TV Gold

I return fresh from watching a couple of episodes from the fifth disc last night and when you get a story that is particuarly good its much easier to offer words of praise. I found the seventeenth story a particularly good offering which metaphorically had me 'sitting on the edge of my seat anxious to see how events would eventually be played out'. In the meantime I'd like to kick off today looking back at the first of the two parter which I watched last week...

### (DISC FOUR / 15) ### LITTLE MAN, BIG GUN – PART ONE (by Vincent Tilsley) (51:13)
Part One – This time you’ll find that the opening titles only feature Gratz and Nina as the main regular characters on offer for this story. We open with a momentary with a cursory look through a cross haired periscope before the submarine surfaces and a lone frogman is deployed into the water. This lone figure swims to the shore and as he arrives the familiar features of Sergeant Gratz can be seen nearby looking down at the beach through high powered binoculars. The new arrival removes his mask and cowl and the distinctive features of actor Ian McCulloch (probably best known for playing Greg Preston in the original 1970s version of Terry Nation’s “Survivors” series) are readily apparent in the minimal dawn light. Having made his way to a nearby sand dune it is here that he finds a half buried radio transmitter but has limited time to make use of this apparatus before the Germans led by Gratz move in to take him prisoner. There is a momentary attempt to escape but a warning shot from our fair haired Sergeant puts any thoughts of fleeing out of the mans mind. On their subsequent arrival at the local German military headquarters Gratz dismisses the accompanying soldiers before he begins interrogation of his prisoner with the fairly amiable enquiry as to why the RAF should make airdrops in the area at five minute intervals with the contents being merely stuffed dummies, one of which bears a surprisingly similarity to Hitler. Apparently almost a week has elapsed since the previous wireless operator died and then this stranger comes ashore. Following established procedure for captured military personnel the fair haired man rigidly confines his response to his name, rank and number as being ‘121837 Mainwaring, David, Captain British Army’. Gratz is relatively unperturbed by this and continues his good natured approach but it is apparent that this opening exchange was never going to provide much of note. Wisely we then shift to Gratz’ residential apartment where we see, reclining on the double bed, the familiar presence of series regular Nina, last seen travelling in a car late at night accompanying the Sergeant heading towards Bordeaux at the end of “The Enemy You Know” (episode 12). It soon becomes apparent that the illusion of a believed safe, secure lifestyle with Gratz has faded and this is best illustrated by their initial conversation which develops into an emotional outburst from Nina. It is the promise of ‘no more questions and peace and safety for the rest of the war’ that she believes has been a total lie which emphasises the fragile relationship together. Whilst attempting to reassure her Gratz asks “If I can get a divorce will you marry me?” which I believe is the first indication in the series of the Sergeant’s current marital status. Moving the conversation on and in an attempt to maintain Nina’s identity as an active and reliable resistance member he gives her details of the prisoner he has recently captured (a general description including age about 24 and 6ft 2in tall in height) for her to pass onto the local movement. The next scene takes us to an enclosed attic area where four men, clearly members of the local communist resistance exchange their concerns about the non arrival of a replacement wireless operator. There are a couple of familiar faces portraying these characters, the first of which, known only as Claude is David Garfield whom I believe had a minor cameo role in the ‘classic series’ Doctor Who epic “The War Games” as German officer Von Weich. Claude is the most outspoken about what he believes is the irrelevance of a wireless operator to their forthcoming sabotage of a train passing through a local factory. Their discussion shifts to Nina, the ‘mistress’ of Gratz and their suspicion as to whether she can be trusted. This is well timed as the woman in question then enters the local bar below where the men are talking. Speaking with the patron of the establishment Nina asks for a coffee and the use of the washroom something that is clearly a coded enquiry as she is then led with eventual wearing of a blindfold, into the room where the four men are. Whilst they are talking Nina soon discerns that one of them is Raoul, code named ‘Voltare’ and with the blindfold removed we see the familiar features of actor John Savident (possibly best known for a second season “Trial” appearance in BBC space opera ‘Blake’s Seven’), with his character bearing a noticeable scar on his left cheek. This segment concludes with suspicious tensions rising to such an extent that Nina is held at knifepoint with ‘Voltare’ asking “tell me about ordinary little Sergeant Gratz!”

Part Two – It is the next morning and Gratz, intent on making some progress with his prisoner, resumes his interrogation. We have now moved on from the simple ‘name, rank and number’ statement and there is some worthy interplay between the two characters with Gratz attempting to maintain the moral high ground particularly when he begins by getting Mainwaring to ‘salute a superior officer’. Despite the difference in rank the Captain is fairly direct in painting a personal derogatory opinion of the Germans and Gratz including the use of the stories title to illustrate his contempt for the Sergeant. Their fractious relationship at one point descends into Mainwaring attempting to throttle the life out of Gratz but the Sergeant suddenly pulls a gun on the Captain so as to regain control of the situation. At this point our fair-haired German is called away when his superior Colonel Reichwein requests to see him. It is in the Colonel’s office that Gratz first encounters Colonel Klinch, with the SS officer present to convey a complaint he has regarding the two dummies that have been discovered and how he was able to capture the recently arrived British Army officer. This seems relatively secondary as Klinch has more interest in Gratz with him confronting the Sergeant to say that the SS have a dossier on him which whilst ‘making very sad reading’ indicates that he has ‘crossed their path time and time again’. His whole manner and attitude leads Gratz and Reichwein to have a shared opinion, when the SS officer has left the office, that Klinch is obviously mad. The Abwehr Sergeant clearly worries Reichwein and he expresses concerns about his continual relationship with Nina. However Gratz attempts to reassure his superior officer by saying that he has ‘merely made her believe that I’m in love with her’. The Abwehr Colonel attempts to impress on Gratz that he should attempt to “find out the codename of the captured wireless operator because if it is ‘Cadet’ it is the best they have”. Returning to the room above the bar and ‘Voltare’ impresses upon Nina that she should ‘assist in the escape of this prisoner to prove her loyalty to the resistance’

Part Three – Once again we commence with another new morning interrogation between Gratz and Mainwaring with the Sergeant initially puzzled as to “Why is my French mistress so interested in you?” He becomes so obsessed with this that the British Army Captain eventually replies “You’re stark staring crazy!” Despite or possibly because of this tactic by Gratz it is established that Mainwaring’s code name is infact ‘Cadet’ with David confirming it three times in the space of five minutes. In an attempt to pacify a tense situation Gratz bizarrely offers to engage his prisoner in a game of either snakes and ladders or chess. Reasoning that he has a moderately intelligent captor he chooses the latter and having set up the board offers the choice of black or white. David remains uncommital towards this so Gratz eventually ends up playing himself which talking about the factory train which he reasons is ‘not a common or garden arms shipment’ which is why Mainwaring has arrived. David is suitably frustrated with Gratz’ methods and with a suitable amount of rage rushes up and sweeps the chess pieces on the floor and insists that the Sergeant states just what bargain he is offering. Gratz is relatively unflustered by this and states that he should pick up the discarded chess pieces and then he will tell him. He gains Mainwaring’s promise on your honour as an English gentleman not to break his spectacles as he is extremely shortsighted, almost impotent without them. Returning to Nina, now back in the flat and initially she is looking out of the apartment window at activity in the street below, which is only noteworthy because as you will notice, particularly when she closes them, there is clearly no glass present! Attempting to call Gratz she is suddenly prevented from speaking further by the appearance of David Mainwaring whom physically restrains her whilst insisting that she replace the receiver immediately. With military activity nearby increased David cautiously takes a moment to look out of the window and reasons that he is effectively trapped in the apartment just as Gratz intended. The Sergeant has indeed allowed his prisoner to make his escape ‘look convincing’ as we see the fair haired character lying on the cell bed delicately touching his injured cheek whilst looking up at Reichwein whom is clearly incensed that the prisoner has been able to escape. Gratz is unable to gain his Colonel’s agreement to continued trust and more time to pursue his own lines of enquiry with the Sergeant being suspended from duty. Bizarrely he then follows this appeal to Reichwein’s better nature by stating that he believes love is what war is really about, something that he becomes extremely impassioned about shouting the manner in a totally irrational demeanour leaving the stunned officer and viewers wondering further regarding the Sergeant’s mental state of mind. Returning to the apartment and with David trapped there he demands that Nina tell ‘Voltare’ the message he conveyed in the first part of this episode. Meanwhile as the camera moves back from these two characters we see, from an adjacent window Gratz looking on through binoculars clearly amused by the interplay opposite. He moves back from his vantage point and accidentally stands on and breaks his glasses leaving the man to bizarrely laugh at the misfortune. This first part of “Little Man, Big Gun” begins the story in admirably engaging fashion with the introduction of newly arrived British Army Captain David Mainwaring played convincingly by Ian McCulloch. There is worthy interplay between this character and Gratz in the interrogation scenes plus we welcome back Nina and learn that life with the Abwehr Sergeant is not all that she hoped for. The narrative on offer is further fleshed out by hinted future activity for the local resistance with the worthy casting of John Savident and David Garfield in key member roles. For me there is certainly enough here for viewers to return for the second half of the story in the next episode.

I did also watch the eighteenth story last night and personally I felt that it failed to live up to the dramatic potential it initially offered. Don't get me wrong it is another marvellous story however I thought it's heightened sense of drama tailed away the further into it you got. Enough hints at what I might be saying about this and the 17th, lets get back to last weeks episodes and of the other one that I saw last week I would like to say...

### (DISC FOUR / 16) ### LITTLE MAN, BIG GUN – PART TWO (by Vincent Tilsley) (52:48)
Part One – In the dark of night with the drone of aircraft flying overhead Gratz maintains his vigil on David and Nina from the adjacent apartment block. Suddenly two soldiers burst into the room and having pulled down the adjacent blind and turned on the light demand the papers of the uniformed man crouching in the shadows. Although the identity documents prove sufficient there is a noticeable discourteous attitude from the SS soldiers towards the Abwehr Sergeant before they eventually depart. Meanwhile in the flat we learn that an hour has now elapsed since Mainwaring arrived and whilst they talk David mentions the period cottage in north London, NW1 that he owns and attempts to persuade Nina as to the appeal of the property and English lifestyle compared with what Gratz can offer her. Away from this idealist approach David is more practical to the situation in hand and, attempting to use Nina in her perceived official capacity as courier of information for the resistance passes an important message. Essentially this is ‘that the local movement must not touch the train passing through the factory’ because ‘something very secret and nasty is being made in the metal works which then is moved on to be assembled in Germany’ but at present they don’t know where or what it is. Shortly after this Gratz arrives to it seems merely to pick up his spare glasses however he remains when SS soldiers suddenly visit the residence. He answers the door and attempts to verbally placate their entry however when this fails there is a minor scuffle in the hallway which leads, unexpectedly, to Gratz pulling a gun on the men. They reluctantly depart with the outraged utterance that “this will be reported!” to which the Abwehr Sergeant shouts out with noticeable degree of passion “GOOD!” A period of calm returns to the apartment however this section concludes with Gratz answering the door to find his superior, Colonel Reichwein paying a visit. To find the Sergeant pointing a gun at him he coolly states “Have you read your military regs recently? You would be executed for pointing a gun at your superior officer!”

