recovery from a nervous breakdown following the death of her fiance. An Australian traveller, Bob, befriends her but it is tough going as she is still very depressed. Her distress becomes much worse when she seems to see a dead passenger. Bob and others assume she is hallucinating but she is quite convinced. However there are people on the train who are not what they seem, and who have murder on their mind...

Review

My first impressions of this episode were fairly lukewarm but it has grown on me and I would now consider it to be very good, albeit some way from the top rank.

The teaser of an attempted assassination and intelligence conference seems oddly disconnected from an anxious young woman boarding a train but later it makes sense. The choice of such a clearly English actress as Judy Geeson to play an American did not inspire early confidence. This is no criticism of Judy but rather a wish that either an American actress had been hired or - better still - the character rewritten as English. Either solution would have created a better result. As it transpired Judy does a very good job in a demanding role but I'd always prefer a character to be played by someone of that nationality.

The smoothie Bob (played by James Smillie), the only Australian character seen in the programme, is a little annoying at first with his rather obvious charming of Helen but when he moves into serious mode the results are much better. Helen's experience of loss and depression is very well depicted. Her struggle to be taken seriously as she starts to see very disturbing things is skilfully conveyed. This scenario occurred on a few occasions in Thriller, with Bob in the familiar intermediary "sceptical but open-minded" position, but it is neatly accomplished.

Bob tries to support a shaken Helen

Although these two might appear to be at the centre of the story there is no doubt that the dominant character and the chief reason for its appeal is that of Hillary Vance who is possibly the most entertaining figure seen in all of Thriller. He is brilliantly funny. Unlike Matthew Earp in his two episodes, Vance uses his wit against others. A remarkably cultured man, he is devastatingly sarcastic, turning particularly on the hapless waiter. Charles Gray is quite superb in this part and there is no doubt that it raises the episode above the ordinary. Again in a typical Thriller touch it is never quite clear what Vance does. Granted he is a diplomat - but where does he work, and why should he be so important to Malov - and to Malov's opponents? Vance never talks of anything political but of course that does not mean he has no such interests. As in all the espionage stories it is clear that the Eastern bloc are up to no good but the exact nature of their activities is unclear. Evidently they want to eliminate the defector Malov but why is never established.

The theme of impersonation was used in the other two espionage stories but this is the most elaborate of all. The physical and vocal impersonation of a key character is perfect and is effectively science fiction; it may be stretching credibility but it's important to make the story work.

The climax is a strong one and matters are rounded off with a great final line. In addition the episode provides an early sight of Duncan Preston - later a long-time Victoria Wood stalwart - in a straight role as part of a newly-wed couple with his wife played by Jacki Piper, another performer more associated with comedy but in no way out of place here. Overall a strong and often under-rated effort, and definitely for me the best of the three espionage tales

Notes

For the third time in the first four episodes of Series 4 a train is a key setting, although this story is set almost entirely "on board". Euston station is featured. Bob's leaping across the tracks at the climax may not have impressed safety experts! The TV Movie version was retitled "Murder on the Midnight Express" and the new titles were one of Dolphin's better efforts backed by an excellent strident piece by Syd Dale - "Danger - Musicians at Work".

Although Jim Smillie as Bob played the only overtly Australian character in Thriller other Australian actors did appear in the show including one in this episode - Alister Williamson as secret service agent Barkley - but he was playing an apparently British character. Reg Lye was another Australian actor to appear in Thriller (two episodes - Spell of Evil and Good Salary - Prospects - Free Coffin, playing a caretaker on both occasions) but no reference was made to his Australian background. Australian actors appearing in British shows in that era played apparently and sometimes overtly British characters quite frequently, something that meant they weren't restricted to just playing Australians.

A Coffin for the Bride - Series 3 Episode 1, Saturday 1st June 1974 (ITC movie title "Kiss, Kiss, Kill, Kill)

The story...

Mark Walker is an attractive, charming young man who marries two older women - and then kills them. He is very clever because he disguises their deaths as tragic accidents - drowning in the bath. His only problem is the solicitor acting for the first woman who suspects him of murder but cannot convince the police.

