In the forthcoming British general election, a far-right, fascist party called The Victory Movement led by Sir Arthur Vane (Roland Culver) is fielding candidates against the left-wing ban the bomb Peace Party. The result is violent clashes on the streets of London, which is giving Commander Gideon (John Gregson) of the Yard a headache. But that is only the start of the problems because Sir Arthur has been receiving death threats. And things turn nasty when somebody plants a bomb in his apartment, which explodes and Sir Arthur's deputy leader, Keith Smith (Dervis Ward), takes the full force of the explosion leaving him in a critical condition at the hospital. Commander Gideon takes personal charge of the case from Chief Supt Parsons (Allan Cuthbertson), who not only fails to see eye to eye with him but also dislikes Sir Arthur's politics, after the fascist leader is furious about what he sees as police negligence. At around the time of the explosion, a neighbour of Sir Arthur's, Peter Bennett (Dyson Lovell), a married man with a high profile job, had secretly met his 19-year-old mistress, Cathy Miller (Angela Douglas), in the underground car park who told him that she is pregnant with his child. Since he was seen arriving at the time in his car, the police question him. But since he is frightened that his wife will find out about his affair and of losing his job, he is not exactly truthful about his movements. However, a police constable on patrol in the vicinity at the time saw a girl matching Cathy's description and the police put out radio reports saying that they need her to help with their enquiries. Bennett attempts to persuade her to go back home to Bristol, but she is terrified of her socially conservative and disciplinarian father whom she fears will kick her out if he finds out about her pregnancy. The police finally track her down and the pair are both horrified that they have become involved in an attempted murder investigation. Meanwhile, another attempt is made on Sir Arthur's life in Birmingham after somebody rigged an explosive to the ignition of the car belonging to the Victory Movement's parliamentary candidate there, John Hamilton, whom has been left in a critical condition and rushed into hospital. But who is the would be assassin and what is his motive? Somebody close to Sir Arthur who wants to take over the party? Could it be his clever but rather paranoid and fanatical chief organiser Geoffrey Miles (Keith Baxter) or his opponent, the leader of the Peace Party Leo Samson (Inigo Jackson), with whom there was nearly a violent confrontation at the Town Hall?
Gideon's Way was one of ITC's better TV series of the 60's, which boasted good scripts and, unlike many of its contemporaries, was shot on 35mm film as opposed to videotape and got out of the studios to exploit authentic locations in London's East End. In consequence, it had better production values and has worn a lot better than other cop shows from the period. While this is probably no longer the hard-hitting, groundbreaking stuff it was back in 65 it is still high quality television and hasn't lost its ability to be thought provoking and entertaining.
Angela Douglas and Dyson Lovell provide the all important emotional centre to the story as two people who happen to be in the wrong place at the wrong time and unwittingly become witnesses in an attempted murder investigation. Douglas's character is a young, naive and lovesick teenager who falls madly in love with an older man who got her pregnant and neglected to tell her that he was already married. He also has a high powered job which he could lose if it ever came out that he had an affair with a 19-year-old teenager. Throughout he is only concerned for himself and not for Cathy. Douglas's scenes with John Gregson are especially good when he reassures her that her disciplinarian father might not be as harsh on her as she fears he will be. He offers her help in return for helping him get his man - it transpires that she actually saw the bomber re-entering the apartment block on the fatal night. Gregson, who was perfectly cast as the Scotland Yard man, skilfully brings out the human and compassionate side of his character that proves vital to his unmasking this villain and many others throughout his career. There are moments of humour too like when Gideon's young son tells his father that he is standing in a mock election at his school: "I can't remember if I'm a Liberal or a Labour", he says and asks "Is there a difference?" As well as being funny, on a more serious note, that question resonates today in a world since the banking crisis of ten years ago in which people feel disconnected from politics. It is also warning about how when politicians lose touch with people or take their support bases for granted, people sometimes turn to extremes. Gregson's scenes with Allan Cuthbertson are effective too as the two contrasting police officers who clash over their approaches to police work. Chief Supt. Parsons says they are dealing with "beatniks, hoodlums, layabouts and fanatics" whom he'd like to throw in jail. "There's no law against being a fanatic", Gideon says. "Well there ought to be", he replies and Gideon's response to that is "Aren't you becoming a fanatic yourself?", which leaves Parsons speechless and he simply states that he wants to preserve the British free democracy, which he sees as the best in the world.
Roland Culver is also very good as Sir Arthur Vane who is forced to question his political views after the sinister events that have occurred in which two of his most senior political figures are nearly killed saying that "Nothing is worth this tragedy." We wonder if it will make him a better man and see him denounce his extremist views. In addition, Keith Baxter also offers a fine performance as Sir Arthur's bright but fanatical chief organiser who shows the divisions within his party between those who prefer boots and fists and the others who favour a more passive approach to their politics. Without giving it all away, it was those divisions plus personal ambition and delusions of power that set in motion the deadly events that occurred.
Cyril Frankel, a filmmaker of wide experience who made several episodes of some of ITC's best-loved series, directs with aplomb and ensures that justice is done to the excellent script and strong material.
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