Part Two – Following the departure of the SS soldiers Colonel Reichwein is obviously concerned about where Gratz’ loyalties now lie and how this might have a bearing on his own situation within the military hierarchy. No doubt viewers, like myself will be a tad surprised when during the conversation the Colonel conveys that he has a wife and eleven children or maybe that was merely just a typing error in the script? Irrespective of Gratz reply the Colonel departs with him saying that there are two ‘colleague’ soldiers alongside the SS contingent whom will arrest or kill anyone leaving these premises tonight. With Gratz suitably distracted Mainwaring asks Nina to get his gun but she hesitates long enough for the Sergeant to turn his attention back to the two of them once more. With this opportunity having passed them by David then asks whether Gratz has considered working for the British to which he briefly replies that “It has crossed my mind”. However this is of little interest to him instead he wonders whether David is or could love Nina and how the Captain would potentially fare with a wife whom has Jewish ancestry. As he continues to labour the point Nina is suitably distraught and disconsolately retreats to the bed. Whilst in a clearly distressed state, her hands clasped tight over her ears Gratz stands at the large headboard and paraphrases both the mannerisms and wording of Hitler regarding the anti Jewish stance he orders his subjects to adopt. Having provoked the emotional response he was looking for from David, Gratz shifts his attention to the military surveillance outside and believing that the two recognisable Abwehr soldiers are bribeable he leaves to attempt to broker a deal. When he eventually returns to the apartment David hides behind the door and on entering it is Nina whom inadvertently betrays him ‘by her eyes’. Rushing into the room and spinning round Gratz levels his gun at the Army Captain and forces him to put down the stove metal poker. The subsequent conversation has Gratz expressing his fantasy about Mainwaring and Nina as ‘the handsome English couple’ which eventually gains the expected emotional provocation from David. However any further interaction is suspended due to the sudden arrival of Colonel Klinch whom with his men waiting outside wishes to speak with Sergeant Gratz alone.

Part Three – It is the prevention of his men searching his apartment that leads to the visit by Klinch and his insistence that he surrenders his gun. The SS Colonel insists that Gratz summon Nina and after briefing wondering if she is Jewish (something that the Sergeant is quick to deny) asks that she wait outside so that he can talk ‘in confidence’ with no one else present. The matter of his rejection of a commission in the SS (referring back to) is mentioned with Klinch then going on to talk of the planned recreation of ‘the old providence of Burgundy’ to be governed by the SS alone, clearly a fanatically unstable viewpoint such is the manner to which he talks about it. By learning ‘the truth’ Klinch intends to invest Gratz into their order and proceeds to administer a few basic tests. These consist of confirming that he is 5ft 8ins in height, measuring of the nostrils, ascertaining that he is genuinely blonde and finally a rudimentary ‘medical’ test around the man’s waist. With all conditions seemingly met Klinch is satisfied to leave however as he makes for the door Gratz returns the confidence the SS Colonel has shown in him by sharing his own personal secret. He refers back to the resistance member meeting of last year (episode one “Fare Forward Voyager”) to which Nina was present and the valuable information she now holds, something that out of sight of the two Germans, is overheard by Mainwaring from his hidden location in the adjacent room of the apartment. Naturally Klinch is shocked by Gratz having dealings with this key resistance movement member however the Sergeant manages to gain a mere forty-eight hours in which to resolve matters. With the Colonel departed the three characters are alone once more however this time Mainwaring has the gun with him believing he now has the upper hand. Gratz believes that “The dashing English knight on his white charger” will ultimately whisk Nina away however there is a sting in the tail when it becomes apparent that the Sergeant has removed all the bullets from the gun. The utter frustration welling up in David through all the time that he has had to deal with the insufferable, clearly mentally unstable Gratz finally wells up and throwing the gun away a vicious physical fight breaks out between the two men. This leads to David attempting to strangle the Abwehr Sergeant with the cord of the telephone and as the wire tightens around his neck, suddenly without warning Nina steps forward and strikes the Army Captain with the metal poker. The noisy altercation naturally brings the nearby soldiers rushing in and Gratz makes up some fictious story to cover the prone figure of Mainwaring lying on the floor. As they carry the body out of the room the story ends with Gratz moving to the adjacent bathroom to comfort the distraught Nina about what has just happened. The plans of Sergeant Gratz reach their fruition in a reasonably satisfactory, minimalist cast and setting manner which is dramatically engaging thanks to the performances of Ian McCulloch, Robert Hardy and Cyd Hayman. As well as offering a sinister development in the relationship between Gratz and Nina the events of “Little Man, Big Gun” will no doubt have a lasting effect on our female series lead whose chance of happiness and a peaceful life have seemingly shattered irrevocably by its conclusion. Overall I think this is a well paced double episode whose premise is worthy of the extended screen time.

Right I'm off to mull over 17 & 18, hope to come back soon!

Hope you all had a good Bank Holiday Monday yesterday, I return to talk about another pair of episodes starting off with this...

### (DISC FIVE / 17) ### THE UGLY SIDE OF WAR (by William Martin) (51:28)
Part One – For this episode the opening titles feature Jimmy and Adelaide and the opening scene take us to the dressing room of Bordeaux nightclub where the singer is berating the Squadron Leader’s continued presence. All she agreed to is to try and find Nina, three hours there and three hours back. Jimmy retorts that he has been delayed from rescuing Nina because Gratz’ apartment is currently being guarded by SS soldiers, something that directly ties in with the events detailed in the previous second part of “Little Man, Big Gun”. She takes exception to what she believes is a typical British airman whom is cocky conceited, needs a shave, a wash and some sleep whose comments are juvenile and unfunny. Adelaide attempts to convince Jimmy to abandon his promise to Vincent but the young man is adamant that he will ‘stay put until she puts him in touch with Nina’. Their conversation is cut short when there is a knock at the door and as he enters Allard is visibly shocked to see, emerging from his hiding place of a nearby wardrobe, Jimmy once again. At their last meeting the resilient local resistance member had promised he would kill him if they ever met again. Jimmy is unconcerned by this threat and with the rescue of Nina his overriding objective upper most in his mind he poses the impassioned uncomprehending question of ‘Why won’t you help me?’ Although he asks for money, papers and a way out for two Allard is more interested in the activity in the nearby metal works factory somewhere that they have been trying to infiltrate the research section where they believe a new alloy is being created. It has come to his knowledge that the establishment has a new Gestapo Officer whom Allard would like Adelaide to get to know. Back in the nightclub and the relatively relaxed convivial atmosphere is shattered when a plain clothes wearing SS Officer known as Haupstermfurher Hochler enters accompanied by armed German uniformed soldiers. Now for me it seems like inspired casting to find this deeply unnerving, slightly greying haired, soberly dressed dispassionate character to be played so brilliantly by Tony Beckley whom later in the 1970s will find greater notoriety to cult television fans for his portrayal of Harrison Chase, the deluded botanist millionaire featuring in the Tom Baker ‘classic series’ Doctor Who story “The Seeds of Doom”. Here in ‘Manhunt’ playing Hochler his first objective is to conduct a census of all able bodied men and factory workers present in the club. Added into the line up of civilians including Allard Jimmy is brought down from Adelaide’s dressing room where he had been sleeping and in answer as to his identity the nightclub singer unflinchingly states that ‘he is a British airman on the run’. I guess this is fairly typical coming from a character whom has no affiliation to either side in the war but thankfully Hochler dismisses the assertion as totally preposterous to which Adelaide says that he is Jacques, a distant sailor relative paying a visit. Despite this and because he is unable to present identity papers Jimmy is taken to SS headquarters for further interrogation. We switch to a plain stone walled room that only contains a couple of chairs and a table where following an initial chat with Adelaide further establishing his cover Hochler enters brandishing a file and questions our series regular. He insists that he wishes to ‘conduct this interview in private’ to which the singer says that she wishes to make a private telephone call to Lutzig with ‘something important to tell him’. This momentarily unsettles Hochler but he soon resumes by saying that Jacques will remain and join other conscripted workers leaving on a truck bound for the factory.

Part Two – We open this segment in a factory bunkroom where Jimmy has joined other workers sitting at a table playing cards whilst rousing German brass band music is played over loud speakers. This obviously grates on our series regular’s nerves and he gains the agreement of a fellow worker to temporarily disconnect the transmission. Naturally the other factory workers are initially suspicious of Jimmy especially because the newcomer has spent about two hours with the SS prior to joining them. He manages to persuade them, through their spokesman that their concerns are groundless and with having gained an uneasy understanding Jimmy then engages his conversation with Georges, an elderly electrical maintenance foreman whom has worked at the factory for twelve years. This character is played by Reg Lye, an actor whose notable appearances also include the Becket’s Hill blacksmith assistant Tom in the BBC series “Wings” and the Patrick Troughton Doctor Who story “The Enemy of the World” as the crotchety chef whom gains companion Victoria as a temporary assistant in his kitchen. Eventually the factory loud speaker is reattached at which point the music has been replaced by German propaganda new of the latest war effort. Shortly after this with peace returned to the room some of the workers loosen some floor panels and a hidden radio set is brought forth. Careful tuning in of the device brings forth a BBC London news report which contradicts the official German reports they’d just been forced to listen to. Also monitoring the transmission from the nightclub dressing room are Allard and (playing the card game solitaire at a nearby table) Adelaide. Back at the factory Jimmy gains an unofficial ‘guided tour’ of the main sections that George visits in the course of his work which include Hochler’s office and the powerhouse containing the main dynamo. It is in this latter section that Jimmy notices a square shaped metallic ventilation tube into which, with great protest, primarily for his safety, from George our series lead enters. Intent on learning what the secret project the Germans are involved in he makes fairly swift progress towards an elevated metal mesh grating from which he peers down to see a large object covered by a green tarpaulin sheet resting on an operating table in the centre of the room. On his return back through the shaft he attempts to leave the SS office only to find the door locked. Suddenly it opens to find him confronted by Hochler whom is naturally bewildered as to his presence. Jimmy manages to bluff his way out of the situation. We next see Hochler down at the nightclub once more where he has a private meeting with Adelaide where the SS Officer attempts to broker the similar level of cooperation that the singer had rendered for Lutzig. Meanwhile in the factory news of what Jimmy has discovered prompts his fellow workers to sabotage the plants dynamo. Central to this is their intention for no one to replace the end of Wednesday shift workers causing the Germans to take some kind of action. Jimmy is of course more interested in discovering what lies below the green tarpaulin and asks for Georges’ help by using the diversion of setting off the alarm to divert Hochler from his office to get the key to the room from the SS officer’s desk. He is successful and passes it to Jimmy just as he is escorted back into the factory bunkroom by Hochler and two armed soldiers. They cause two men whom are listening to their own previously hidden radio set to look into their direction full of surprise and fear with due justification because the SS Officer gives the order for his soldiers to open fire. Naturally Jimmy is horrified as the men fall to the ground but then he turns to look in Hochler’s direction where insanely a broad grin crosses the mans face!

