Brit Grit On The Box!
It was announced a while ago that Acorn Media, who are the main distributor of British TV programming to North American consumers, had acquired a 64% stake in Agatha Christie Limited. This means that those delicate folk across the pond will have hours of Miss Marple and Poirot to nibble on while they wait for BBC’s latest incarnation of Sherlock or the Inspector Morse prequel, Endeavour.
In comparison to these, it looks like America is the true home of cutting edge, hard-boiled crime television, with series like Breaking Bad, Southland, The Shield, True Detective, Sons Of Anarchy and The Wire, while the United Kingdom, just knocks out frigid cozies with stuck-up, Latin quoting police detectives.
However, for over forty years British television has also looked at the country’s grubby underbelly and produced plenty of gritty crime writing.
While we may think of sixties and seventies British TV cops as sophisticated post James Bonds, Frank Marker-who was played so brilliantly by Alfred Burke in the sixties television series Public Eye– was no Simon Templar, Jason King or John Steed, I can tell you.
Public Eye ran for 10 years – from 1965 to 1975- with almost 100 episodes and although I haven’t seen it since then I remember it quite well and very fondly. Public Eye, was true Brit Grit as Marker moved from a dingy office in London to another flea pit in Birminghamand eventually to Brighton, and I can still picture him walking along a wind and rain swept sea-front, looking like something from a Morrissey song.
Marker looked like a soggy mongrel, with a face so lived in that squatters wouldn’t stay there. He was a walking hard luck story too, getting knocked about by the police as well as criminals and even being framed and sent to prison.
Not a lot of peace and love there, then.
The seventies was a time when music and film were doing some pretty ground breaking and experimental stuff and, in the UK at least, so was TV. The BBC’s Play For Today, for example, is looked back upon with dewy eyed reverence these days. And so it should be. There were plays by Dennis Potter (Blue Remembered Hills), Mike Leigh (Abigail’s Party), Alan Bleasdale, John Osborne. Some of them were terrifying to the young mind- I still cringe when I remember the harrowing and brilliant Edna The Inebriated Woman. Others were hilarious –Rumpole Of The Baily, which spawned the television series.
And some were rock hard.
I was 13 in 1975, when Philip Martin’s controversial Gangsters aired, and it was great. Gangsters was true Brit Grit television. Set in Birmingham, it was a multicultural crime story about illegal immigrants and corrupt politicians. And I loved it. There was a violence, swearing, nudity! What more could you want?
The next day at school everyone was talking about it. The subsequent media furore only added to the buzz.
Gangsters was such a success it was made into a series with theme music from the prog rock band Greenslade. It told the story of Kline, played by super-craggy Maurice Colborn, ex SAS, fresh out of prison and trying to go straight. And failing. By season two, the series really took a turn for the mental, though. The title sequence now had blues singer Chris Farlow belting out the theme song and looked like something from a low budget Kung Fu film.
Indeed, it went down such a weird path that it even had writer Philip Martin regularly appearing as himself and dictating scenes to a typist. And later he appeared as The White Devil, a hit man dressed as W C Fields (a role originally intended for the comedian Les Dawson!) who eventually killed Kline.
Gangsters, which had started off as a hard hitting social realist crime drama , ended fantastically with the characters walking off the set, shots of the writers literally tossing away the script and a ‘That’s All Folks’ caption appearing on screen.
‘Daft!’ said my sister in law, who watched it with me. And she was right, I suppose, but then ‘daft’ isn’t always a bad thing, is it?
In one play and the two seasons of Gangsters there were drug addicts, hit men, sleazy night clubs, triads, murders, racist comedians, the CIA, strippers and all manner of urban rough and tumble. And W C Fields.
And on to the nineties.
Cracker was a Granada TV series that was created by the writer Jimmy McGovern which ran from 1993- 1995. A mere two years, yet it made a great impact in that short time.(Okay, there was also a fine Hong Kong set special in 1996 -and another in 2006,which I didn’t see.)
The star of the show was Scottish comedy actor Robbie Coltrane, who was previously best known for a cracking- see what I did then? – performance in the BBC’s version of John Byrne’s Tuttie Fruttie and for throwing a chair through a pub window.
Coltrane played Fitz,a brilliant, hard-drinking, heavy – smoking, bad- tempered criminal psychologist who worked as an assistant to the Manchester Police Force. “I drink too much, I smoke too much, I gamble too much. I am too much.” Top man.
Coltrane was mesmerizing. The stories were gritty and twisty and moving -even when they pushed the boundaries of melodrama. The rest of the actors involved were spot on too; in particular Christopher Ecclestone as the young detective learning more about life’s underbelly than he wanted. And Robert Carlyle was super impressive as the bitter, disillusioned Albie in the amazingly intense story ‘To Be A Somebody.’
Later, there was a watered-down U.S. version with Robert Pastorelli as Fitz. Pastorelli is a good enough actor but it really was a decaffeinated version of the original.
