The Next Victim - Series 6 Episode 2 (Saturday 17th April 1976)

The story

Sandy Marshall is an American woman married to a successful British insurance agent. She has to use a wheelchair after a terrible accident in which her new sports car crashed. A heatwave has hit Britain but she is less than delighted. She cannot get out of her flat and her husband has gone away on business, leaving her alone. A number of local women have been strangled and she is very anxious. She tries to reassure herself but without success. Her friend Betty offers support and promises to meet her for a drink. However Betty never arrives and Sandy fears the worst. A visit from a personable neighbour, Tom, seems to offer protection - or does it?

Review

The story description above suggests classic Thriller territory and even the title was suitably chilling. Unfortunately the results on screen have generally disappointed viewers including myself although - in common with a number of other "lesser" episodes - I have found it far better than I remembered on more recent viewings. Clearly it does have some limitations but it also has virtues that shouldn't be overlooked

The general viewer feeling is that something seems to be lacking in terms of writing, characters, performances and general direction here. There are virtues such as some particularly good direction early on from the killer's perspective, but there is a lack of consistent quality Maybe the problem was that this was exactly classic Thriller territory and finding new inspiration was difficult. 

The teaser presents a murder and the body count early on is high. This in itself was probably not a promising sign. The best examples of Thriller might have just one or two killings throughout and much more emphasis on suspense and fear. This is a whodunit but the suspects are not so well presented this time and are barely seen after the first twenty minutes. The obvious candidate is the caretaker Bartlett. This figure, very well played by Ronald Lacey, is lazy and indifferent about his work. More disturbingly he has a dominating obsession with mothers and babies, and the police theory is that the killer is "mother-fixated". He is a shabby, deeply unsettling person and the killer dresses similarly in a brown overall and jeans. There is an interesting comparison to be made with the caretaker Murchison in If It's a Man - Hang Up!. Murchison was another obsessive but far more affable and eager to please (and literally smarter!) Maybe this is a sign of this story trying to up the ante and create a more shocking scenario. Sandy's husband Derek and Spiros attract limited suspicion but there is no other significant suspect until the arrival of Tom Packer halfway through. If It's a Man and File It Under Fear a few years earlier applied the whodunit formula far more successfully.

The heroine and prospective victim is a pivotal figure in this sort of drama but Sandy Marshall doesn't make as much impact as her predecessors. A disabled target adds a fresh dimension. Blindness had been examined as a way of increasing vulnerability and lack of mobility opens up new options. Sandy can see danger but she has little chance of escaping from it. She is clearly anxious and understandably so. The character should work extremely well but comes across as a little underwhelming, although there is an improvement in the final part when she is trapped with the man she believes is the killer. Carroll Baker probably had the most prestigious film background of any US guest but that is not necessarily a recipe for a fine Thriller heroine. Possibly we are too used to seeing younger actresses in these roles. Maybe offering a return to one of the most impressive US guests such as Carol Lynley, Skye Aubrey or Lynda Day George would have been the better option.

Sandy (Carroll Baker) faces a terrifying ordeal

The two detectives have a lot of screen time. The intention was to set up a clear contrast between the older, irascible, sarcastic Inspector relying on intuition (Frampton) and the younger, educated, "scientific" policeman (Small). Needless to say the intuitive detective is the one who gets the answers. Decades ago this combination wasn't quite as clichéd as it has now become but it's still a little predictable. Frampton does fit the usual Thriller mould of the quirky investigator. He seems happy to sit back while his junior detective does all the spade-work although appearances are a little deceptive as he is applying some analysis while Small serves up suspects. He does make some darkly amusing asides and interesting observations including that the rush of killings suggests someone who has just "snapped" rather than had long-standing issues. 

Things do improve somewhat with the arrival of Tom Packer. Tom appears to be very friendly and helpful towards the edgy Sandy but she remains disconcerted by him. Tom reveals a deep devotion to his mother, who was also in a wheelchair before her death. This creates a bond of sorts with Sandy but his level of attachment becomes disconcerting. He reveals both intriguing perceptiveness but also lack of tact in the inferences he draws about Sandy's "accident". He makes some provocative points about scams and how accidents often hinge on serious negligence that gets overlooked or condoned.