Part Three – Returning back to his officer and on the assumption of his part in setting in motion the previous tragic sequence of events just played out Hochler says to Jimmy that he has “shown us that you are willing to keep order… is that wise?” Jimmy counters this by asking what he knows about the nightclub singer’s informer relationship with Lutzig and hints during their conversation that he would be inclined to be your informer in the factory. There is definitely a sizing up of each other in this interplay. The news of Jimmy’s new informer status within the factory is the topic of conversation between Adelaide and Allard in the subsequent scene in the nightclub. We next find Jimmy back in the ventilator shaft looking down on the same sealed room however this time the object is uncovered and it is clearly a projectile weapon with a skull and cross bones warning sign on the table stating Danger of Mines. Slightly behind and to the right three figures can be seen looking through the window from the control room, one in a suit, one in a white coat and the other in a Luftwaffe military uniform. There is a howling noise that causes Jimmy to clasp his hands to his ears in extreme pain. With the white lab coat wearing figure seated manipulating controls he is asked as to what simulated altitude has been reached as they continue to test the casing of the projectile. Having passed on some non essential information for Hochler Allard asks Adelaide for a detailed plan of the factory security system which the singer says is a tall order. Suddenly Jimmy returns and is immediately held at knife point by one of Allard’s associates. He makes an impassioned plea that he should hear what he has discovered which he agrees and he conveys a reasonably detailed picture of what is going on in this sealed room 9,000 metres clime rate, 30,000 ft in 2 ½ minutes – which is four times faster than our latest fighters. From this Allard realises the value to the resistance that Jimmy has in his current role and agrees to ‘looking after the return of Nina to London’ if he can ‘look after the factory’. In my opinion this is a brilliant story that coveys its narrative in a totally dramatically engaging manner which tantalises the viewers curiosity into exactly what is going on in the research block of the local factory. I love the way that Jimmy becomes such an integral part of events and although it is pleasing to see Reg Lye as the likeable elderly works maintenance foreman it is the inclusion of Tony Beckley whom in my mind seemingly steals every scene in which he is in. This is perfect casting with this actor giving a suitably unnerving persona to the suitably sadistic, dispassionate Hochler, no more is this evident than at the conclusion of the second segment of the story. An undoubted triumph of well scripted, tightly directed and believably acted deeply engrossing drama “The Ugly Side of War” is definitely one of the finest stories that ‘Manhunt’ has offered and is certainly essential viewing.

Well my attention is now shifting to episodes 19 & 20 tonight but before I go I'd like to say the following to give you guys the feel of the other story I watched last week, oh and before I start I must warn you that it is unavoidable that I will be mentioning a major plot spoiler so if you don't know it might be best to stop reading now...

### (DISC FIVE / 18) ### CONFESSIONAL (by Hugo Charteris) (49:16)
Part One – We have an opening titles trio of story regulars on offer for this story with Gratz, Nina and Adelaide featuring. The first scene finds us in the Abwehr Sergeant’s apartment early on a Sunday morning with Gratz reluctantly finding himself having to leave Nina alone whilst he attends to various duties that warrant his personal attention. Before leaving he attempts to impress on the young lady the importance of her remaining inside whilst he is away. There is still clear signs of remorse for the recent death of ‘Cadet’ and this is tinged with a evident sense of frustration the unremitting boredom of sitting alone in the apartment. However shortly after Gratz has left a local ‘fuel seller’ pays a call to deliver the message of Adelaide requesting that she meet her down at the local church at 11.00am that morning. To further heighten the urgency of Nina’s agreeing to this liaison the messenger imparts that it relates to a possible reunion with Jimmy. We then switch to the interior of a reasonably well realised stone church replete with pews, alter and candles however for me it lacked the stark realism that was on offer in the third episode of the First Season ‘Wish Me Luck’ series. Discretely present, wearing a shawl Adelaide imparts to Nina that she should go into the confessional booth and uttered the coded phrase of “I have born false witness” to the waiting priest. Unfortunately this commenced a tragic sequence of events which led to her being dragged out of this cubical by machine gun wheilding figures whom opened fire on the nearby onlookers including the death of the local priest. Nina, Adelaide and the inert form of the Holy Father are pulled from the place of worship, the latter leaving a brief trail of blood across the stone floor. Wearing blindfolds the two clearly terrified women find themselves brought into a darkened straw covered poorly lit room where they await to learn their fate at the hand of their captors.

Part Two – We commence this segment with the unsettling image of Adelaide tied down and initially gagged in a dentist chair in the centre of a similarly darkened room surrounded by four German uniformed soldiers and a plain clothes suit wearing fifth man. It is this individual whom leads the questioning first with Adelaide whom although attempting to show a stoic resolve is clearly deeply apprehensive about the experience. The same cannot be said for Nina when she is next restrained in the chair especially when she is initially threatened with a hand held oxyacetylene torch. Although the clear unadulterated terror and panic is more evident in Nina both actresses convey the heightened dramatic tension and suspense of this deeply disturbing scene very effectively. For Nina the questioning naturally centres on “Why was ‘Cadet’ killed at Gratz’ flat?” and they eventually gain her confession to his murder. Unfortunately the main heightened tense dynamic aspect of this story is I feel lost when it transpires that these German interrogators are infact French resistance members in disguise whom are intent on learning if either of the two women are potential security risks to their organisation. They are clearly willing to protect themselves something that is readily apparent when we discover that the murder of the church priest was in direct response to the Holy Father’s collaboration with the Germans leading to the death of twenty Frenchmen. With their true identity revealed Adelaide suggests that they give Nina a test – a mission for her to do which leads to the resistance spokesman subsequently saying to Nina that they ‘need to know Sergeant Gratz French Bordeaux friends’. So what of the Abwehr Sergeant I hear you ask? Well having returned to find, with some degree of distressed anxiety, that Nina is missing Gratz changes out of his uniform and in plain clothes suit goes to consult with the local Bordeaux Commissioner of Police Lemaitre. This is an amiable sort of chap played by Bernard Archwell, an actor whom later in the 70s went onto play Marcus Scarman, the possessed character in the Tom Baker ‘classic series’ Doctor Who story “Pyramids of Mars”.

Part Three – Returning to Adelaide’s dressing room the nightclub singer is joined by Nina when it transpires that the latter character is unable to gain entry back into Gratz’ flat as she does not have her own key to the apartment. There is some attempt at a character bonding moment with Adelaide relating that she previously had a husband and two lovers at the same time before asserting that Nina cannot stay with her and must return to live with Gratz once more. It’s a relatively brief time together because with an appreciate audience awaiting her return to the venue’s stage Adelaide departs to sing a relaxed ballad in French. At Gratz insistence Lemaitre visits the establishment and talks briefly with the singer in between songs. It’s only a little but I think important point but I personally believe the camera angles of the reflections of characters whilst they talked in the mirror behind them could have been shot better as the respective faces were slightly obscured during this scene. For me “Confessional” begins excellently with the terrifying aspect of Adelaide and Nina captured and interrogated through torture by the SS division of the German military. However when it transpires these are infact French resistance in disguise the tension largely evaporates and what follows feels rather hollow in comparison. A worthy initial premise which I feel is let down by a lack of sustained dramatic premise developments throughout its overall story length.

Oh what shall I be watching once I've finally polished off "Manhunt"? Well it's something that I've been thinking long and hard about recently. Unfortunately there is nothing of an 'official title release' nature that interests me so I've boiled it down to two unofficial titles but which one will I get first. I'm pretty certain which one I'll go for, hopefully ordering later this week.

In the meantime turning my thoughts back to last weeks pair of 'Manhunt' episodes I would like to begin today with some words about the next one I watched, and yes 'beware plot spoilers!'...

### (DISC FIVE / 19) ### THE DEATH WISH (by Arden Winch) (49:29)
Part One – As the titles (which this time only feature one series regular) fade we see the sight of three shabbily dressed men being led out to a yard with hands handcuffed behind them. As they are then secured against individual dark red coloured metal posts it becomes apparent that the central figure you’ll notice the dishevelled unshaven aspect of Vincent. High above in a nearby building a smart dark green tweed suit wearing civilian momentarily looks out at what he obviously views is the distasteful sequence of events being played out in the courtyard before moving across the room to put on a record of classical music. As a burst of subsequent machine gun fire rips through the morning air our fair haired regular character is astonished to find that he alone has survived. Released from his position manacled to the iron post Vincent is escorted from the area into the adjacent building and up to the room where the distinguished man is waiting. Obviously somewhat trembling from his ordeal Vincent somehow manages to tacitly acknowledge that the man is a former friend from before the war. Shortly after offering a much needed brandy to help steady his nerves it transpires that the man, known as Egon, shared two years at Oxford University where the two of them were friends. It is evident when Vincent holds the glass from his bloody bandaged fingers that our series regular has endured considerable torture at the hands of the SS since he was captured at the conclusion of the thirteenth episode “A Way To Die”. During the general initial discourse that forms the main basis of this segment of this story we learn that Egon is a divisional intelligence Colonel whom was wounded in Poland before taking up his current posting. He views the Germans as associates not friends and that he has a ten-year-old son whom is exhibiting clear Nazi tendencies. Eventually Vincent is collected by German soldiers whom escort him back to his cell. Once he has departed Lutzig enters and, evidently sceptical about this approach of interrogation, speaks with the Colonel. Ultimately the well educated Egon dismisses Lutzig’s previous attempts to break Vincent’s spirit by coolly stating “death is not a threat to a man who does not want to live”.