While visiting a health club he meets Stella, a very attractive young woman whom he pursues simply for pleasure. However he very soon is attracted by an extremely rich older widow called Angie. Everything seems to be going to Mark's plan and it looks as if he will soon be a wealthy widower for the third time but maybe he isn't going to have things all his own way this time...

Has the widow Stella waded in too deep with Mark Walker (Michael Jayston)?

Review

The favourite episode of Brian Clemens, this was one of the four stories he selected for release on the ITC videos in 1993. However it is not just Brian who held it in high esteem. It is probably the best-known and most acclaimed Thriller outing among the wider viewing public. Perhaps some might wonder if this is the "Helen Mirren Halo" at work but its acclaim is justIy deserved. It is an excellent effort, and just about impossible to fault.

Once again we see that a story does not have to be a whodunit to really pack a punch. From the teaser onwards we know that Mark Walker is a murderer and that he is motivated by money. However the contrived accidents show that this is a slippery villain, as do the shifting identities. Solicitor Oliver Mason may suspect him but Walker seems to have avoided all police suspicion. The pre-occupations with fitness and water provide more twists. Michael Jayston had given an excellent display as the vindictive killer Roger Masters in Ring Once for Death. This time though, both the character and the performance are even better. Walker is just as deadly but has far more charm than Masters. On the other hand he is harbouring a troubled mind. A traumatic experience while in the merchant navy still bothers him and may somehow lie behind his current activities. Interestingly like Masters he therefore seems to have risen from fairly humble origins, maybe on the back of the money inherited after his murders, but his insecurities do not make him bitter or aggressive. Once again Brian Clemens avoids creating a two-dimensional "evil" villain, producing a much more complex character.

We get to see Mark set his sights on a genuine romance with Stella with whom he is able to confide some of those insecurities. However "business" soon rears its head again in the remarkably tempting form of the plain but lively wealthy widow Angie. The only real problem for him seems to be how to juggle romances with the two without being discovered. However appearances are deceptive...

Of course with this being Thriller and not a whodunit the questions are how far he will go and how he will meet his comeuppance - there would never be any question that he might ultimately get away with his crimes. How he meets his downfall is brilliantly done but he is also the victim of some "rough justice" along the way which wins him at least a grudging sympathy. It does have to be said that some of the ways in which the table are turned on him would be exceptionally unlikely in real life but they are remarkably satisfying plot devices. "Rough justice" can also be "poetic justice" and the final scene in particular is one of the very best in the history of Thriller. Sometimes realism has to be sacrificed on the altar of great drama - superb writing, performance and direction, particularly at the climax which contends for the very best ending in the show. 

Acting performances are excellent. Helen Mirren is in extraordinary form but almost as good is Michael Jayston as Mark Walker: one can see why the producers were keen to get him back so quickly and he does not disappoint in any way. Michael Gwynne gives a first-class performance as the brave solicitor Oliver Mason, bringing great dignity to the role. There is a very fine "straight" performance by Arthur English as the affable barman Freddy. Given his comic background one might have expected Arthur to be cast in an instalment more focused on humour such as K Is for Killing but he showed here that he could more than handle a serious part. However all the actors had great characters and a marvellous story to work with and those elements are so important as even the best actors can look adrift in a weak storyline with unpromising characters. 

Solicitor Oliver Mason makes his suspicions clear to "Mr Jameson" (aka Mark Walker) but no-one else seems to be listening

The detectives are seen briefly but are among the better ones in Thriller. Quilly nicely demonstrates both the inevitable scepticism needed by detectives but also the danger that pride can encourage them to stick to decisions in the face of contrary evidence. Those seen later on are a different matter and things would have been very different had Walker encountered them earlier (although that would not have made for a much shorter and less captivating episode!)