There is an impressive twist in the climax (perhaps a little rushed) and a certain irony in how things turn out. There is also some good direction as Sandy tries to make an escape in an unconventional but necessary way. In a better story the twist in particular would have received great acclaim but due to the modest overall quality it doesn't make full impact. Following this, the final shot is simply of police and an ambulance stationed outside the apartment block - this should have either been excised or followed-up with the police dealing with events inside. It is indicative of an untidiness which occurs at various points in the story. Other examples are painfully wooden news reports (even worse than those for The Eyes Have It) and a collection of barely-seen, ill-defined characters, most of whom could easily have been removed and one or two developed further. Indeed Harold Bennett (who had appeared in A Place To Die) is credited but does not appear suggesting some editing was going on or some late script changes but if so it seems to have been inconsistent. Perhaps both the script and the filming were rushed or needed better management - whatever the reason these aspects stand out for the wrong reasons. 

Perhaps this would have been much more successful if produced a year or two earlier with the show at its peak. It definitely had strong facets that could have been exploited better. There had rather been a treadmill of production (Series 6 was produced in Spring-Summer 1975 for US broadcast shortly after though not shown in the UK for almost a year) with barely a break for Brian Clemens and the production team and maybe six months or a year away would have refreshed minds and led to some stronger outcomes for the final outings. 

This also proved to be the last of the more traditional Thriller stories. The remainder of the final run saw experimentation in setting or style, possibly because it was felt the traditional formula needed a rest or had gone as far as it could. It is a shame this last "conventional" offering could not have been better.

Notes

It seems odd that the newsreader is not credited despite having a fair number of lines and appearing on screen. Unusually for Thriller some stock footage (of holiday traffic and crowded beaches) appears during the news reports.

Harold Bennett is listed as "Blind Man" on the credits but doesn't appear on screen - possibly the only example of a credited actor not actually featuring in the show. This may have foxed the producers of the Australian box set who highlighted him as one of the featured actors, noting his Are You Being Served? fame. This anomaly may reflect the general editing issues with this episode. Quite what part his character might have played is unknown but it's possible it was as a neighbour Sandy frantically sought-out for help only to discover he was blind.

A newspaper report Sandy reads about the murders reads refers to a "lady killer". It seems highly unlikely a genuine news report about murder would have used this flippant term (otherwise used about men who easily attract women) so it's possible this was an in-joke referring back to the first episode Lady Killer. 

Anita Sharp-Bolster was the oldest actor to appear in Thriller, aged almost 90 when this episode was produced in June 1975.

The arrangement of names on the bells outside the apartment block seems to refer to "Martin Marshall" - the writer of A Thriller in Every Corner!

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")..

I'm the Girl He Wants To Kill - Series 3 Episode 2 (Saturday 8th June 1974)

The story....

A young woman returning home from a party is surprised to discover a silent, anxious-looking man by her doorway. Moments later he stabs and kills her. Some time later Ann Rogers - an American secretary working in London - is also returning home and sees the same man on the stairs leading to her flat. When opening her front door she sees the dead body of another young woman lying in the entrance to a neighbouring flat and feels the man may have been the killer. 

She goes to the police and is interviewed by detective Mark Tanner. The enquiries aren't successful and the killer remains at loose but the meeting between Ann and Mark does lead to a relationship. One day she is looking in the window of a jewellers and is horrified to see the man working in the shop. He also spots her and although she runs off he pursues her. She reaches her office building but does not feel entirely safe, even when Mark tells her the killer has been apprehended. Unfortunately the arrested man turns out to be a crank. The real killer has been able to enter the building and after the rest of the staff leave at the end of the day he sees his chance to eliminate the woman who can testify against him.

Review

One of the best-remembered and most popular of episodes. Again there is no mystery about who is the villain but that makes his appearances all the more unnerving. Clearly the outing has the qualities needed to make a real impact and there are certainly remarkable things in store here.

The teaser sets the tone with the appearance of Robert Lang's "The Man". Prior to the murder he makes no sound but actually seems scared - or at the least edgy. The killing is another in the non-realist style of Thriller violence as the woman falls with not a mark on her.  The second murder we do not see - only the body of the victim in her doorway as Ann enters her flat. This is an excellent scene, better for its lack of violence. The sight of the woman lying on the floor, visible to the viewers but out of Ann's immediate eye-line is shocking enough but becomes even more powerful as Ann spots her and takes in the horror. This warrants more appreciation, as does Ann's encounter with the man beforehand as he leaves the house as she enters. Once again his demeanour is utterly disconcerting but it is only later that the full realisation that he has just killed her neighbour emerges.