Part Two – To the sounds of Vincent being tortured in his cell Lutzig approaches the locked room and pauses to momentarily look at his watch before entering. Once inside he immediately berates his soldiers for the precipitant action and orders them to leave. Lutzig takes a moment to look over the torn shirt and cut lipped prisoner before offering some basic first aid to him. He fleetingly makes some vocal apologising gesture to what he views as unnecessary action from his men and in their subsequent verbal interplay Vincent temporarily lets his guard down relating previous methods of evading capture he’d used. We then shift back to Egon’s office where Vincent is clearly in a much more reasoned and intellectually sharp frame of mind. Whilst having no accurate means of measuring time our series regular relates that he has had to rely on the sequence of eyes gazing through the spy hole of his cell door. From the blue, brown, green and black eyes observing him Vincent believes at least twelve hours have elapsed since he last spoke with Egon which gives the viewer an idea of this stories time frame. We learn here that the divisional intelligence Colonel himself has been stationed here for just over eighteen months. Vincent is clearly getting wise to the dynamic between Lutzig and his former college friend and is becoming openly suspicious of Egon as he endeavours to reason just what the pair of them are attempting. Continuing to establish a degree of trust between them Egon retorts by saying that ‘he would sacrifice a whole Panzer division for a man that I could respect and admire’. The segment concludes with Egon’s impassioned appeal for his trust coupled with an ‘offer of free escape from this country’.

Part Three – This portion of the story features Lutzig’s main contribution to the narrative where the SS officer attempts to ‘make the whole situation clear to Vincent’ in which the informative briefing establishes on the prisoner his current predicament within the greater picture of military operations in the area. Lutzig takes great pleasure in stating that our series regular is ‘more than 500km from either the man or the girl’ and that he hasn’t got ‘a cat in hells chance of getting within 200km of your friends’. The main catalyst for Lutzig to begin his detailed briefing comes when Vincent, in reply to whether he is willing to take up Egon’s offer of conditional escape leads him to mockingly say that he’d ‘prefer to hear how the Russian winter is going’. Eventually though, and after Lutzig has left the room, Vincent (although preferring to wait until after the next Russian offensive) agrees to what Egon is proposing. However he would have found it easier to accept had the Colonel not made one final seemingly sickening condition in that he wishes his former college friend to promise to ‘tell London that without his help he could not have escaped’. Well Vincent makes his way to sign the relevant paperwork and is issued with a discharge allowance of fifty francs, travel voucher and sundry possessions before slowly making his way out of the camp with Lutzig and Egon watching from above. Once again ‘Manhunt’ go down the minimalist cast route for this nineteenth story and things begin promising enough with the welcome return of series regular Vincent dramatically counterpointed against the shock opening of seeing him joining two others facing a firing squad. However for me the initial intrigue offered in those initial minutes seems rather weakened by what follows. Once again we are presented with another former friend from the characters pre war years whom has questionable loyalties. Although clearly battered and bruised it is evident that Vincent’s fear that he would easily crack under SS interrogation in the lead up to his eventual capture in “A Way To Die” has proved unfounded. Reasoning that another approach is now required Lutzig is very much a peripheral character this time around and it is only at the start of the third segment that he makes his major (albeit fleeting) contribution to the story. Ultimately I’d sadly consider “The Death Wish” to be a fairly forgettable instalment for which it’s only redeeming aspect is the reintroduction of the relatively unharmed Vincent whom has somehow survived no doubt intensive interrogation at the hands of the SS without betraying his friends.

I've made a start on image captures for episode eight of First Season 'Capital City' and this will atypically be in the order of sixty-four files such is the nature of this story, hopefully in the next couple of weeks I'll have completed this and possibly the ninth episode... but let's just wait and see what happens on that!

In the meantime, returning to 'Manhunt' and with 'beware major plot spoliers' on offer in what I want to say here are some thoughts/observations from me about the next episode which again I hope gives you (and me) a general feel for this story...

### (DISC FIVE / 20) ### MACHINE (by P J Hammond) (51:48)
Part One – With Vincent and Jimmy taking their place in the opening titles we open with an initial shot looking down at the metal works fading to Hochler (portraying the pale skinned, grey haired soberly dressed persona of an emotionless undertaker) sitting at a office desk whilst behind him, through the internal window, we see a group of white coat wearing scientists working around the secret projectile project. This is followed by the sight of Jimmy leaving the factory with other workers making his way back to a fairly shabby basement residence which as he enters we note he shares with a swarthy, bearded man whom is working on a motorbike. It transpires that he is a likeable, fairly simpleminded Polish factory cleaner called Stepp. Meanwhile in the kitchen of a middle class house resistance member Louis expresses his concerns to his wife that after four days they haven’t had any contact from Jimmy. In his factory office Hochler has now been joined by Ollweg, a former Police detective whom now holds the German military rank of Obestfurher. The two men talk about the hopes for the project that is envisioned to win the war for the Germans with Hochler attempting to gain Ollweg’s faith in what they could achieve. Eventually their attention shifts away from future aspirations to more immediate matters and Hochler instructs Ollweg to bring Jimmy to him as he feels he has been ‘far too quiet recently’. Our likeable series regular eventually finds himself in Hochler’s presence and whilst they talk about his previous sea faring career Jimmy accidentally lets slip that he prefers top side rather than down below ship work because being the confinement and lack of fresh air gives him ‘the screamers’, a curious turn of phrase that starts the SS officer thinking. Meanwhile the resistance, continuing to be concerned by Jimmy’s lack of progress, organise a special shock surprise for him. As he leaves the factory he is astonished to see Vincent suddenly appear in front of him.

Part Two – We begin with Jimmy and Vincent initially down in the local pub with the latter character attempting to convey the resistance movement’s concerns about a lack of news. Their conversation continues back at Jimmy’s shared residence where Vincent states what is now required by their factory contact. He is to attempt to obtain a fragment of metal from the combustion unit within two days so that it can be sent immediately back to London for examination, should he prove unsuccessful in accomplishing this then he will be killed! Unbeknownst to the two Englishmen we see Stepp, the Polish factory cleaner enter a storeroom where he thinks he manages to, unnoticed by German guards, acquire the very item they were talking about and hides it in his shirt. Unfortunately this action is secretly observed by one of Hochler’s plain clothes men. Meanwhile Gerard, a smart suit wearing man whom I suspect is part of the alternate Communist resistance movement, visits Louis and his wife at the house where he states that if Jimmy fails to gain the metal then both he and Vincent will be killed. Now returning to the ‘screamers’ phrase that our series regular used and Hochler learns that this is an RAF term connected with a fear of operational flying which leads the SS officer to request Ollweg to bring him in. Visiting the workman’s café this segment concludes with Ollweg saying that ‘the walk back together might do us some good’.

Part Three – With Jimmy once again before him Hochler, this time with a heightened sense of suspicion, briefly refers back to the pianist now in the hands of Lutzig and the Australian singer whom was hiding him. Unable to gain any retort from this he switches approach and concentrates on ‘the screamers’, the curious RAF inspired turn of phrase Jimmy had previously uttered when speaking about which part of ship he preferred to work on. This leads into Hochler relating about a friend of his, a former Luftwaffe bomber pilot whom was unable to get the one op he required before being able to take leave and his considered intention to possibly parachute himself out of the war. While Jimmy reflects on the story Hochler then escorts him into the room here the secret projectile is housed for a closer look at the machine and towards a table where the blueprints illustrate the main technical details of the project. Hochler’s aspirational pride in what has been achieved seemingly overrides his suspicion leads him to state that with a rocket motor in the tail section fuel passes between two layers as indicated by the example casing resting nearby. Openly he states that ‘whilst he is not a pilot’ Jimmy might like to sit inside the craft and through a simulation he should be able to gain a reasonable understanding of the potential of the project. Whilst Hochler and the technicians all adopt headphones the noise is deafening to Jimmy and as he strains under the sound there is a momentary black and white archive clip of planes flying superimposed over him before the SS officer agrees to halt the test. As silence descends once more Jimmy jumps out and rushes back to the office where he is prevented from collapsing to the floor by Ollweg whom has suddenly reappeared. At this point Hochler restates his insistence that he demands Jimmy’s total collaboration against the resistance movement. Meanwhile Gerard insists that Vincent bring Jimmy before him however once he has departed it transpires that the local resistance member is fully intent on killing ‘both Englishmen’ irrespective of whether they complete their objective. Hochler and some German soldiers make a visit to Jimmy’s shared residence but only find the Polish cleaner Stepp present and whilst he continues to clean and generally fettle his motorbike the SS officer notices the missing metal fragment. Naturally there is a tragic outcome to this however instead of an immediate death at the hands of the machine gun wheilding soldiers Hochler says that the man ‘will be put on a special train’ with other Polish people. So to the final scene and we find ourselves in a local music shop where two very young German boy soldiers are looking through the records on sale. Hochler and two adult soldiers enter the establishment believing that they are to meet up with Jimmy. However suddenly, Louis and his accomplice emerge from the back of the shop and brandishing weapons kill all Germans present. Jimmy and Vincent can only look down on the massacre below them and wonder just how many hostages will needlessly die as a reprisal for such German military loss of life. A sombre and moving conclusion which illustrates Allard’s previous assertion that our series regulars path through the country has led to a trail of death behind them. After so brilliantly setting up the secret metal works project premise in seventeenth episode “The Ugly Side of War” I for one was looking forward to see how events would develop. Sadly it seems in my opinion that much of the heightened sense of tension established in that story seems to have been lost in “Machine”. This is best indicated by the rather lethargic manner of Jimmy whom after four days hasn’t conveyed any recent factory developments to the resistance. There is however worthy insight on offer into the device itself during Jimmy’s conversation with Hochler (again another praise worthy measured performance from Tony Beckley) but I suspect with the SS officer’s untimely death at the episodes conclusion its reasonable to assume that the Germans will now move any further work on the project to another location. “Machine” is enjoyable enough with plenty of worthy memorable moments in it however for me it wasn’t quite the dramatically engaging resolution of the metal works factory storyline that I was hoping for.

