Category: Golden Age Article

A Look at Jago and Litefoot, Part Three (Series 6-Series 8)

See Part One and Part Two

Minor spoilers ahead.

Right around the same time as the release of Series 5 of Jago and Litefoot, the duo guest starred in a Big Finish Doctor Who story featuring Tom Baker as the Doctor with Mary Tamm as his companion Romana.

The story is kind of a Victorian version of Judge Dredd meets Superman as a steampunk cyborg vigilante delivers swift vengeance to evildoers on the streets of London. It’s a great yarn but Jago and Litefoot are pretty much in sidekick roles.

Series Six came out in the fall of 2013 and sees them returning to their best form as they encounter the mysterious Colonel who has some business for them to do on behalf of the crown.

The series gets back to its Victorian roots with, “The Skeleton Quay,” where they go to investigate a series of murders off the coast of Shingle Cove. The atmosphere on this is perfect and the plotline is very well-written. It’s probably the most authentically Victorian story Jago and Litefoot have done.

It does feature Jago and Litefoot conveniently forgetting their time in the 1960s and their travels in the TARDIS to Venus for no explicable reason and concluding it was a dream. It’s a case of plot and writer convenience. The experiences, if retained, would probably change the characters too much so I understand why they did it. However, that being the case, Jago and Litefoot shouldn’t have gone there or they should have come up with a more explicable explanation for what happened.

Next up is, “Return of the Repressed” which has Jago and Litefoot meeting up with Sigmund Freud in a nice psychological drama. The story begins with Jago telling Freud of his dreams and then those dreams end up coming to life.

The story has some great humorous moments and for once, Professor Litefoot provides them. At the same, it provides some insight into Jago and Litefoot’s characters. It’s brilliantly written and a lot of fun.

In “Military Intelligence,” the mysterious Colonel, who called Jago & Litefoot into service for the crown at the beginning of the sixth series wants information regarding their encounters with Doctor Tulp who they battled in the “Mahogany Murderers” and during Series One of Jago & Litefoot. However, Litefoot smells a rat. A s he asks questions, the situation gets more dangerous.

The story is exciting and packed full of intrigue, mystery, steampunk elements, and a surprise guest character all leading to an ending that sets up the Series finale beautifully.

In, “The Trial of George Litefoot,” Litefoot is arrested for the murder of Jago. The idea for the plot was an intriguing one, but in the first half they strained credulity far too much. It seemed like they were concerned about laying the groundwork for the premise of Series Seven that they cut a lot of corners to get there. At fifty-three minutes, the story could have benefited from being a bit longer to fill in the gaps of logic.

However, the last twenty minutes has the story back on track with our heroes having a thrilling climatic battle with the Colonel, who has an utterly insane plan to bring down the British empire. Overall, it is a decent conclusion to Series Six.

As a whole, Series Six re-established the series’ original premise and sets the stage for Series Seven which would have Jago and Litefoot on the run and wanted.

Series Seven begins with, “The Monstrous Menagerie,” which finds Jago and Litefoot in disguise as Sherlock Holmes and Doctor Watson and sent out on a case by none other than Arthur Conan Doyle (played by Steven Miller) himself.

The story is set after Doyle’s killed off Holmes in “The Final Problem” and finds the author encountering constant cries from fans to bring Holmes back. Miller does a great job in the story and Jonathan Morris’ script does a great job playing up Doyle’s frustration.

There are some great hints and references to future Doyle stories including, “The Hound of the Baskervilles” and “The Lost World.” This is a very delightful, well-acted tale and the strongest opening to a Jago and Litefoot box set since Series One.

While the previous Series’ “Return of the Repressed” took a somewhat lighthearted look at the psychology of our heroes, Series 7’s “Night of 1,000 Stars,” examines Jago, Litefoot, Ellie, and Leela (who has appeared for a reason that’s key to the story).

It’s meaty material that has our heroes questioning which of them is behind their predicament and they come to the conclusion that one of them is in fact a killer. It’s a clever script that could easily be performed as a stage play. It’s a fantastic script that shows that there’s still a lot more depths to plumb with these characters.

Murder at Moorsey Manor features Jago and Litefoot showing up at a mansion for a party under assumed names to speak to a key witness who can clear them. However, they find out that they’re at an early convention. Then they and the other guests discover that they’re in an old house where one person dies every hour. Murder at Moorsey Manor is evocative of, “And Then There Were None…” and other “old house” murder stories.