This was the last episode not to feature any American characters. There is no doubt that Americans added much to the show but there were occasions when it seemed they were being shoe-horned into a story simply to create an American dimension. That would definitely have been the case here where there would have been no natural role for an American character - maybe only the Mark Walker role of the major parts could have been re-cast, and that would have been a mistake. Astutely the producers resisted the temptation to include an American on this occasion and it helps the episode to work so well. One wishes they had followed suit on a few occasions thereafter (and before), using Americans only when they comfortably fitted into the story.

Another interesting aspect is the "classic" look of the characters and sets on view. Some episodes such as I'm the Girl He Wants To Kill which follows have distinctly Seventies fashions but the look here is much more timeless. This would certainly help with contemporary viewers who would then have less opportunity to poke fun at dated fashions. The presence of a young Helen Mirren would be another reason to choose this as an introduction for newcomers.

There are no weak spots or lulls here. Other very impressive Thriller episodes might have the odd character, performance, scene or story aspect that didn't entirely work but the quality on display is extraordinary and it is one of those rare cases where everything just clicks. Whether it is the very best is open to debate but it certainly sets a remarkably high standard. The third series which it heralded would have even more delights in store - the peak of the show.

An Echo of Theresa - Series 1, Episode 4, Saturday 5 May 1973 (ITC movie title: Anatomy of Terror)

The story....

Brad and Suzy Hunter are on holiday in London. Soon after they arrive Brad starts to behave strangely include some disturbing outbursts that greatly worry his wife. Reading The Times newspaper seems to trigger these events and at these points he also seems to believe he is an English "gentleman" called Charles Merrow who is married to someone called Theresa but he has no idea who these people are. The pair call in unconventional - but certainly talented - private detective Matthew Earp to try to find answers - it seems events from decades earlier on another continent offer the key but the danger to Brad and Suzy is very much in the present...

Brad (Paul Burke) confronted by Sagar (Larry Taylor)

Review

This had the honour of opening Thriller in the USA (indeed its first broadcast anywhere) on 15th January 1973. This was certainly not a random choice as it is one of the most transatlantic stories with plenty of nods to American and more generally international viewers. It is the only episode with two American guest stars with Paul Burke and Polly Bergen having joint-top billing but it also makes great use of central London locations most likely to be familiar to those outside the UK. The references to "the English gentleman" would also be very familiar to non-UK viewers as well as broader references to English and American "character" that were to recur throughout the series.

This was the second-ever episode I saw courtesy of it being on the first Thriller VHS tape I bought back in 1994. The first I saw was Someone at the Top of the Stairs and it's fair to say this outing always seemed an anti-climax compared to the great drama and boldness of that outing. That has largely been shared by other viewers with An Echo of Theresa striking most as an undoubtedly well-produced and cleverly-written story but one that doesn't really grip them. I will say though that watching it again for the first time in many years I was highly impressed and while it is best-remembered for introducing the memorable character of Matthew Earp it has plenty of other virtues and rather more to offer than initially seems and no worse for its emphasis on mystery and intrigue rather than high drama.

The first series is sometimes criticised as being rather slow and this episode certainly has faced that accusation. The story creates intrigue through Brad's peculiar and troubling - and in one case dangerous - behaviour and this takes up most of the first half. This can be heavy going, especially for the casual viewer, but not unlike other "slower" stories the relative lack of pace allows time to build the mystery. 

The second half sees the arrival of Matthew Earp and and there is a universal sense that the exceptional quality of that character makes a great impact. Earp is the only character to reappear in Thriller (in The Next Scream You Hear at the end of Series 3) and one can see why he deserved that honour. The character is superbly drawn but the performance by Dinsdale Landen is excellent. Earp is brilliantly witty but has a razor-sharp mind and physical prowess that ensures he must always be taken seriously. The private detective duo of the Buckleys in K Is for Killing also have immense wit and style but are played far more obviously for laughs, to the frustration of many viewers (although not myself). However there is no question that Earp, thanks to Landen's skill, stays on the right side of the dramatic fence.

The episode does become more gripping as it progresses, not just through Earp's arrival but also the emergence of the villains. As in the other two Thriller espionage stories ordinary people are unfortunate enough to be targeted by international agents. Their exact motives and missions are never truly explained and it is useful to have this enigma. 