Hope to come back soon about the next pairing, the former dramatically very satisfying whilst the latter is a rather atypical tale featuring practically no dialogue over its entire length!

Let's have a quick glance over the first of last weeks pair of episodes to which I would like to say (and yes once again 'beware major plot spoilers') the following...

### (DISC SIX / 21) ### DEGRADE AND RULE (by Harry Green) (51:20)
Part One – It is the turn of Gratz and Nina to share opening titles credits for this instalment of ‘Manhunt’. We begin with the sight of Diana, a lady wireless operator tapping out a message in the attic of a residential farmhouse a couple of miles outside Bordeaux whilst outside overhead the sound of a nocturnal bombing raid can be heard. The owner of the property, a young woman called Madame Leonard, enters the room carrying bread, cheese and a bottle of wine for her guest whom assures her host that she will endeavour to be as brief as possible in her task. We momentarily fluctuate between this scene and that of two German soldiers whom are intently listening in on the transmission in an attempt to locate its source. Eventually they triangulate the position as being ‘Square 7492’ and detail a platoon of Sergeant Gratz’ soldiers to begin a search of properties in that area. Somehow Diana appears to initially manage to evade the armed military as they enter and this tense sequence concludes with the soldiers opening fire in a downward direction from the rear fire escape. We next join Gratz in his apartment attempting to draft out a message using ‘Cadet’ codes whilst Nina ‘using a child’s trick of making a grievance’ plays classical music far too loud for him to concentrate. They initially raise the matter of Mainwaring’s death and the spontaneous choice that Nina made to protect Gratz which he will never forget but he believes that she must. Eventually the Abwehr Sergeant moves to leave when his junior Voigt enters the room. At this point I thought it interesting to see, for the first time, that in the room to the left of Gratz’ apartment is an office where the Sergeant takes a moment to brief Voigt whom prepares to use radio transmission equipment using the ‘Cadet’ call sign in his message sending before our semi-regular is called away by a phone call. We now focus on Abwehr Colonel Reichwein’s office where Diana and Madame Leonard sit in front of him handcuffed together. On his subsequent arrival Gratz engages Diana in some rudimentary fast talking interrogation which gains basic information. Having despatched both women to the cells Gratz firmly believes that he can get Diana’s call sign and her co-operation using ‘special methods’. Meanwhile finding herself alone Nina coerces ordinary soldier Gunter Voigt to stay with the offer of coffee. To further relax her guest Nina shares cigarettes and plays soothing music which eases the mans tension at remaining to such an extent that we learn much about this former merchant Navy sailor whom carries a photo of his wife Ingrid in his wallet. Catching the young man off guard Nina blackmails him into working for her as well as Gratz ‘if you ever want to see Dresden again!’ I thought this was an effective and for me totally unexpected but welcome development and shows that below Nina’s seemingly submissive docile acceptance of her situation there is still an element of forceful resistance present.

Part Two – Returning once more to Colonel Reichwein’s office and the ranking Abwehr officer has a visit from SS Captain Spiegel whom is most insistent to interrogate the prisoner radio operator that Gratz’ soldiers recently captured. Following a brief seemingly inconsequential light-hearted early morning breakfast scene between him and Nina in their shared apartment the Sergeant enters his military superior’s office. On hearing the Captains demand Gratz is unwilling to release her to the SS even though he has now had her in his hands for a total of twelve rather unproductive hours. Spiegel retorts by impressing on the Abwehr duo that once forty-eight hours have elapsed any possible value of the radio operator would be rendered useless. With Reichwein’s agreement Gratz then escorts the SS Captain down to the cells where the visiting officer is invited to look through the spy hole at the prisoner whom is already looking a bit scruffy already. Gratz plan involves no decent sanitation, lousy quality Polish blankets and the serving of red wine with each meal. Meanwhile in the adjacent room Spiegel is slightly taken back at what he alone sees and the relevance of affording the captured radio operator to peer into it through a two way mirror is not immediately apparent to the viewer. Further to her fairly blunt blackmailing of Voigt we next see Nina visiting Anton and two other key local resistance members at a nearby café saying that she has the German radio operator ‘eating out of the palm of her hand’. They are openly suspicious of her and even though she says she is a true French patriot they wonder ‘just for how long?’ Nina further asserts that she believes Gratz has turn schizophrenia into a way of life and that he is split into five different personalities and that she wants to fight Gratz and every German in sight. It is certainly a worthy testament to supporting her resistance stance which doesn’t entirely convince the three men to whom she speaks with. It’s an effective contrast in first seeing captured the scruffy radio operator Diana finger eating her food with jug of wine on the seat beside her in the darkened cell then switching to Reichwein’s office where the immaculately groomed Madame Leonard is shown in. The Colonel states that she is to be sent back home in a week or two with her suitcase of possessions packed and ready for her. They must give the impression that they are physically interrogating her and there is even the possibility of her husband returning from forced labour in Germany but this return to a life is at a price. It will only be possible if she were to accept collaborator status with her on occasion betraying the resistance. Nina is playing solitaire with some success whilst joining Gratz in a cognac. Meanwhile the conversation moves round to the cigar smoking Sergeant wistfully contemplates a post war occupation of becoming a dealer in rare forged books and pamphlets to which Nina amusingly says ‘the tiger still has his stripes’. This segment concludes with the dirty dishevelled Diana peering from her grimy cell into the spotlessly clean bathroom through the two way mirror with Madame Leonard using the bath, shower and basin to wash. Could there be a sense of her resolve weakening?

Part Three – We begin with Anton counting out one hundred and fifty thousand francs from Mainwaring’s funds which we understand has been given in payment for jewellery that Gratz bought from an old Jewish shopkeeper for Nina, half of which the leader of the trio says should be given back. This seems to be the most significant activity that they had witnessed the Abwehr Sergeant do in the two weeks that they had been watching him. There then follows a brief distorted, slightly psychedelic dream sequence for the filthy prisoner Nina of looking at the woman washing and cleaning her teeth accompanied by a mixture of classical and unsettling incidental music. This concludes with Diana waking and rushing up to the door where she bangs her fists screaming for Gratz to let her out. We then see Nina return to local resistance leader Anton whom she reports Gratz recent movements and activities with the latter reasoning they can use the opportunity by in his words ‘A double agent using a double agent to double cross a bastard whom doesn’t let his right hand know what his left hand’s thinking’. This turn of phrase for viewers is quite bewildering but I guess that’s nothing when you consider the challenge of the actor to remember it! We next see Nina visit Voigt’s office and having beckoned the ordinary soldier away she talks briefly with the immaculately groomed German uniform wearing female radio operator whom as viewers can discern is infact Diana. Meanwhile assured that everything is going according to plan Gratz attempts to gain his Colonel’s agreement to requesting a normal resistance arms drop before asking for an agent. Fully aware of the dangers of such a plan Reichwein is initially reluctant but eventually offers his guarded agreement by sharing his Sergeant’s belief that the rewards far outweigh the dangers. We have another meeting between Nina and Anton, this time on a park bench which is clearly an adequately dressed studio set. However it’s the dialogue between the characters which is more important particularly when Nina mentions the Polish forced labour working on a secret project at a nearby metal works. Unbeknownst to Gratz his collaborating under duress radio operator Diana manages to escape and goes to the café location where the resistance frequent where she manages to convince them of her true British SOE agent identity. Meanwhile in his apartment the Abwehr Sergeant listens intently to the personal messages on a BBC radio broadcast with Nina sitting close by. Eventually the coded message ‘Blodwin sends her love’ is read out much to his delight however, unexpectedly this is followed by an addition to Gratz that says ‘thanks for a beautiful radio friendship now over. If you want half a million francs come and collect it.’ Shocked and incensed by this he spins round and initially suspects Nina to have betrayed him before rushing out and into the next room. He then forcefully berates Voigt for letting the radio operator escape and this affords Nina the opportunity to run away. Disconsolately having realising that Nina has also gone Gratz slumps on a chair with Voigt close by with the two men waiting for the eventual arrival of Captain Spiegel and armed soldiers whom arrest the pair of them. We briefly see the SS officer opening Gratz safe before shifting back to the café where Diana states that ‘after three weeks’ of Gratz’ supposed interrogation methods she merely ‘pretended to give in’ to see what he would do. This all proved instrumental in the eventual downfall of the Sergeant. At its heart “Degrade and Rule” presents us with a worthy, dramatically engaging premise of the using of a British radio operator to not only see the eventual failure of Gratz but more importantly when considering the series original premise, provide a means for the escape of Nina from his clutches. A pleasing intellectually engrossing story that I believe rates as one of the series great successes.

This morning I received from 'memories tv' a six disc DVD set which contains ten episodes so I was certainly puzzled how these 50 min installments will be split. But then even more surprise when I discovered that the first is atypically 73 mins long.

Enough of this waffle of this future viewing. Back to current stuff and of the other episode of 'Manhunt' I watched last week I'd like to say...

### (DISC SIX / 22) ### INTENT TO STEAL (by Jonathan Hales) (46:44)
Part One – Atypically this instalment begins with an establishing sequence of scenes mainly culled from “The Ugly Side of War” putting the importance of the secret Famechon Aviation metal works projectile project in context. This works both as a refresher for dedicated followers of the series as well as for the more casual viewer whom might have just turned in this particular week. We feature Jimmy’s detailed briefing to Allard where our series regular states the importance to the resistance that they find out all they can. This pre credits offering is concluded by a newly filmed piece where a upper crust RAF officer briefs his staff regarding a bombing raid on the factory which is located one and a half miles south of Bordeaux on the bank of the estuary. In particular he says they should concentrate their efforts on the northern and main blocks in a selective bombing mission which is being laid on as a diversion for the local resistance. We then lead into the usual title sequence which this time offers up the regulars of Jimmy, Vincent and Adelaide. Setting the scene for this story the opening shot briefly showing the exterior down at the security checkpoint and interior of the factory indicates that this is an instalment that benefits greatly from (always most welcome) extensive location filming. Close by Allard and Vincent are watching the main gate as a large black German staff car pulls up with Adelaide nonchalantly offering her pass to the sentry on duty. Inside the factory we witness soldiers performing routine testing of a variety of security monitors and beam sensors which indicates just how tight security is around the secret project. After briefly watching workers leaving the plant on what appears to be a beautiful summers day we shift to Adelaide whom visiting the ladies takes a moment to leave an explosive device in the water tank. Meanwhile Vincent manages to gain entry to the factory where he pretends to use a piece of machinery initially under the watchful eye of a German soldier before his colleague calls him away. Outside Allard and Anton use wire cutters to separate a piece of fencing covering a water channel leading to the factory. After briefly meeting with about fourteen other resistance members Allard and Anton enter the factory compound. It is here that Allard is momentarily attacked by an Alsatian security dog, a sequence that employs noteworthy ‘point of view’ camera angles. Obviously the resistance leader eventually dispenses with both the animal and the owner so as to maintain the groups secrecy. Back inside the factory and those present, including Vincent and Jimmy are alerted to the imminent commencement of a bombing raid on the establishment with the tannoy calling all civilians to shelters whilst the military take up defensive positions. Having witnessed Adelaide being swiftly driven out of the factory we shift back to the central premise with Vincent and Jimmy now joined inside the establishment by Allard and Anton. We witness them sawing through bars in the ceiling hatch of the ladies using contact wires to maintain the alarm connection. Once through the four men cautiously make their way along the interior roof area to the new experiment area. It is here that Allard uses a silencer gun to ‘take out’ the sentry on guard however following this they pause momentarily as up above the sound of the commencement of the bombing raid comes through the air.