The story moves at a good pace and manages to blend suspense with comedy in a way that is seamless. The finale and solution to the case are superb and cleverly executed. The story concludes with them apparently arrested.

However, in the series finale, “The Wax Princess,” Jago and Litefoot, to their surprise, find themselves not under arrest. Instead, they learn Jack the Ripper was captured by Inspector Abeline but he’s escaped and it’s up to them to find him.

The story works. There are some great suspenseful moments, a strong performance for Sergeant Quick, a nice bit of misdirection over the identity of the Ripper, and even a somewhat funny bit where Lightfoot impersonated Jago.

The story wasn’t perfect. The whole premise of the box set was dealt with and dismissed rather quickly. “Forget about that whole being on the run thing, the police need you to hunt Jack the Ripper.” Also, I have to admit the realization of Queen Victoria was a little weak. Having the actress who played her talking in a very high falsetto seemed a bit below the typical standards of the series, although she still managed some good moments even with that voice.

Overall, though this was an enjoyable conclusion to one of the best series of Jago and Litefoot.

Between Series Seven and Eight, Big Finish released, “The Worlds of Doctor Who,” a good marketing idea that featured a story that would feature episodes from three Doctor Who spin off ranges and then a Doctor Who episode with Colin Baker’s Sixth Doctor. The four stories would be inter-linked by the same villain operating in different times and places.

Jago and Litefoot are in the lead off story, “Mind Games,” where the duo look into a series of murders in London when they find a man who dreamed he committed the murder and another is awakened before following through. The clues point back to a hypnotist named Mr. Rees. Overall, this was unremarkable Jago & Lightfoot fare. Our heroes provide charm but little else. The story’s problems may stem from the fact it’s the start of a storyline that would be picked up 3/4 of a century later.

They do make a cameo appearance in the third story for UNIT, “The Screaming Skull,” via a recording done on a wax cylinder. It’s a nice touch and Big Finish did a great job treating the audio so it sounded like an authentic wax record from the late 19th or early 20th centuries.

In the fall of 2014, Jago and Litefoot Series 8 was released and it was a bit of a departure from most of the recent box sets. Usually, at least three of the four stories are interconnected, starting with the first episode. However, in this set, the first and second stories are standalone tales and the final two episodes are essentially a two parter.

The set kicks off with Jago deciding to hire a puppet act in, “Encore of the Scorchies.” Little does Jago know the Scorchies are evil alien puppets (from a Doctor Who audio in which they were the titular characters.) It doesn’t take long before those evil killer puppets are up to their old tricks as they get hired on to perform at Jago’s theater and the result is mayhem.

The episode is full of superbly written musical numbers and are performed brilliantly with some very good guest vocalists as well as a couple of strong numbers from Jago and Ellie. The Encore of the Scorchies has some very funny scenes, most notably the one where the Scorchies expected to blow Lightfoot’s mind by explaining they were evil aliens bent on world domination and found him unimpressed, plus the final scene for Ellie has a great humorous twist.

At the same time, the story never loses sight of the genuine horror of what the Scorchies are doing and it how it effects the characters in the story, which manages to give it a neat balance. Overall, this was a very memorable start to the series.

“The Backwards Men,” has Jago and Litefoot looking into mysterious deaths that center around Wednesday’s World of Weird Wonders. It marks the return of Andy Lane who wrote the Mahogany Murderers but hadn’t written for the series since Series Three. The story has a lot of fun touches that seem quite true to the Victorian era . The story features an extra-terrestrial element including an alien symbiote that’s not everything he seems to be.

The villain was given an interesting backstory and motive. The final few minutes were riveting with Jago fighting for his life and mind.

“Jago, Litefoot, and Patsy,” introduces the Mudlark Patsy,  who discovers a fish with a man’s severed hand in it. This leads to her foisting herself on Jago and Litefoot as she wants the fish back when the investigation is done. Through the course of the story, she’s given an interesting backstory as the Queen of Jacob’s Island.

This one is solidly atmospheric with Flaminia Cinque turning in a solid performance as Patsy and the story maintaining some great Victorian atmosphere and a well-done final confrontation and a final scene that set up the box set’s finale.