That ushers in Ann's involvement with the police and Mark Tanner in particular. Ann is naturally shocked and frightened, not just in the immediate aftermath but sometime thereafter. Mark's later involvement with her certainly raises the issue of professional distance, if not misconduct. However we are used, even in the modern day, of screen detectives having these dubious personal involvements with victims, witnesses and even suspects. It is a forgiveable story device that does lend another dimension to the story although it could easily have been rewritten without them being romantically attached at all.

However the story really hits home and achieves its classic status from the moment Ann spots the man purely by chance while looking through a jewellers' window. As they make eye-contact both make a terrifying discovery that will have drastic consequences: he knows he can now be exposed; she knows he is aware she has seen him and she is now at terrible risk. The first chase ensues but the real drama takes place within the apparent safety of the Parker building.  

The whole action within the building is superb. Ann remains extremely scared although she does not tell her colleagues. Unbeknown to her the man has slipped into the building. The scenes of stalking and chasing are justly acclaimed and provide some of the tensest in Thriller. They take place with no dialogue, except for one brief sequence, It's easy to overlook the physical demands made upon actors Julie Sommars and Robert Lang in these sequences of running, chasing, hiding and occasional skirmishes. Excellent use is made of camera work - particularly shots from Ann's perspective running down the corridors and of darkness. Director Shaun O'Riordan and the production crew alongside the actors make these some scenes some of the best in the show's history. The arrival of the police adds to the drama and the final minutes - if not as frantic as the chase sequences - are still tense and powerfully done. 

Julie Sommars gives one of the best acting displays in the whole of Thriller as Ann. The other Thriller heroines have very demanding roles in emotional terms but hers requires a great deal of physical action as well which she handles in exceptional style. Robert Lang though may be even better as "the man". There is no role like this at all in Thriller - or very few other productions. The character only delivers a couple of lines in the whole episode so the emphasis is heavily on gestures and facial expressions but it is conveyed superbly. The man is both frightening and, it appears, frightened, maybe due to a terrible conflict over what he is doing or fear of being caught. So many screen-villains are talkative, giving away all their motives and plans and toying with their victims - indeed it becomes something of a cliche - so it is marvellous to have one who creates so much mystery. Mark and Keston conjecture, with some plausibility, that his motive is at least in part sexual but we never know. One of the great Thriller villains.

Robert Lang as "the man"

There are other attractions as well. It is great to see comic actor Ken Jones in a straight part as the security guard Sam and he gives a fine account of a very sympathetic figure. Indeed the humour comes more from his colleague Freddy whose fear of missing a date with his wife leads to a fateful swapping of shifts. The presence of a crank claiming to be the killer, something that frequently plagues the police, is a welcome and highly realistic touch.

The episode isn't perfect and Mark Tanner's "trendy copper" look is thoroughly 1970s and his permed hair a real fashion faux-pas. Some of the dialogue could have been better (with Mark the victim of most of the bad lines) and perhaps the actual climax could have been a little less formulaic. However these scarcely detract from a very fine and justly renowned story.

TV Movie title-watch

The titles appear to be indebted to Psycho as well as including a gratuitous scene of the victim undressing. They appear to contradict the action in the ATV version. The killing in the US titles is clearly not one of those seen in the original. It therefore depicts an extra murder although the ATV dialogue makes clear that the killer has only killed two women.

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.

Sign It Death - Series 2 Episode 7 (Saturday 9th March 1974)

Story

A tranquil rural setting is followed by a genteel dinner scene but that is the prelude for probably the most dramatic Thriller teaser. Tracy Conway emerges from behind a curtain where she has been hiding and then stabs to death Mr and Mrs Carter and their daughter - and then cleans and tidies up. The murder remains unsolved and some time later Tracy takes a job as a temp working for businessman Richard Main. it turns out she is obsessed with romance and "getting her man" and will kill anyone who tries to stop her - the Carters were such victims and now she has Richard Main in her sights. She sees the first obstacle to her romantic fantasy as Main's secretary Prue whom she follows home and then kills. Tracy seems to captivate so many around her - especially the men - but can she win over Richard and who will she target along the way? 