Part Two – We begin with the cutting of the fencing and bars in front of them with our resistance quartet then proceeding to rope down into the section. It is here that Jimmy uses a couple of mirror like objects to deflect the motion beam sensors to allow the other three and then himself across into main research area. Approaching the actual missile shaped silver projectile it is apparent that there is another motion sensor attached which needs to be detached before they can, eventually, claim the prize of a piece of inner casing. This sequence of events is intercut with archive black and white bombing raid footage of, it has to be said, fairly poor quality but it does effectively convey what is transpiring above the factory. With mission completed our quartet set about climbing the rope and whilst the first three manage this, Allard, the last of the group is suddenly detected by a passing sentry and a brief fistfight endures. We momentarily are shown the rest of the resistance pouring through the perimeter fence before the closing minutes of this segment indicate the inherent danger which is prevalent inside the factory. There is a high fall towards the flames for Allard shot by a German soldier whilst trying to escape and then, climactically with rubble from the bombing raid falling all around them we see the unconscious form of Vincent in amongst the resulting debris.

Part Three – This is the section where the subsequent armed conflict really comes to the fore as we witnessed fairly prolonged gun battles between the resistance and German soldiers in both the factories exterior and interior locations. Caught up in the midst of this we find Vincent killing a soldier to protect Jimmy whom was attempting to retrieve the bag containing the casing from recently the dead body of Anton. In latter outside combat the Germans eventually employ the use of a small armoured tank and rocket mortars to assert their military superiority over the ill equipped resistance fighters and the eventual outcome whilst obviously tragic is predictably callous. There is a brief moment of reflection between Jimmy and Vincent with the former taking a moment to look at the casing which has been obtained with such loss of life. With it returned safely to the bag the two men make their way into the distance through the infrastructure under a mildly curved major road bridge approaching Bordeaux to the initially triumphant interpretation of the familiar theme tune. “Intent To Steal” is certainly a curious and atypical beast with this twenty-second story almost totally bereft (excluding the brief pre titles sequence and momentary factory tannoy announcement) of dialogue over its entire length. The work of stunt team HAVOC is, in my opinion, always worthy of praise especially for their invaluable contribution to the classic series of Doctor Who. There are many fine examples of their work that come to mind like for example the raid on Stanmore Prison (“The Mind of Evil”) or the final beach conflict (“The Sea Devils”). With “Intent To Steal” their presence is even more obvious particularly during this third segment with worthy rigged large explosions and gun battles played out as Jimmy and Vincent attempt to escape. Now I’ve seen resistance movement attacks on engineering works before, most notably in the Season Two finale of ‘Wish Me Luck’ however in that instance it was used as an effective resolution of well scripted preparations that were made in the episodes initial scenes. For ‘Manhunt’ although suitably tense and exciting this isn’t a mentally demanding piece of drama when compared with other offerings the series has offered up. In my opinion there is a sense of an overtly padded script which exhibits a lack of the usual interactive character narrative. Pleasing escapist entertainment it may be but it is sadly also yet another diversion from the original central premise of attempting to get Nina back to England.

So onto the penultimate pairing tonight hope to come back soon for some more!

I thought it was rather a lack luster last couple of episodes to finish off the series that I watched last night but in the meantime returning to last weeks pair and I'd like to start this week by saying...

### (DISC SIX / 23) ### THE TRAIN MAY BE LATE (by Alfred Shaughnessy) (48:15)
Part One – Regulars on offer for this instalment find Vincent, Nina and Adelaide take their places in the opening titles and after the location filming excesses of “Intent To Steal” there is an immediate sense of this being a budget saving story where the sequence of events take place entirely within the confines of various railway carriages. Personally I was impressed with the occasional effective use of polished black and silver white archive footage of pistons driving, steam flowing and engineers working over the controls of a steam driven locomotive to reinforce the nocturnal travelling nature of the story. Anyway on board the train a Wehrmacht Captain enters a crowded carriage filled with German military personnel. To his left three of the four men are young German navy lads, two of which sing an upbeat number whilst the other accompanies on a harmonica. On the opposite side are military officers whilst sitting in the corner we see Adelaide seemingly lost in her thoughts. The Captain offers to move her basket to the overhead storage area to which she guardedly accepts however there are a few anxious glances to the wicker container. Making his regular trip along the length of the train the ticket inspector eventually reaches the carriage with the insistence that he needs a vacant seat for a Luftwaffe Major and noticing the civilian lady he states that this area is ‘reserved for German armed forces only’. Although the officer is more than happy to try further down the train the ticket inspector is insistent until Adelaide pulls out a ‘special pass signed in the Bordeaux SS headquarters by Colonel Lutzig’. Through conversation Adelaide brings up her concern of the contents of her basket which she claims is ‘eggs’. The carriage into which the Luftwaffe Major eventually sits finds Nina facing SS Captain Speigel whom after arresting Gratz at the conclusion of “Degrade and Rule” no doubt eyes the nervous civilian opposite with growing suspicion. Finding the atmosphere and the Major’s continued curiosity in her overtly oppressive Nina takes a moment to vacate the carriage and it is here that looking along the train she, like viewers, is astonished to see Vincent (now wearing woollen gloves) at the far end. In the relative privacy of the train’s toilet compartment the two share a passionate embrace. Vincent is more vocal in his delighted relief in the reunion and expressing his unconditional love for the young lady attempts to propose marriage once the war is over and they are both safely returned to England. We learn that they have both gained travel permits from Allard and that the intention is for them and Adelaide to make their way separately to the harbour masters office at the train’s ultimate destination. To explain away the sudden non appearance of Jimmy we learn that he has remained in the Famechon Aviation metal works plant as Allard has reasoned that it was too much of a risk to get him away as well. This is indeed a dangerous liaison as Vincent and Nina are suddenly disturbed by the Wehrmacht Captain whom also observes Adelaide close by at the same time. Fortunately Vincent succeeds in bluffing his way out of the situation and as Nina manages to slip away back to her carriage our male series co-lead character momentarily remains to talk with Adelaide whom conveys her concern with the risks they had taken in meeting. Suddenly the train is stopped and we learn that the SS have come onboard to begin a search for a forty-year-old man with thinning hair. Caught in the carriage corridor Vincent attempts to bluff his way out of the situation saying that he has just boarded but the Gestapo agent is unconvinced and this section of the story concludes with alarming news that he has been taken off the train.

Part Two – Initially returning to the carriage the Luftwaffe Major now brandishing a bottle says to Nina that the SS have apparently ‘got their man’ with Vincent being taken into the stationmasters office as the train starts to move away. Nina’s subsequent emotions at hearing this news clearly betray her as the Major, now evidently quite drunk, continues to enquire further. Somehow she manages to evade his increasingly lecherous advances and leaves the carriage. Outside in the corridor Nina meets up with Adelaide and talks about Vincent’s capture to which the nightclub singer believes ‘someone observed him in Bordeaux and reported him.’ Nina expresses her concerns about the German Airforce Officer to which Adelaide initially offers her a spare seat in her compartment. Clearly a worthy opportunity to resolve the problem but she strangely elects not to take it. Shortly after this Adelaide was surprised to see Vincent return to which he says that he was momentarily mistaken for a Polish conscript that they were looking for. Anyway it is Vincent whom takes the spare seat in Adelaide’s compartment but is immediately questioned by the suspicious Wehrmacht Captain. For Nina the Luftwaffe Major is becoming more amorous and the subsequent vocal heated exchange between Captain Speigel and the inebriated Officer filters along the train. The SS Captain attempts to place the 7046 tactical fighter squadron member under arrest particularly when he reasons that the unit is supposed to be patrolling the eastern front. Speigel suspects he is a deserter and moves to arrest him but the disorderly Luftwaffe man then attempts to escape and with the train once more stopped he climbs down and moves away. Outside there is the sound of intercepting soldiers and gunfire which seems to indicate swift and decisive action to deal with him. Now finding themselves alone in the carriage Speigel offers Nina a cigarette and asks “Now that you are no longer under the protection of a Polish impostor what is your connection with the other two civilians in this coach with whom you’ve been at such pains to communicate in secret?”

Part Three – Nina, Vincent and Adelaide now find themselves alone with Captain Speigel in the same train compartment with the SS officer no longer willing to simply except the ‘relative strangers just happening to share the same journey’ story that they have all offered. He initially considers the heavy basket resting on the rack but fortunately for our trio does not proceed to search the contents. As Speigel talks he relates back to events featured in “The Ugly Side of War” of a nightclub and British agent pianist that was never found. Returning to Nina and during questioning her cover story begins to fall apart sufficiently for Speigel, whom believes there is now a satisfactory element of doubt, to decide to place them all under arrest. It is at this point that an allied air raid on the train begins and in the resulting chaos the lights go out, there is considerable smoke in the carriages and a stray bullet kills Speigel. Unfortunately the elimination of their immediate threat is countered by the destruction of the track ahead which leads to the train being returned back to Bordeaux. “The Train May Be Late” is a relatively undemanding instalment however it is noteworthy for the welcome reunion of Nina and Vincent. Credit is also due to the effective use of SS Captain Speigel whom by using knowledge of previous episode events conveys the sufficient suspicions of our trio of regular characters with a believable level of menace. Although the threat he poses is eventually eliminated the whole tone of the story is one of futile failure which is ironically brought about by the allied air raid that saved them. An enjoyable enough minimalist cast and realistic setting tale that when compared with other more notable instalments will I think be considered as being sadly fairly forgettable.