“Higdson and Quick,” is a very different finale that finds something very wrong with our heroes and it’s up to Ellie and Inspector Quick to save the day.

At the core of the story is the idea of Jago and Litefoot being under an alien influence but it not changing their personality. It’s very well acted by the two leads. The whole plot is fascinating, and it features well-realized scenes on a train.

Series Eight left our heroes quite beleaguered and emotionally drained and ends with them deciding to recharge by taking cruise expecting nothing eventful at all to happen, but they’d learn better in Series Nine, which we’ll discuss next week.

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A Look at Jago & Litefoot, Part Two (Series 3-Series 5)

After having discussed Series 1-2 of Jago and Litefoot last week, we continue with Series 3-5.

Series Three saw Jago and Litefoot reunited with Leela (Louise Jameson) from “Talons of Weng-Chiang” of Doctor Who as she returns to19th Century London at the request of the Time Lords.

The series shifted to a more Science Fiction and Fantasy feel after the horror of Series Two.

The first story, “Dead Man’s Tales,” established Leela as part of the cast as she’s investigating cracks in time where the future is bleeding through to the past. The story has some faults, particularly that the solution to the main plot doesn’t involve any of the heroes. Still, the story is a lot of fun and has more comedy than most any other Jago and Litefoot story. After the dark beginnings to the first two series, this showed how the tone of Series 3 would be different.

The next story, “Man at the End of the Garden,” is Matthew Sweet’s debut writing for Jago & Litefoot and it’s a memorable one as Jago & Litefoot investigate the disappearance of a female Fantasy author. The story has got a fantasy feel of its own with some mystery and horror elements thrown in combined with some fine character moments.

Next up John Dorney’s first script for Jago and Litefoot, “Swan Song,” which finds the intrepid trio encountering ghosts from the future in a team of scientists whose lab was built on the site of Jago’s theater. The story has some great emotional moments with Jago forming a bond with a scientist from the future whose dream of being a dancer was destroyed by an auto accident.

Finally, “Chronoclasm” wraps up the season as we see the villain behind it all. It’s a thrilling and action packed story with some great twists including two different version of Jago from differents appearing. The only downside was that the villain’s motive, which was meant to humanize him, is a bit overdone.

Still, Series Three remains one of the best sets Jago and Litefoot with the middle two stories being outstanding examples of how good the series can be.. The addition of Leela gives the stories a good tone as well. Originally, she was supposed to leave at the end of Series Three, but would return for one more turn as in Series Four they encounter the mysterious Claudius Dark.

Series Four came out in March 2012 and got off to a rough start in the first few scenes of, “Jago in Love,” as Series Three ended with the cliffhanger and the opening scene of the box sets resolves it but not in a way that makes sense. However, once everything is straightened out, Jago, Litefoot, and Leela decide to take a holiday at Brighton where Jago falls completely, madly, disproportionately in love with a singer. However, some strange ghostly evil is afoot and Lifefoot and the Professor will need Jago’s help to take care of it, but is Jago set to leave his friends behind forever?

This is a story that could easily become pantomime because most of these premises have done in fiction to death, yet the story comes off beautifully. Nigel Fairs’ script is handsomely written and thoroughly researched. The soundscape is great and I loved the recreation of the 19th Century music as well as the fair.

In “Beautiful Things”, courtesy of Professor Dark, Jago and Litefoot get tickets to an Oscar Wilde play but Litefoot has had a bad experience with Wilde personally and would rather look at cadavers. Litefoot finds himself involved in the investigation of several young men who have gone into comas. Jago and Litefoot find the crimes are tied in with a man who’s been trying to meet Mr. Wilde. Writer John Dorney does a great job at capturing Oscar Wilde. I loved his interchange with Jago when Wilde teased Jago’s verbosity. Wilde also shines in the when confronting the villain. This would also be the first of many Jago & Litefoot to feature Victoria-era historical figures.

In “The Lonely Clock,” After the events of the previous story, Jago and Litefoot board a train to flee their enemies and are separated from Leela. The ghost train is great atmosphere and leaves Jago and Litefoot to play off one another in this spooky environment where time seems to be changing speeds, and then they find a dead woman on the train.

