This is an impressive thriller for children with adult themes which debuted in 1976. Spies, lies and betrayals are littered through the work, and although the plot twists are not particularly challenging, they keep the interest throughout the six episodes.
Star of the piece, in his final role as Kirby (he was already dead by the time the series was broadcast), is John Gregson, who ditches his usual likable persona for a hard-drinking workaholic beer-gutted divorcée who still relies on his ex-wife for support and who can only express his love for his son through money, not intimacy. He is already half-way through a mysterious transaction when he enlists the help of Laura (Prunella Ransome) to escape surveillance. Soon, bodies start piling up, and Kirby's explanations about what is going on ring hollow. Yet the mystery seems to involve Laura's father, played by Patrick Allen (doing his patent impression of a particularly stern Easter Island statue). Accusations and counter-accusations fly. Who is the traitor?
The plot is brilliantly marshalled by scriptwriter N.J. Crisp, who plays cleverly with point of view. The central protagonist is Kirby, but the script keeps his knowledge concealed. The audience generally sees the action from Kirby's point of view, but our knowledge of the plot is essentially Laura's, and we piece together the jigsaw from the fragments in Laura's possession. A clever device that keeps our sympathies with Kirby while maintaining suspense.
Locations in Hampshire and Brittany are nicely used, although the climactic scene is rendered slightly comical by being filmed in what appears to be a force 9 gale. The plentiful use of location filming adds to the realism.
The portrayal of Kirby and his unhappy life is magnificent. There is literally no chance that any character in any children's drama today could be shown sticking away as much booze as Kirby does. Neither could one expect to see such a difficult, complex and realistic relationship as he has with wife Claire and son Robin portrayed nowadays. The obvious bond between him and Robin, and the difficulty they both have in expressing it, is remarkably moving at times, as well as being characteristic of British males in the 1970s before the world was ruined by touchy-feely stuff. Excellent performances from David Gwillim and Ruth Trouncer.
Political incorrectness is a fine thing, but it can be taken too far. If there is a false note here, it is in the burgeoning romance between Kirby and Laura. I won't anticipate the outcome in a spoiler, but will note that 24 years (between Gregson and Ransome) is a pretty big age difference. In fact, it is a larger difference than between Gregson and Elisabeth Bergner, who plays the aged Madame Lafois. 'Nuff said.
Star of the piece, in his final role as Kirby (he was already dead by the time the series was broadcast), is John Gregson, who ditches his usual likable persona for a hard-drinking workaholic beer-gutted divorcée who still relies on his ex-wife for support and who can only express his love for his son through money, not intimacy. He is already half-way through a mysterious transaction when he enlists the help of Laura (Prunella Ransome) to escape surveillance. Soon, bodies start piling up, and Kirby's explanations about what is going on ring hollow. Yet the mystery seems to involve Laura's father, played by Patrick Allen (doing his patent impression of a particularly stern Easter Island statue). Accusations and counter-accusations fly. Who is the traitor?
The plot is brilliantly marshalled by scriptwriter N.J. Crisp, who plays cleverly with point of view. The central protagonist is Kirby, but the script keeps his knowledge concealed. The audience generally sees the action from Kirby's point of view, but our knowledge of the plot is essentially Laura's, and we piece together the jigsaw from the fragments in Laura's possession. A clever device that keeps our sympathies with Kirby while maintaining suspense.
Locations in Hampshire and Brittany are nicely used, although the climactic scene is rendered slightly comical by being filmed in what appears to be a force 9 gale. The plentiful use of location filming adds to the realism.
The portrayal of Kirby and his unhappy life is magnificent. There is literally no chance that any character in any children's drama today could be shown sticking away as much booze as Kirby does. Neither could one expect to see such a difficult, complex and realistic relationship as he has with wife Claire and son Robin portrayed nowadays. The obvious bond between him and Robin, and the difficulty they both have in expressing it, is remarkably moving at times, as well as being characteristic of British males in the 1970s before the world was ruined by touchy-feely stuff. Excellent performances from David Gwillim and Ruth Trouncer.
Political incorrectness is a fine thing, but it can be taken too far. If there is a false note here, it is in the burgeoning romance between Kirby and Laura. I won't anticipate the outcome in a spoiler, but will note that 24 years (between Gregson and Ransome) is a pretty big age difference. In fact, it is a larger difference than between Gregson and Elisabeth Bergner, who plays the aged Madame Lafois. 'Nuff said.