Initially I found it fairly difficult to get a written 'feel' for this installment but eventually I put together the following...

### (DISC SEVEN / 24) ### LITTLE MAN, WHAT NEXT? – PART ONE (by Vincent Tilsley) (50:32)
Part One – We have Gratz alone in both the title sequence and opening scene which finds the Abwehr Sergeant initially reduced to only wearing a blue smock and briefs as he stands in the stark setting of a prison cell. Just above head height there is a upper hanging lattice to the rear whilst beyond this, closer to the ceiling, there are a couple of barred windows against the wall where a uniformed German sentry can be seen patrolling the corridor beyond. This stark setting is completed with occasional screams wafting in of torture from prisoners in a nearby room. Suddenly the heavy iron door completing the old castle feel of the set is opened and Lutzig enters, his features conveying stoic resolve towards the prisoner to whom he offers his clothes. Although Gratz continues to state his identity and innocence that this mistaken abduction will now be resolved Lutzig is unrepentant in disbelieving him saying that no identification was found so he initially believes him to be a spy. Gratz is clearly unwilling to relinquish his moral superiority despite his situation however there is an evident gleeful self confidence from Lutzig during this initial conversation. For the next scene in a nearby office Lutzig faces his commanding officer Colonel Zander whom verbally berates his junior’s rather lethargic interrogation measures even though he retorts by stating that he has ‘a specific brand of arrogance that can be broken in a specific type of way’. Zander further supports his reasoning for swift decisive action (by spending three hours in torture cell seven) regarding Gratz by detailing at some length the current rather despondent war situation that Germany now faces. Actor Jack Watson certainly conveys Zander’s anger with a believable impassioned relish and contributes to the real sense of danger that Gratz now faces. Returning to the prisoner’s cell and Karl Lutzig seeks to learn Wolfgang Gratz’ interrogation methods. In this exchange Gratz states that he believes ‘Two things a good interrogator should search out are a man’s fear and a man’s pride and play on both’ and thinks that if Lutzig wishes to gain a ‘crash course in his methods’ there is hope for him and the SS in general. The SS interrogator retorts to this by saying that he has learnt that what Gratz fears most is torture and what he is most proud of is his intelligence to which his prisoner says that his interrogator should now change tack by talking about some totally unrelated. To give an example this leads the Abwehr Sergeant to speak about setting up an electric fire which is something he used previously whilst interrogating ‘Cadet’. Matters relating to the subsequent use of the British radio operator are key to the interrogation which is concluded with what Gratz believes is the lack of one particular prop. Still considering himself as the teacher Gratz says Lutzig should have a dossier with the prisoners name and Service Number on it in big letters to which just as he is about to leave the SS Colonel produces a pale blue folder with the prisoners name and Service number of 730983 on it. This leaves the prisoner speechless and the interrogator grinning inanely.

Part Two – With file in hand Lutzig begins the next session of interrogation focusing on Nina’s involvement in the resistance which leads to her age being confirmed as twenty and Gratz age given as thirty-eight. We also learn that Gratz’ wife thirty-six and that they have two children aged fourteen and twelve. Later in reflective mood Lutzig relates that his first job having left school with less than worthy qualifications was as a dancehall bouncer. He then states that on putting on the SS uniform for the first time was the only feeling of dignity and respect he has ever known. However at present he feels a degree of dislike and jealousy that an ignorant, boorish and uncouth man like Zander should be his superior. The easygoing conversation between the two is summarily shattered as the Colonel enters expressing obvious considerable anger about the lack of progress that has been made. He intimates that Lutzig has until the following day when the prisoner will be taken to cell seven, a torture room where they will employ the means to force the truth from him. Outside the cell Lutzig initially congratulates Zander for playing his part well in convincing Gratz in the torture bluff. However the Colonel is unwilling to play along with Lutzig’s plan and instead says that it is no lie and that the prisoner will be conducted to the torture room and that Lutzig will be doing it as the Colonel thinks he is becoming soft. Early the following day returning to the cell and during their dialogue, which the SS Colonel is insistently hoping will be a great deal more productive, Lutzig assumes that for Gratz ‘in the end your pride is greater than your fear’. The SS Officer casually intimates that there is a female visitor for the prisoner to which Gratz assumes they have captured Nina. Again the series takes a moment to refer back to Nina’s presence at a key resistance meeting (as witnessed in “Fare Forward Voyager”) with Lutzig assuming that he now knows the information she has about the participants of that gathering when considering that Nina has been ‘his mistress’ for such a considerable time. Lutzig’s low opinion of the Jewish favouring Gratz leads him to state that his wife Hilda has provided four children, all daughters but from good Arian stock. Despite a sense of loathing for the Sergeant Lutzig feels that he can learn much from the prisoner and ‘is attempting to offer protection from physical torture’. We have a worthy cliffhanger ending to this part as Gratz is astonished to find that the new arrival is none other than his wife, Frau Sara Gratz.

Part Three – Initially there is a worthy counter-pointing of scenes to begin this segment. On the one hand you have Lutzig reclining on his well appointed quarters bed reflecting with relaxed satisfaction at what he believes is a master stroke in breaking Gratz to make him reveal the identities of the resistance. On the other, in the cell, Gratz faces his wife and it is immediately apparent that theirs continues to be a distinctly frosty strained relationship. As the conversation shifts from their son Ludwig to their other German patriot son Martin Gratz is unwilling to offer a photo of him in uniform which he can show with pride at school. Lutzig lying on his bed believes the successful tactic is to out think and out brain Gratz. There is a heated vicious animosity between Sara and Wolfgang Gratz with his wife saying that he is spouting ‘evil words from an evil man’ and berates his relationship with Nina whom makes her think that her husband is a ‘dirty filthy Jew loving pig’. With the open hostility coming from his wife Gratz rushes to the bars in the door and screams into the corridor beyond for her to be removed. This prompts the Colonel and two soldiers to enter the cell where Gratz states that he prefers torture to spending any more time with the venomous attitude of his wife. Unbeknownst to Lutzig, whom now considers replacing the Russian front bound Zander as commanding officer for his successful breaking of the prisoner, Gratz is put on a rack and stretched. Subsequently on hearing cries from cell seven Lutzig rushes into the room to halt the torture by punching the solider on duty out of the way. Much later that day and in the darkened glow of the original main cell and Lutzig sits over the reclining Gratz whom now with two heavily bandaged hands (aside from one token unbroken little finger) is to be released under his personal authority. Almost apologetic for the sequence of events that previously transpired beyond his control Lutzig is content to allow Gratz the satisfaction of believing that he has the upper hand in their interrogation. Lutzig genuinely didn’t know of the relationship Gratz had with his wife, a situation that he truly didn’t foresee when he brings her to confront his prisoner. A general understanding is reached between the two men to find Nina together with Gratz saying that Lutzig can then do whatever he likes to her. Atypically this particular instalment of ‘Manhunt’ concludes without the theme tune as the credits roll over the two characters seated by the table. Undoubtedly the overriding appeal of this first part of “Little Man, What Next?” is watching the marvellous character sparing between Gratz and Lutzig with impressive measured performances from the highly respected Robert Hardy and Philip Madoc. They are ably supported by Jack Watson as Colonel Zander and Jane Jordon Rogers as Frau Gratz both of whom admirably help to further heighten the dramatically engaging suspenseful nature of the script. Although simplistic in its set design the prison cell surroundings where this ‘mental chess game’ is played out between Gratz and Lutzig makes for a realistic feel. Combining all of these elements certainly in my opinion makes for a satisfying viewing experience with enough intrigue to make viewers wonder how the situation will (hopefully) be resolved in the concluding instalment.

Hello and welcome to a new month, I hope you all had an enjoyable bank holiday. I myself spent most of yesterday cycling and travelled up to Stockbridge which is north west of Winchester.

Anyway returning to the subject of 'Manhunt' and I must caution you that this posting contains 'major plot spoilers' so unless you don't want to know what is going to happen before watching the episode it's probably best not to read any further!

Right then so kicking off this week with this...