Review

One of the most popular episodes of Series 2 with plenty of talking points. My views have fluctuated on it but overall it is a very fine if sometimes flawed affair which deserves its impressive reputation.

The teaser is easily the most violent and dramatic. Indeed its level of violence makes it a little untypical of the show's approach - there are more murders in a couple of minutes than in the whole of many episodes. For a long time it was only available in edited format in the ITC version and lost a little of its impact but thankfully it is now fully available. Striking features such as the fine shot of Tracy hiding behind a curtain and Miss Carter struggling to open the door - apparently an inconsequential piece of humour at the time but tragically ironic later when she cannot open it to escape attack - are now restored. There are questions about the plausibility of this assault, as a young woman kills three people with very little trouble - Mr and Mrs Carter in particular seem to be frozen with fear - but it's still quite effective. Probably there was a place for one or two teasers in the series to adopt a more graphic style.

The most surprising thing in the teaser, and a typically Thriller twist, is when Tracy starts to clean up after the murders, not in the sense of removing evidence and "covering her tracks" but to make the scene neat and tidy. Evidently this is not a conventional killer! Tracy is one of the most memorable Thriller villains with a marvellous performance by Francesca Annis. Her immense charm is evident with almost all male characters captivated by her. However charm also has the potential to rub some people - maybe jealous but sometimes able to see beyond appearances - up the wrong way as we see with secretarial assistant Sally. Bill Lewis does not like her at all either but his reasons are more legitimate. There is something amiss with Tracy, and it makes him very uneasy. This darker and more troubled side to her is very well outlined and makes the character so riveting. Her obsessiveness marks her out from many other villains and prevents her being a simple psychopath. Behind the happy exterior - and the ruthless attitude to those who get in her way - is a sense of insecurity. Behind the efficiency is a fantasist who allows her romantic ideals to get out of control. Richard Main and many others fail to see these things but Bill and Sally are more than aware. The froideur between these two and Tracy is superbly documented and makes for some great scenes.

Tracy Conway (Francesca Annis) - romantic but dangerous

Tracy's feminine charm is a key part of the episode's preoccupation with gender. Those viewers with less traditional views are likely to raise eyebrows at much on-screen here. The vision of the sexes presented is far from progressive to contemporary eyes. Tracy is obsessed with romance and pleasing men. In her spare time she reads romantic magazines and sews a wedding trousseau. She even attacks her victims with her sewing scissors! The direction often lingers on her legs and may seem voyeuristic. The men - with the exception of Bill - are more than happy to play up to her. The irony is that Bill is an ardent womaniser but something about Tracy makes him uneasy.

"Girlfinders", the employment agency, is especially anachronistic - it wouldn't even be legal these days. However it's the behaviour of the men running Girlfinders that might most alarm some viewers as they fawn over Tracy while Mr. Seddon even makes a play for her, which she rejects in literally cutting fashion. In another scene even Richard slaps the backside of his secretary Prue, behaviour that would now be construed as harassment although he otherwise conducts himself professionally. Adult women are routinely described as "girls", including by the police officers. It can seem somewhat patronising.

Extra evidence for the "prosecution" might be the feather-headed Sally. Not only is Sally rather dizzy but she falls to pieces around Richard. On the other hand Sally shows much more resilience and sense in opposition to the duplicitous Tracy. The other two female characters though offer some challenge to the stereotypes. Prue, before her brutal demise, is a very able employee who shows no romantic interest in her boss or anyone else. Richard's wife Janice is perceptive and rational.

Sally resents the newcomer Tracy but maybe she sees things others overlook

However it is best to see such depiction in context. The early 1970's were not particularly progressive and this is a reflection - albeit exaggerated - of those sexist times. Nor should we be under any illusion that attitudes have completely changed and even now some viewers with watch and see nothing untoward on-screen. It may be that the writing and direction were being rather playful and tongue-in-cheek on the subject of gender. It is wise to realise that attitudes change and at the time of broadcast this would not have struck most viewers as especially contentious or controversial. No doubt a contemporary version of the story would be less stereotypical but what we see here is a depiction of gender of fifty years ago and even those viewers of today who dislike those stereotypes can appreciate it as a reflection of its time; all works reflect the eras and attitudes when they were produced and it is unfair to judge them by the standards of today. 