One of British television’s great creations, George Bulman first appeared on the small screen in 1976, in Granada Television’s hard edged crime series, The XYY Man, based on the books by Kenneth Royce. The XYY Man in question was a cat burglar called Spider Scott who was trying to go straight but regularly ended up getting caught in the MI5’s grubby web.
Doggedly on Scott’s trail was the real star of the show, Detective Sergeant George Bulman, brilliantly played by Don Henderson. Bulman was gruff and eccentric: He always wore gloves. usually had a menthol inhaler stuffed up his nose, carried his things in a plastic supermarket carrier bag and endlessly quoted Shakespeare.
It was a good series, too, but Bulman owned the show and when it ended, after two series, it was logical that Bulman and his sidekick Willis (no, not THAT Willis ) were given their own spin off show, Strangers.
Strangers –with a brilliant jazzy theme tune – started off as a pretty good, straight ahead, cop show spiced up by Bulman’s oddball character. But as the series progressed it became quirkier and quirkier, finding its form in season three when the brilliant Mark ‘Taggart’ McManus became Bulman’s boss.
The last episode had Bulman going undercover in a jazz band and featured music by Tangerine Dream and Pigbag. And the title quoted Jean Cocteau ,‘With these gloves you can pass through mirrors’- and saw Bulman trying to ditch his OCD by taking off his gloves and buggering off with McManus’ wife.
And when Strangers ended, after five series, there was still no stopping Bulman, who returned to star in his own show, Bulman. He was now an unofficial private detective working out of an antique clock repair shop with a spiky Scottish sidekick, occasionally working for a dodgy government agency or Mark MacManus. Bulman’s eccentricity was even more to the forefront in this series and the stories were comfortably off the wall.
I’ve heard from doctors that they can’t watch hospital series like ER and Casualty because of the medical inauthenticity of some scenes. Policeman surely say the same thing about the CSI franchise (okay EVERYONE says the same thing about CSI Miami). Dinner-ladies probably thought the same thing about Victoria Wood’s classic comedy series dinnerladies, for all I know.
But these glitches don’t bother me of, course. I find it easy to immerse myself in a story. Most of the time. Except, there was one scene in this cracking British television series, that jarred.
But first of all, the SP on Whitechapel.
Whitechapel was a British crime series about a rough and ready bunch of veteran East End coppers, headed by D S Ray Miles (the ever brilliant Phil Davis) and played some familiar and tasty character actors.
Well, all goes pear shaped (see how I’m getting into the lingo?) when they get a new boss, D I Joseph Chandler (played by Rupert Penry- Jones). Chandler is a fast-tracker who they think has walked into the job through having the right connections. And is he also very, very posh – a full-on blue blooded toff, even. Invariably, he doesn’t fit in with the rest of the team and clashes with Miles more than somewhat.
And things get worse when Chandler calls in a batty Ripperologist, Edward Buchan ( a top turn from the League Of Gentlemen’s Steve Pemberton) to help in his first high-profile case – a Jack The Ripper copycat.
This Whitechapel first two-parter was great fun- full of Gothic atmosphere, blood and gore, quirkiness, black humour and genuine chills.
The series was a great success and it was deservedly recommissioned. But how do you follow the Ripper story if you want to use the same copycat killer idea again?
That’s right- you bring back The Kray Twins.
Whitechapel’s second most famous killers come back as ghosts seeking REVENGE and go on the rampage. Or do they?
Not a bad set up, but this story didn’t seem to have the same bite as the Ripper story. And Buchan is not only a Ripperologist but an expert on the Krays? Mmmm …
They also used some weird CGI to make one actor look like both twins. And they got the location of a famous East End boozer wrong! Everyone knows that The Grave Maurice was in Whitechapel Road but they said it was Commercial Road. And the pub that they used as a stand in for the presumably defunct Grave Maurice, looked nothing like it. Still it was enjoyable enough tale, had its tense moments and some nice East End locations and atmosphere.
But where do you go in season three if you want to follow the same formula?
Well, you don’t have any other Whitechapel killers as famous as Jack The Ripper and The Kray Twins, so they did a sensible thing and focused on murders that echoed obscure and less well-known East End killings. And some chillers there were too, including a locked-room-mystery and fun reference to Lon Chaney. Also, this and later seasons were split into three separate two-part stories which worked really well.
So, a cracking fun series with nice chemistry between the cast, funny, quirky moments, suspense and gore, and some smashing, ripping yarns.
And since then? Well we’ve had Spender, Luther, Top Boy, Happy Valley and the splendid Scott & Bailey. Also, Howard Linskey’s cracking Geordie gangster novel The Drop is being adapted for television by none other than J J Connolly of Layer Cake fame. And let’s hope we can find a new generation of crime writers to put some more Brit Grit back on the box.
#britgrit: Is Charlie Higson The Godfather Of Brit Grit?
At some point in the ‘90s, I managed to end up on the guest list for a press screening of Robert Benton’s crime drama, Twilight. The screening was - I think - in Mr Young’s Preview Theatre in the heart of London’s Soho.
It was a dangerous thing to invite me to; there was free food and drink. But there you go!