Brad Hunter finds himself under interrogation by Charles Merrow (Basil Henson) and Bannerhein (Vernon Dobtcheff)

The climax sees more questions being answered. It offers a dramatic ending to a generally low-key outing and the final line is one of the best in the show's history. It is always good to end on a high note and while the episode is unlikely ever to come a major fan favourite it does deserve further appreciation.

Notes

This was one of the favourite stories of Brian Clemens and he chose it for the first video release. The ITC movie version of this episode had the curious title of "Anatomy of Terror". Intriguing and unnerving perhaps but "terror" seems to be overstating events in a tale far more about mystery; it is probably the only film or TV title containing the word "anatomy"!

 

Lady Killer - Series 1, Episode 1, UK broadcast Saturday 14th April 1973 (ITC movie title "The Death Policy")

The story....

Shy American librarian Jenny Ffrith (Barbara Feldon) is on holiday in Britain. She feels lonely but meets a man called Paul Tanner (Robert Powell) who befriends her and offers her the company and appreciation she craves. They embark on a whirlwind romance which seems too good to be true – and it is. Paul has plans for Jenny and he doesn’t plan on her being around for long. Instead Jenny has an unwitting part in a devious and deadly plan….

Why does Paul have a picture of another woman - who rather resembles Jenny - in his belongings?

Review

This was the first episode of Thriller broadcast in the UK and it was a worthy choice. It is a very impressive instalment which almost always gets a good reception from fans. It does not scale the real heights but is extremely well-accomplished and professionally done.

Although thrillers are often “whodunits” the formula is sometimes broken and the offender is made evident from the start – the fascination comes from seeing what he or she will do and how they will be caught. This is certainly an example of the latter and it may be significant that such a type be used for Thriller’s debut rather than the “whodunit”. As thrillers are about fear and suspense there is just as much value in having the villain in the open from the beginning – the viewer then knows things that the hapless victims or potential victims do not. It is clear that Paul is a villain but there are still mysteries such as the identity of the person he rings up - a criminal associate or accomplice almost certainly but who is he - or she? Another disconcerting figure is the cleaner who certainly seems to know things Jenny or Paul - or both - do not. What secrets does she know - or is hiding? Could she be the downfall of one or both of them?

The story premise is simple but very effective. However it still requires strong performances. Robert Powell is in great form as the duplicitous Paul, a man with obvious charm but a real edge if crossed. He takes advantage of the lonely and insecure Jenny. Barbara Feldon does a good job communicating Jenny's journey from initial fragility, increasing confidence as she settles down with Paul and then increasing doubts about his past and trustworthiness.

Jenny (Barbara Feldon) is unhappy to discover some alarming things about Paul's past

In the ancillary performances Linda Thorson is excellent as Toni, a woman from Paul’s past but who doesn’t want to let him go. Toni bears a striking resemblance to his new wife – simply a sign that he prefers women of a similar type or something of unexpected significance. She only makes her entry half-way through, a late point for a guest star but she makes a great impact in that time. TP McKenna makes an excellent impression as Jack Hardisty, a friend of Paul’s who knows his personality and ambitions all too well – a potential ally or accomplice or someone who might thwart his plans. Mary Wimbush is fine as the cleaner who may be up to no good. All considered definitely worth seeing.

Notes

Ronald Mayer makes one of the briefest parts for a credited actor when he is seen very fleetingly in the distance (and with no dialogue) as the church minister who marries Paul and Jenny. He was later the first actor to reappear in Thriller with a slightly larger part as a doctor in Only a Scream Away.

Although Canadian actors regularly appeared in Thriller Linda Thorson was the only one to play a Canadian character, all the others played Americans.

This was the only Thriller episode to feature a scene in a church although the characters involved were certainly not there for religious purposes!

TVM (TV Movie) version title-watch

The titles by Dolphin for this are quite notorious for the silly and overly literal animation. The figures of Jenny and Toni bear little resemblance to their real counterparts. The titles are slightly redeemed by some good visual effects.

TV Times listing for Thriller's first UK broadcast in April 1973