At the same time, Leela and her companion encounter a woman who just murdered her fiance and has more secrets to hide, having had an offer to represent her by an attorney, who happens to be one of the enemies of Jago, Litefoot, and Professor Dark. This story works solid sound design, great acting, and a great conclusion that is exciting even if I found the shocking reveal to be instead a bit expected.

In, “The Hourglass Killers,” Claudius Dark really takes the lead here as he confronts the nefarious scheme of Kempston and Hardwick, who have been lurking to one degree or another throughout the box.

Jago had some great character moments, both in terms of revealing his emerging courage, as well as being re-united with the woman he fell for in, “Jago in Love,” and has a very poignant end.

Series Four is another superb box set with some fantastic science fiction elements. If anything, it’s slightly stronger than the previous series. The sets ends with our heroes heading with the Sixth Doctor (played by Colin Baker) in the TARDIS and thus becoming actual Doctor Who Companions. Rather than having another series come out in the Fall, Jago and Litefoot appeared in two stand-alone single disc Doctor Who stories.

First up was, Voyage to Venus which finds the Doctor, Jago, and Litefoot landing on Venus. It’s a pulp fiction vision of Venus with a matriarchal society you’d read about in a 19th century or early 20th century science fiction. It’s a fun idea and fairly well executed.

The second tale was Voyage to the New World which has the trio travelling to the 16th century and exploring the mystery of the lost colony of Roanoke. Matthew Sweet turns in a script that’s a well-researched and well-written story filled with rich and evocative atmosphere and language. Sweet shows incredible talent in creating a script that grips the imagination, while creating a wonderfully charming fantasy.

The leads all turn in great performances and are graced by a superb guest cast.

The story ends with the Doctor dropping Jago and Litefoot off back in London. It turns out that he gets them into the exactly correct location, only a little later than they would have hoped–about 75 years later.

Series Five of Jago and Litefoot came out in the Spring of 2013 finds them dealing with living as men out of time in the late 1960s. Ellie has survived into the 1960s without aging much due to the experiment done on her in Series Two and now owns the former Red Tavern. She’s a different character at this point which makes for a different dynamic in this series. In addition, this set features a great, updated 1960s version of the Jago and Litefoot theme.

The series does a good job setting up Jago and Litefoot in the 1960s in the first story,  “Age of Revolution,” with Jago as a TV presenter for a Victorian Music hall revival show, “Those Were the Days” while Litefoot runs a Victorian bookshop. The second half of the story goes a bit off the rails as the writer tries to use Jago and Litefoot to make a political point.

“The Glutonous Guru” finds a classic 1960s new age guru worming his way in, in more way than one. As Litefoot and Ellie race to save Jago from a horrific fate that he seems all too eager to embrace. Writer Marc Platt really took the 1960s setting and went to town with it. The story is not for everyone and I couldn’t recommend listening to it anywhere close to mealtime.

“The Bloodchild Codex” is about an 18th Century magician who found a way to provide Eternal life and two different people who want the book that will do it. A somewhat typical ghost story that’s unrelated to the series arc and therefore cut short to support the arc. Really, this story could have just as easily occurred in the Victorian era.

“The Final Act” finds Jago and Litefoot fighting the villain of the box set in what’s essentially a bit of a sequel to “Talons of Weng-Chiang.” The story has some good moments but loses momentum at the end as writer Justin Richards can’t resist throwing in one more element of Talons. Other than the fact it took the villains three generations to prepare their evil scheme, like the previous story, there’s little that demands this story be set in the 1960s.

The Fifth Series of Jago and Litefoot isn’t bad but it’s a bit frustrating and one of my least favorite series. The series showed there was great potential for taking these two investigators of the infernal and plopping down in a different century. Yet, only in, “The Glutonous Guru,” did the series realize the 1960s potential to its full worth. If anything, Jago and Litefoot were a bit too comfortable with the 1960s and too adjusted to it as the series started and that made them seem like different characters. If Big Finish wanted to do Jago & Litefoot in the 1960s, they should have done two series of these so they could really get into the feel of the era. Instead this set is kind of written with the thrust that they’ll be home by the end of the set, so they don’t really play it up to its full potential.

Of course, there’s a good case to be made that this was a big departure for the series and perhaps shouldn’t have been done in the first place. Certainly, it’s fair to say the series had drifted from its original premise. The Mahogany Murderers had presented Jago and Litefoot as fighting infernal forces in Victorian England. This series is about time travelers who have visited Venus and are having the Doctor and his companion around for adventures and it isn’t quite what many were expecting.