Leaving aside these wider issues, there is so much to commend here. The story is a very fine one with many highlights, aided by skilful direction by Shaun O'Riordan. The encounter between Prue and Tracy is very well done and in contrast to the teaser the violence is kept off-screen. The office politics between Bill, Sally and Tracy are a real highlight as well. Bill is a funny character although one could imagine he might be less fun to actually work for - especially for a woman. His womanising is hard to take seriously but his suspicions of Tracy are excellently conveyed - a fine performance by Edward Judd. Generally there is an undercurrent of humour that is well-handled. The two junior detectives supply some of it before the much sharper Barnes takes control. Overall the police characters are stronger than usual here. Leaving aside gender issues the only aberration occurs in the form of Mrs. Vinkel - housekeeper to the Carters - where a combination of poor writing (including references to courgettes!), bad costume, bad hair-dressing and awful acting produce possibly the most cringe-worthy scene in the whole of Thriller. Fortunately she is soon gone and the episode thereafter maintains quality and momentum 

The climax of the episode is a fascinating finale and rounded-off with a brilliant final line.  All considered this is one of the most distinctive outings of Thriller, both highly entertaining but provocative in its style. It may not be one of the very best but it makes a lasting and powerful impression.

Notes

This is one of the few Thriller episodes with no American actor or character (and the last but one to do so). However Francesca Annis does play Tracy with something of a transatlantic accent with her character having worked in the Bahamas. There are also favourable references to American employers and qualities in general and some uses of American English e.g. references to a "misrouted call" and "attorney" rather than lawyer. With no American on-screen these touches may have given the episode more of a connection to US audiences.

Ring Once for Death - Series 2 Episode 5, Saturday 23rd February 1974 (ITC movie title "Death in Small Doses")

The story...

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 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.

File It Under Fear - Series 1, Episode 8, Saturday 2 June 1973

The story...

A number of women have been found strangled in a small town. A frightening situation but librarian Liz Morris feels especially on edge and the police are making little headway. When one of Liz's colleagues Gillie goes missing and only her shoe is found everyone fears the worst. Liz though feels she knows who is responsible and takes matters into her own hands...

American airman Gerry Masters is spying on someone through the bookcase - but who and why?

Review

For me this is one of the best episodes of Series 1 and certainly my favourite of its "straight" crime thrillers (i.e. non-supernatural) although it's fair to say that most viewers plump for either The Colour of Blood or The Eyes Have It; this episode though has always been well-regarded in the fan community, and would be close to my top ten overall. 

This is another serial killer tale but this time a "whodunit" - the first one broadcast, perhaps surprising given the popularity of the whodunit style. The suspects are well-set up. There is the socially inept library assistant George who often feels belittled by the women around him and who seems anxious to prove his masculinity. The pleasant but lugubrious divorcee Steve who lodges with Liz and her mother and who goes out in the evening for no clear reason. Finally we have American airman Gerry Masters who was having an affair with one of the murdered women and whose reading choices show an alarming interest in violence. This was one of numerous Series 1 episodes with no American guest star / lead character and the inclusion of the latter (played by British-based US actor Richard Pendrey) ensures that an American angle is retained which was considered important for transatlantic appeal. 

The episode also has much to say about anxiety, loneliness and insecurity. Liz and her colleague George are both very insecure individuals with George in particular a deeply unpopular young man who often feels (justifiably) rejected and derided; unfortunately he then tends to compound that by antagonising others which leads to him being further baited. With these two we see what can happen when individuals let their pride race ahead of the and a trivial dispute gets completely out of hand. The characters are well-drawn although Liz's comments about "young people" seem odd given the relative youth of her character and a point remarked upon by Sergeant Truscott.  Maybe an older figure was originally conceived for the role but it does help to paint the picture of someone feeling divorced from their generation and somewhat "old before their time".

Liz (Maureen Lipman) & George (Richard O'Callaghan) at odds again

The two featured detectives fit a common Thriller pattern with an irascible senior and a rather put-upon junior. The latter is often drawn more sympathetically but on this occasion neither plays the "good cop". While both are polite to Liz they mock her behind her back and clearly believe that she is "frustrated" and a fantasist. Senior detectives also often had a quirk about them and in Superintendent Cramer's case that is an obsession with golf. Even after he had learned about the first murder he changes the subject back seconds later to his annoyance about a golf game. Neither officer is particularly insightful or admirable but this wasn't unusual for Thriller where police officers and detectives were not necessarily painted as the brilliant minds and heroes as they were in many other productions. 