Various press types were there, including an American with a grating voice and the great Kim Newman – who was being as witty and funny and clever as you’d want.
Just before the film was due to start, a figure wearing what looked like a shabby raincoat – but was probably some swanky designer clobber- and carrying a rattling, clinking plastic bag turned up.
It was Charlie Higson, who at the time was film critic for Red Magazine. Higson sat behind me during the film and – it seemed to my overly booze- sensitive ears – worked his way through a fair number of the bottles of beer that were in the carrier bag. Of course, it could have been Evian but that’s not very gritty, is it?
Higson, at that time, was best known as one of the stars and writers of The Fast Show – a brilliantly funny and bitter-sweet comedy sketch show that has been much imitated and never bettered. Now, he is probably best known as the author of the hugely successful Young James Bond YA books.
But he is also the writer of a bunch of dark and funny urban crime/ horror novels that led him to be described as “The missing link between Dick Emery and Bret Easton Ellis”.
King Of The Ants, his 1992 début novel, is the story of Sean, a pretty useless builder’s labourer, who covets the rich peoples’ homes that he works on and is offered a dodgy surveillance job which then turns into a contract kill. And worse.
King Of the Ants was praised by the great Patricia Highsmith, no less, and the praise is deserved. It is a classic piece of Brit Grit noir, full of bitterness, resentment and underachievement. And humour.
This was followed by more cracking books, including The Full Whack, the cruel and hilarious story of a former football hooligan who is trying to sort his life out when he encounters a couple of blasts from the past that are positively seismic.
Charlie Higson will probably be up for an OBE or something soon but don’t worry ‘bout the rocks that he’s got – Charlie Higson has TRUE BRIT GRIT.
CRIME FICTION LOVER recently reviewed his latest novel WHATEVER GETS YOU THROUGH THE NIGHT and it looks to be a corker!
Paul Burke recently interviewed Charlie Higson HERE.
#films #britgrit: CHARLIE BUBBLES (1967)
“Are you still working sir or do you just do the writing now?”
Charlie Bubbles (1967) is the only film the great Albert Finney has ever directed.
Charlie is successful writer; an aging angry young man who – jaded and cynical, drunk and disorderly – living in London. He decides to go home again to revisit his ex-wife and child in the North, where he was born, dragging along his wraith like and waif like secretary, Liza Minnelli.
Charlie roams the frozen wastelands of post WW2 Salford in a Rolls-Royce Silver Cloud III convertible looking like a fish out of water, unable to find the ‘roots’ that he was once so keen to free himself from.
The ‘false values ‘ of the South are thrown in Bubbles face by old friends although for me the key scene takes place in a swanky Manchester hotel room when an elderly waiter says:
“I used to know your father sir. We’re all very proud of you. Are you still working sir or do you just do the writing now?” Bubbles retorts “No. Just the writing.”
The film’s writer was the splendid Shelagh Delaney who also wrote A Taste of Honey and Lindsay Anderson’s 1967 film The White Bus and indeed Charlie Bubbles straddles the kitchen sink drama of Finney’s classic Saturday Night and Sunday Morning (1960) and the more psychedelic British films to come such as Anderson’s If…. (1968).
Charlie Bubbles the film, like Charlie Bubbles the man, is bittersweet and not to everyone’s taste but personally I love it.
Oh, and the names are great too.
Albert Finney – Charlie Bubbles, Colin Blakely – Smokey Pickles, Billie Whitelaw – Lottie Bubbles!
#britgrit: In Praise of ... Detective Constable Rachel Bailey
One of my favourite TV bad girls is a cop. Of course, crime fiction – whether it’s in books, films or on television – is over-populated with strong-willed, impulsive, foul mouthed, chain smoking, heavy drinking, bed-hopping cops. But with Detective Constable Rachel Bailey, in the gritty British TV series Scott & Bailey, that cliché is given a kick up the jacksy because the cop in question is a woman.
Rachel Bailey – a firecracker of a performance from actress and series co-creator Suranne Jones – is a wild card, indeed. From the offset we see she’s trouble. She’s having a fling with a barrister and risks losing her job when she uses the Police National Computer to check up on him. Discovering that he’s married, and that she’s pregnant, she blackmails him into letting her live in his swanky apartment. She later commits perjury and jeopardises a murder inquiry.
When the barrister is beaten to death, Bailey doesn’t even know if she killed him, as she was blind drunk on the night of the murder. She eventually finds out that the killer was her brother- who thinks that she actually wanted him to beat up the barrister – and she lets him escape.
In a misguided attempt to stabilise her life, Bailey gets married to a boring but nice childhood sweetheart. Any stability is short lived, however, as she quickly rushes into a drunken one night stand and pretty much moves into the home of her partner DC Janet Scott, creating friction within Scott’s family. Friction which ignites when she drunkenly shags one of her colleagues in Scott’s home.
Rachel Bailey is 100% trouble and one of the strongest characters on British television.
© Paul D. Brazill
This is some in-depth analysis, Paul. A great read. I found your thoughts on Breaking Bad fitting into the genre as surprising, but I can see the connection.