Series Six would change that as Jago & Litefoot returned to their roots. That’s not to say they were done with the Doctor, but the next time they met the Doctor, they would be guest stars in his series and not the other way around.

We’ll take a look at Series 6-Series 8 next week.

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A Look at Jago & Litefoot, Part One

Big Finish’s audio drama series, Jago and Litefoot will soon release it’s twelfth series. It follows theater owner Henry Gordon Jago (Christopher Benjamin) and pathologist George Litefoot (Trevor Baxter) as they team up as investigators of all things infernal in late 19th Century London.

What are the origins of this series and how did it become popular? The story of Jago & Litefoot is the tale of a long overdue spin-off and the freedom audio drama gives actors to play roles they would never be allowed to play in a visual medium.

In the course of the next four weeks, we’re going to take a look at the entire series over the next four articles.

The Origin

Jago & Litefoot

Jago and Litefoot originally appeared in the Doctor Who TV story, “The Talons of Weng-Chiang,” in 1977 which finds the Fourth Doctor (Tom Baker) and Leela (Louise Jameson) travelling back in time to the late Victorian Era. It’s a story that’s noteworthy for its period feel. The Doctor abandons his typical suit and long scarf for a Sherlock Holmes outfit complete with deer stalker cap while Leela trades her short jungle dress for a proper Victorian look. In the story, the Doctor investigates a series of strange murders and he obtains the help of Litefoot the pathologist, and Jago, whose theater is at the center of the killings. However, the Doctor meets the characters separately during his investigation and the two only come together in the last episode.

However, when they came together, the dynamic was great.They were praised as a fine double act. Writer Robert Holmes reportedly liked the idea of the two having their own spin-off series.Many fans over the years would agree, but no one at the BBC saw this as a worthwhile project and nothing came of it.

Benjamin and Baxter certainly knew little of it and didn’t  work together for the next 30 years. Both had very prolific careers with a combination of stagework and television appearances. Benjamin’s career was the picture of a character actor as attested to by his 168 acting credits through IMBD. His credits read like a history of British Television with appearances in series such as Foyle’s War, the Tomorrow People, Rumpole of the Bailey, Yes, Prime Minister, and the Return of Sherlock Holmes as well as appearing as another character in the revived series of Doctor Who as a different character. Baxter’s career was no less prolific, but it was focused more on the stage and included play writing as well as appearances in a few films.

By 2009, Benjamin was 74, and Baxter 76. It was safe to say their time on a Victorian Doctor Who serial was little more than a happy memory for them.

The Pilot
Mahogany Murderers

Benjamin and Baxter worked together for the first time in more than thirty years on the Mahogany Murderers, which was released by Big Finish in June 2009. The story was officially released as part of Big Finish’s Companion Chronicles line of audiobooks. The Mahogany Murderers was strikingly different than other releases in this line as it was not really an audiobook, but a two-handed audio drama and it became a backdoor pilot for the series. In addition, despite featuring the Doctor Who theme music, the Doctor doesn’t appear.

The plot involves Jago and Litefoot meeting up at the Red Tavern and telling each other about strange encounters they had. For Professor Litefoot, the case begins to get strange when a body is pulled from the Thames and turns out to be a very well-detailed mannequin or is it?

It actually proves to be a part of a plot by a gang of criminals who want to live forever, and they are assisted by the mad genius, Doctor Tulp.

The story is brilliantly acted as Jago and Litefoot recount the tale with gusto. The story becomes more complex and creepy as it develops and the truly diabolic nature of the business is revealed.

 

The release was a critical and commercial success. It showed the potential for a series of Jago and Litefoot adventures.

The Series Begins

The Jago & Litefoot series has had a very consistent feel to it over the course of the last eleven box sets, aided by the continuing presence of most of its key principles. The series is produced by David Richardson, with scripts edited by Justin Richards, and\ directed by Lisa Bowerman.

In The Mahogany Murderers, Bowerman took on the functional role of the minor character, Ellie Higdson, the barmaid. The role grew to become the main supporting character through the entire series. Conrad Asquith, who played Police Constable Quick in the Talons of Weng-Chiang, reprized the role as Sergeant and later Inspector Quick in every box set except for Series 5.