There are many great performances. Maureen Lipman, George O'Callaghan and John Le Mesurier are in particularly fine form as Liz, George and Mr Stubbs and there is an impressive early appearance by Jan Francis. A number of these actors (Le Mesurier most notably) had long associations with comedy but all prove their dramatic potential here.

Another interesting theme is the interest of Liz's mother in reading about the murders and her tongue-in-cheek remark that "everyone likes a good murder". While a seemingly macabre comment there is no doubt that many people are fascinated by the topic, reading about news stories of murder as well as crime novels and of course watching dramas like this one. 

The final fifteen minutes or so of the episode are exceptionally good. There are two confrontations (one with disastrous consequences) and the final scenes where the truth is unveiled are excellently done with one involving a phone call one of the most terrifying in the history of the show. The final lines are perhaps a little troubling and these combined with the very last shot offers some mystery about long-ago events involving Liz. Altogether a fine instalment and certainly one of the highlights of Series 1.

Notes 

Design was often a strength of Thriller and the library set is especially fine in this episode - so convincing that many viewers thought it was filmed in an actual library rather than a studio set, The exteriors of the library were shot on location but Thriller did little filming on location and almost all that was done were shots of exteriors and brief scenes around them rather than filming inside real locations as later became common.

A box of UFO sweet cigarettes (below, behind George) can be seen in the sweet shop - perhaps the only example of a TV-related product seen in Thriller. 

ITC movie title-watch

The opening titles have attracted some criticism for apparently "identifying" the killer. The eyes of a man can be seen spying on a young blonde woman in a library. This then leads into the murder in the original ATV teaser. It certainly seems very unlikely that the movie producers wanted to indicate the killer. They were probably trying a different angle to the usual silhouettes and headless figures used to symbolise killers in these titles. However it is a risky strategy as it may seem to give clues as to the killer. How many viewers though would pick this up on first viewing is uncertain. Leaving this aside, these are quite effective, suspenseful if maybe a little voyeuristic (as was often the case with the new titles) and the music is very well-chosen. This is one of the few movie versions that ends on a still frame, in this case of the eyes of the "killer" borrowed from the new titles rather than a painted montage. These still images always seem far better to me than the garish and commonly unrealistic artwork on most of the end titles.

Film-Rite's trailer for this movie curiously includes no action from the original ATV version and instead reproduces its own filmed titles, with no voiceover. This could have misled viewers into believing it was a preview for a film made in the USA rather than a British videotaped production.            . 

The Colour of Blood - Series 1, Episode 5, Saturday 12 May 1973 (ITC movie title "The Carnation Killer")

The story...

Serial killer and psychopath Arthur Page is nicknamed "The Carnation Killer" after the "trademark" carnations he wears and leaves after every murder. He has just been convicted but the prison van crashes and he is able to escape and is now on the loose, Meanwhile legal secretary Julie Marsh is due to hand over a briefcase of cash to a client called Michael Graham and then transport him to a country house, both of which he has inherited. However a terrible misunderstanding results in her mistaking the escaped Page for her client and then boarding a train to the house. Julie cannot be contacted and both her solicitor employer Baverstock and Mr Graham are fearing the worse - Baverstock fearing for the safety of Julie; Graham fearing for his money. The police are searching for the pair but it's a bleak scenario unless Page can somehow be stopped.

Review

Among fans in general this along with The Eyes Have It are considered the "classics" of Series 1 and two of the most popular and best-remembered in the show's history. While I am a little lukewarm about The Eyes Have It this leaves me with fewer doubts. it is undoubtedly very strong and memorable. The "psychopath" is one of the chilling staples of the thriller and suspense genre and while viewers had to wait a few weeks for Thriller's first venture into that territory they were certainly not disappointed and this is probably the show's best psychopath story. 

The opening teaser is arguably the best - at first bizarre, then utterly chilling - and does a great job of capturing the viewer. The story is a strong one and really sets the style for the show - an attractive young woman, menaced by a deceptively charming but ultimately dangerous man. However the marvellous character of Page, brilliantly conveyed by Norman Eshley, makes this truly memorable. Such is the quality of his performance it can lead the remarkable display of Katharine Schofield as the understandably nervy Julie to not receive the great acclaim it deserves. Her character's discomfort and vulnerability are all too evident. Her performance is even more remarkable given that she was a late replacement for the intended lead actress (possibly an American guest star - this is one of the few stories with no American actor) who had to drop out, The scenes involving the pair are superb and exceptionally directed.