The cast and the creative team were in place and thirteen months after the Mahogany Murderers was released Jago & Litefoot released their first series box set. Each box set would contain four stories, written by three or usually four different writers. Details of the first two series with minimal spoilers follow.

In this first series, the show is very entertaining but it’s clearly trying to find its feet. While there was a single villain behind the scenes, each story has a different flavor as there’s a sense of trying to discover what works best. The first story “The Bloodless Soldier” is a werewolf tale and it’s followed by “The Bellova Devil” which is a more traditional detective mystery, then “The Spirit Trap” has them taking on what they think is a phony medium but who turns out to be far more dangerous than they imagined, and then wraps up with “The Similarity Engine,” which has a very strong steampunk feel to it.

The series set down a few key precedents. Because it is set in the same universe as Doctor Who, the infernal things that Jago and Litefoot investigate will tend to have causes that are naturalistic, alien, or mad science related. Even if there’s a werewolf, the series will offer a natural explanation for it rather than suggest an ancient curse or something of that sort.

The first series also had to be concerned with the character development of Jago. Jago has endearing traits that make him a fun supporting character but that could pose a problem as a lead. Jago can be a pompous and is almost always the over the top impresario ready to drop a grand alliteration, such as, ‘Slumbering somnambulists to the slaughter!’  In addition, if written in the wrong way, Jago could easily be one dimensional and the teaming of Jago and Litefoot would be that of the erudite Litefoot and blustering cowardly idiot Jago.

The series chose to go another direction and right from the first episode, Jago is established as something different. Jago faces a fateful decision, a moment of truth at the end of “The Bloodless Soldier,” that forces him to take action and spurs his journey towards being a believable hero of the story. And rather than Litefoot being smart and Jago being dumb, the series establishes the duo as complimentary. Litefoot is better read and expert in scientific investigation, however Jago’s years of experience in the theater have brought him a specialized skillset and a sort of street smarts that helps him catch things Litefoot might miss.

Overall, the first series does a great job of laying the groundwork for the whole Jago & Litefoot audiodrama.

In the Winter of 2011, Series 2 of Jago and Litefoot was released. This second series had a much darker feel. It kicked off with Litefoot abandoning Jago for a new partner in Gabriel Sanders in “Litefoot and Sanders.” After killing off Ellie’s brother in the Series 1 opener, Ellie herself dies in the opening story and our heroes take a spooky night train to ensure the safe burial of her remains only to discover foul experiment afoot among the bodies in, “The Necropolis Express.” In  “The Theatre of Dreams,” Jago books an act that can make your dreams come true but of course, this promise has a dark side. Finally, in “The Ruthaven Inheritance,” Litefoot is fired and Jago is tricked into selling his theatre. Both men get 500 pounds and the villain’s endgame comes into play.

“The Theatre of Dreams” is probably the outstanding story of the series with its mind-bending plot and the way it challenged listeners’ perceptions. The series strengthened the relationship between Ellie and our heroes. They show obvious care for her. When they find out she’s not really dead but has been transformed into a vampire by the villain of the story, Litefoot sets out to cure her and Jago takes care of her despite her making him nervous. Her vampirism is gone by the end of the series but some of the after effects play a role in Jago and Litefoot stories for years to come.

On a negative side, the final story put Ellie, Jago, and Litefoot in serious straits and the finale offers cheap solutions that aren’t entirely satisfying. In addition, the tone of the stories was too dark for the lead characters, particularly in the second box set.The first two box sets were well-written but it’d be hard to describe the series as fun. The series had some strong stories but they needed to find the right tone. They’d take a big step towards that in Series 3 and they’d do it with some old friends and new writers. We’ll talk about that next week.

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DVD Review: The Hildegard Withers Mystery Movie Collection


This DVD set brings viewers all six of the Hildegard Withers mystery movies that were released in the 1930s. The series began in 1932 with Edna May Oliver in the role of Hildegard Withers and James Gleason as Inspector Oscar Piper.  Oliver was succeeded in the lead role by Helen Broderick and then Zasu Pitts with Gleason continuing the whole run.

Each film was very much of its era. The acting from the supporting cast in the early films showed the struggle of many actors to adjust to the fact that talking films were different, so there’s a lot of over-acting. There’s also quite a bit of melodrama in the plots (although the ending to the first film The Penguin Pool Murders cut against that grain.) Inspector Piper is, in many ways, typical of movie police inspectors of the era. He always accused the right person of committing the crime because he always accused everyone of committing the crime.

The strength came down to the lead actress. Edna May Oliver elevated these films above the typical mysteries that dominated this era. Her take on Hildegard Withers was perfect. She was a proper middle-aged school teacher who was used to being listened to and commanded respect as she would speak to any man as if she were their stern school teacher rather than just a school teacher. She had both a sharp tongue and a sharp mind. Oliver’s delivery is a joy to hear.

At the same time, she had a streak of romanticism about her, as well as a caring nature. Oliver played great off Gleason as the two worked together to solve the case and were also gently competitive and even romantic.

Oliver was replaced by Helen Broderick whose one outing in, “Murder on the Bridal Path,” was fairly unremarkable. Zasu Pitts took over the role and the production took an interesting turn. Pitts was known for playing somewhat ditzy comedic roles and was also several years younger, so her Hildegard Withers is a much more flighty character than how Oliver played her, and Inspector Piper is actually the key figure in solving the case in Pitts’ first outing as Withers in, “The Plot Thickens.”

While I didn’t care much for Pitts’ first turn as Withers, her second (and last), “Forty Naughty Girls,” is actually pretty good. It’s about a murder at a Broadway play. Piper begins the investigation while the play is still going on. Withers smells perfume at the scene of the murder and goes and smells every woman on the stage in search of one that could provide a clue. The movie clocks in at just over an hour and the entire film is set in that one setting over the course of about an hour, so the movie goes along at an almost real time pace. While Pitts plays Withers a bit smarter, it’s still not at the level set by Oliver. It feels like Pitts is playing Pamela North from the Mr. and Mrs. North TV series.

Overall, the three Oliver films are very good and the others are okay for the most part. The more you enjoy films from the early to mid-1930s, the more you’ll get out of this set. My only complaint is that they didn’t get the rights to the Eve Arden Hildegard Withers telefilm for this set and include it in the release.

Rating: 3.5 out of 5.0

 

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Audio Drama Review: Avengers: The Lost Episodes, Volume 6


Big Finish released the penultimate volume in is Avengers: The Lost Episodes range, recreating the mostly lost first season of the Avengers featuring David Keel (Anthony Howell) and John Steed (Julian Wadham). This release and Volume 7 (which will be released in January) contain three episodes rather than four as did the first five sets. Here’s a look at the three stories included:

The Frighteners: This is an adaptation of one of the few episodes to be preserved from the Avengers’ lost season. While I’ve never seen the TV version, Big Finish’s take on the story is a very good one.

The titular Frighteners, a group of thugs who blackmail “patients” (i.e. victims) with severe beatings if they don’t perform a desired action that their clients want are genuinely creepy and menacing with their euphemistic language.

At the same time, this is a fairly complicated problem for Keel and Steed compared to the others they’ve faced because they not only have to deal with the Frighteners (Counter Measures), they also have to deal with one of their victims, who has his own agenda for wanting to marry a wealthy man’s daughter. Keel really shows how much he’s grown since he first appeared, easily taking the lead both physically and in planning.

With a guest appearance by Hugh Ross, this is an extremely enjoyable episode and one of the best stories released so far.

Death on the Slipway: This story is a somewhat standard spy tale, that finds Steed investigating a mysterious death at a shipyard with the British Navy’s latest submarine is being built. The sound design is solid on this as it really conveys the feeling of a 1960s shipyard. Death on the Slip has some good moments with Steed in the spotlight as Dr. Keel is relegated to a couple comedic scenes back at the surgery. It’s a decent enough story of a break-in gone wrong and the spy is menacing, but the production’s not a stand out by any means.

Tunnel of Fear: Steed goes undercover at a fun fair to investigate strange goings on after an exonerated prisoner who had pretended escape and worked at the carnival, is beaten so badly he didn’t remember what happened. This is another good story with a bit more humor thrown in. Steed has some of the best lines of the entire Lost Episodes series in this story and there’s some superb fight scenes. The villains are pretty typical, but the unusual locale makes this a fun story.

Overall, this is a solid box set that lives up to the high standards Big Finish has set for the series.

Rating: 4.0 out of 5.0

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