Julie (Katherine Schofield) feels uncomfortable with travelling companion Arthur Page (Norman Eshley)

The masterstroke is the extraordinary twist late on. Page is also not a straightforward villain. He does largely seem to delight in his toying behaviour but it is also clear near the end that he is a tortured soul and this evokes some viewer sympathy. It requires great writing skill to do this and it is interesting that even at this early point Brian Clemens was happy to present a more nuanced picture.

Page's escape at the start is rather unlikely, but if such a device were fine for The Fugitive then why not for Thriller? In this era of the mobile phone of course it would be very unlikely that someone like Julie would be incommunicado but this makes for such great drama. It does seem remarkable though that her employer and client would be happy for her to hand over money with almost no security or identity checks at all. However realism can be the kiss of death to great drama and this is an acceptable plot device to place her in such a predicament.

There are some small limitations. The patronising attitudes to women are present right from the beginning with numerous references to Julie as a "girl" and stress placed on her prettiness, and this remained a hallmark throughout the show. Thriller though was far from alone in its era in this kind of depiction of women and largely reflected the less than progressive culture of the early 1970s. The solicitor Baverstock is the chief offender in this regard and the character is not a strong one. The scenes in his office and the police station are patchy partly for this reason but still have their moments. They are definitely lifted by the character of the client - Michael Graham - who is suitably shady and his frustration and tactlessness are purveyed excellently by Geoffrey Chater (an actor more commonly seen as upright, establishment types). There is great natural humour in Graham's bluster but impressive drama as well. Graham cares far more for his money than Julie's safety and this sets up some biting exchanges with Baverstock. 

Thriller detectives were generally either rather conventional, "by the book", unremarkable types or eccentric or even unscrupulous. The latter were usually rather more engaging viewing but here we have the former. The Detective Superintendent (played by Malcolm Terris) is unquestionably competent but not particularly memorable - indeed he isn't even named on-screen or on the credits perhaps indicating the generic nature of the character - and that applies to his colleagues except one. The blundering Detective Forbes does make the wrong sort of impression when he manages to confuse Michael Graham with the escaped Page and arrests him to the understandable chagrin of Graham and the embarrassment of his colleagues. This not entirely flattering depiction of police officers and detectives did mark Thriller out from police and detective shows of that time which tended to portray officers in a much less critical or ambivalent manner.

Although this was the fifth episode broadcast in the UK it was the first one produced and shows that all concerned had hit the ground running. The early episodes of a production - and especially its very first - often have their problems as cast and crew try to get to grips with a new show. This is especially so for a series with ongoing characters and situations; as an anthology series Thriller didn't have that problem but it still had to get the mood and style right and this episode does so with great skill. Director Robert Tronson deserves particular credit but everyone involved on both sides of the camera contribute to delivering a "model" Thriller outing. This would have been a fitting choice for the first broadcast but maybe the lack of American presence on-screen led to others such as Lady Killer appearing earlier.

The climax is first-class. The final scene in the station is superbly done and is then followed by another briefer one which has very much stuck in viewers' minds, rounding off a deservedly acclaimed tale.

Observations

This is the only episode to feature ethnic minority characters, both very briefly during the train journey. It is also one of only two episodes to feature a court verdict (the other is A Coffin for the Bride.)

Geoffrey Chater died a few years ago at the age of one hundred and - as far as we know - the only Thriller actor to reach that remarkable age.

The US titles are some of the most amateurish and tasteless, which is unfortunate as they have a certain tension and excellent music. "Page" drags a woman who is visibly distressed up to a room . A hammer is foregrounded yet there is no evidence in the episode that he ever used such a weapon. The woman is heard sobbing but when sat at a table while "Page" makes her a cup of tea she is absolutely motionless, even though someone distressed would be visibly trembling. Finally Page moves to strangle her - even though her neck is already lolling back suggesting she is dead.

The credits incorrectly bill Derek Smith as "Dereck" on the openers and Roy Sone as "Stone". Two extra actors are credited as policemen (Barry Ashton and Michael Stainton). This is the only instance of different actors being billed on the ATV and ITC credits.