### (DISC SEVEN / 25) ### LITTLE MAN, WHAT NEXT? – PART TWO (by Vincent Tilsley) (51:33)
Part One – On offer this time the title sequence features Jimmy, Vincent, Nina and Gratz and it is the bandaged hands of the Abwehr Sergeant that we first see pulling back to ultimately reveal him facing Lutzig with the SS officer preparing to let his prisoner go. Both men express unease at exactly how much trust exists between them with Gratz saying that “If I’m followed the deal is off” and that Lutzig stated to him that “you said no strings”. Subsequently we see entering through heavy curtains Gratz in the local Bordeaux café frequented by the local resistance. After asking for ‘a cognac with a straw’ the injured plain clothed Abwehr Sergeant says the coded leading phrase “These things are sent to try us but in the end all is for the best in the best of all possible worlds. I think it was Voltaire who said that.” to Stephan the patron of the café. After gaining furtive looks from other customers Stephan subsequently returns to beckon Gratz to make his way past the beaded curtain and into the private area of the establishment. It is here in the darkened gloom that he is accosted by a figure whom removes his gun and blindfolds the shortsighted new arrival. He is then escorted into the very back room where he is presented before newly promoted local resistance leader Raoul, code named ‘Voltaire’. Meanwhile in the café Vincent enters and despite some initial caution on his part swiftly makes his way towards the same private room with the intention of talking with Gratz further to his message of intending to assist in Nina’s escape. Although the blindfold is eventually removed it is when Gratz enquires “why are you wearing gloves?” that Vincent elects to, for the time being, keep his captors spectacles. Naturally Vincent cannot understand why Gratz has been tortured by the SS to which he replies that it is ‘because of Nina’ and the secrets that she is supposed to have which they think he has obtained. Gratz intends to go to England with Nina but to this Vincent says that “we tend not to trust men whom betray their own country!” Having refuted the accusation Gratz states that he has access to a British radio set and the call sign of both ‘Cadet’ and Diana Maxwell (from “Degrade and Rule”). It’s a worthy well scripted initial scene between two characters whom are clearly rivals for the romantic affections of Nina which they eventually eloquently surmise as ‘battling like a couple of randy old goats competing for whom suffers most at her hands’. Eventually the conversation is concluded when having asked to see his bandaged hands again Vincent smashes the gun down which whilst Gratz lets out a silent cry of pain leads into a rather surreal sequence. You have an oscillating tone and a slow change of images of Nina, Vincent putting Gratz’ spectacles on, a slightly out of focus shot of Lutzig, alternating images of a well appointed sitting room and his bare prison cell, Vincent playing the sitting room piano all of which is accompanied by the following dialogue… “I’ve given you what I could, now I’m going” (Nina), “Hasn’t it occurred to you that you would not be in this mess if it wasn’t for her” (Lutzig), “If only we’d just met in peacetime” (Gratz), “But we won’t have… it’s only because of the war that we are together” (Nina), “It’s all her fault you know” ( Lutzig), “So we settle for that don’t we” (Nina), “If I can get a divorce will you marry me?” (Gratz), “I haven’t the faintest idea” (Nina), “Well at least you didn’t say no” (Gratz), “Are you going to die for a belief, in agony? Do you think that she would do the same for you” (Lutzig), “I tried Wolf, I really did” (Nina), “If anything that makes it worse” (Gratz), “I’m so sorry” (Nina), “Worse and worse” (Gratz), “Why don’t you tell me about Nina?” (Lutzig), “I just want to get out” (Nina), “I thought you might become reconciled to staying with me” (Gratz), “Get away from here… from the Germans” (Nina), “Me in particular” (Gratz), “Do you think that she can stand torture? We’ve only got to show her your obscenely mangled corpse and she will blab the lot so what would you have died for?” (Lutzig), “Here I am stuck in bloody Bordeaux living with a man old enough to be my father” (Nina), “So I’ll say it again you wouldn’t be in this mess if not for Nina” (Lutzig), “I’ve given you what I could now I’m going” (Nina), “I wished you’d take this opportunity of saying that you’ve changed your mind of your own free will” (Gratz), “I haven’t I’m going” (Nina), “But for Nina” (repeated several times by Lutzig), “That’s right Heir Obestenfurher Lutzig so we find her you and me and when we’ve found her you can do what the hell you like to her” (Gratz). Eventually coming out of the surreal dream like state Gratz is astonished to find he is now lying on a bed in a fairly rundown building looking up at Jimmy and then the just arriving concerned form of Nina. With Vincent also present Jimmy offers the ‘coffee cognac with a straw’ that he requested earlier in a rather puzzling end to this first section of this instalment.

Part Two – “Do I gather that you interrupted the interrogation of that little Sergeant bloke from the Abwehr?” says Zander seated at his desk looking through paperwork that required his personal attention as we begin this segment to which Lutzig questions the effectiveness of such methods with Gratz. Thinking he can employ more suitable tactics Zander requests Lutzig to bring the prisoner before him and is naturally stunned that he has been released. Lutzig believes that they should give Gratz a motive to cooperate which in this instance is a feeling of hate connected with Nina. However any further rebuttal to this fades from Zander as the contents of one particular piece of correspondence has a significant emotional impact on the SS Commanding Officer. In a much calmer reasoned voice Zander unexpectedly changes subject by asking “Where’s Treblinka?” Further to Lutzig’s confirmation that it is near Walsall the piece of paper in his hands states that Zander is being posted there to which he nervously asks “Have you ever heard of the phrase ‘the final solution?’” With his usual cool assurance Lutzig replies “Yes, I’ve heard of it sir I wonder if Nina has?” Having enjoyed his cognac with a straw Jimmy offers to give their guest a lighted cigarette whilst Vincent apologies for inflicting harm on Gratz’ bandaged hands but he obviously had to make sure that they were genuine. Naturally our trio remain suspicious of Gratz’ intent to return to England with them and Vincent is unwilling to let the Abwehr Sergeant to leave alone so that he can supposedly go and get his radio equipment. Instead it ultimately falls to Nina (accompanied by Jimmy) to go to the empty office block opposite Gratz’ apartment and on the fourth floor, first window to the left of the lamppost they will find a loose floorboard in the far corner of the room where the wireless set is hidden. They assume it will take about half an hour to retrieve it and in the meantime having relinquished Gratz’ gun the pair depart to leave the unarmed Vincent alone with the supposed escape colleague. Returning to Zander’s office and there is certainly a temporary distinct shift of power between the two men with the Commanding Officer reliant on Lutzig’s plan to capture Nina and the presumed valuable information that she holds which might mitigate Zander’s imminent transfer. Returning to Vincent and Gratz and ever inquisitive about the suspicious resistance member whom our Abwehr Sergeant knows as Captain Joseph Arthur Reynolds (with an English father and French mother), SOE, Baker Street, London , W1, F Section under Buckmaster and was apparently delighted to hear of his richly deserved promotion. There is an audible distraction which leads Vincent to look out of the window as Gratz is seemingly waffling on from lying on the simple camp bed in the middle of the room. Awaiting the agreed five minutes outside in the car Jimmy momentarily says to Nina as he pulls a canvas bag from the rear seat of the vehicle that he truly believes that they are now on the last lap. With Jimmy and Nina having returned with the wireless set Gratz puts on the head set and is instructed by the gun pointing Vincent to test the identification call sign meanwhile Zander and Lutzig are standing by for any reports that might come through from the patrolling detector vans. Lutzig goes to a map of Bordeaux pinned up on an adjacent wall and draws a fairly large square indicating the initial triangulated area that the monitoring of the initial transmission has given them. Lutzig warns his superior about pre-empting further longer transmissions with a full search… instead stating that they should just ‘’leave them in peace”. The anxious silence shared by all four is finally broken when their wireless equipment begins to receive a message from London. This segment of the story concludes with Jimmy, pencil in hand ready to transcribe the incoming message says in his usual flippant manner “Ready for dictation as Germany said to Hitler”.

Part Three – This segment opens with the brief sight of Vincent seated on the pillow edge of the vacated bed scribbling down a message for transmission with Nina seated just behind and to the right of him whilst beyond them and to the left Jimmy keeps a watchful eye on wireless operator Gratz. Eventually after a momentary glance at the tension between Lutzig and the restless Zander we switch back to Vincent whom presents Gratz with the next message to be transmitted. Initially the Abwehr Sergeant is hesitant at sending it so Vincent says that he should think of London and Nina as a suitable incentive. Eventually he refuses essentially saying that it is “too bloody long” to which Jimmy interjects by saying “my god we are not going to start comparing literary styles now!” This in fact is a worthy test of Gratz’ loyalty to them with Vincent eventually being persuaded to show the real much shorter and succinct message which he begins to transmit. With this transmission being much shorter than he’d hoped for Lutzig returns to the wall mounted map and draws a much smaller square within the one he previously sketched indicating that although they are narrowing the search it still is not much to go on. Eventually a message from London is received and Jimmy takes the transcribed message to Vincent and with Nina looking over their shoulders the three of them look over a map of Bordeaux laid out on the bed. It soon becomes readily apparent that the ‘midnight on the sixth’ pick up point which is about eighty kilometres from their current position, is certainly most possible however Vincent still continues to be openly sceptical about Gratz and if the messages received are coming from London at all or from SS headquarters from Bordeaux. Dare they ask a question that only London would know given that detector vans are obviously patrolling the area for any transmissions? It is about at this point that Nina learns of Vincent’s intention to remain in France with his circuit saying that it is his duty. For me at this point it seems rather puzzling when compared with his intention of marrying Nina and living ‘happily ever after’ in England that he expressed during “The Train May Be Late”. Irrespective of this Vincent manages to persuade Jimmy to take Nina to the rendezvous point whilst he remains to get Gratz to transmit one simple short three word message that only London can answer. Whilst they await the reply our Abwehr Sergeant speculates as the reason why Vincent is remaining is because he is “afraid of Nina as she can hurt you more than the whole German nation from Adolf Hitler to Wolfgang Gratz and that’s why I think you want to put the English Channel between the pair of you”. Surprisingly waiting outside in the car Jimmy arrives at the same conclusion about Vincent and shares this with Nina when he says “Oh a paperback romance on the run from the SS that’s one thing but London reality seeing him for what he is or at least what he thinks he is. Within a fortnight the old heave ho in favour of a handsome B52 pilot with bomb crates stuffed full of nylons, dashing. Well no one can describe Vincent as exactly dashing. He’s about as dashing as Wolfgang Amadeus Gratz and he knows it!” Well it’s that final thought that gains a slap of the face from Nina and provokes her to rush back into the building attempting once more to persuade Vincent to leave with her and with this having failed she says that she too will remain in France. The worthy dialogue between the three of them is cut short when suddenly the correct coded response to Vincent’s transmission of “What is War?” comes through over the set which is “War is Love”. On his honour Vincent then says that he will accompany Nina back to England to which Gratz can only look on with a feeling of total astonishment. Under the pretext of sending another message Vincent draws his gun as Gratz prepares the set of use. Realising that Vincent’s intention is now to kill him an intense fight breaks out between the two men for control of the revolver. Eventually the scuffle leads to a tumble down a few stairs nearby to a lower level. Gratz is the quicker to return to his feet and rushing back up he somehow manages get hold of the gun in his hands, cocks the trigger and with undoubtedly a great deal of pain takes aim at the clearly frightened Vincent whom silently pleads for mercy from his adversary as he crawls up the stairs. Outside in the car the sounds of multiple shots can be heard and having managed to prevent Nina from rushing in Jimmy starts the car and drives away at great speed. There is certainly a degree of subsequent frenzied madness to Gratz as having first gone back to cover the face (a bullet hole in the centre of his forehead) of the lifeless form of Vincent with a handkerchief before rushing to the wireless transmitter to repeatedly send with frenzied passion “Vincent is dead, war is love” as the credits role. Now released from the previous episode’s prison confinement this second part of “Little Man, What Next” provides viewers with a worthy advancement of the attempted capture of Nina by Gratz. However as Lutzig’s instrument in achieving this Gratz loyalties were always going to be questionable when faced with our regular resistance trio. I think it is the worthy interaction between the Abwehr Sergeant and Vincent that will be the most memorable aspect of this second instalment of the feature length story where we learn much about the respective character’s backgrounds and feelings for Nina. I suspect it is probably the time they spent together that managed to change Vincent’s intention to stay in France rather than return to England with Nina. I also appreciate the worthy interplay on offer between Zander and Lutzig as the SS personnel attempt to locate the wireless transmissions from the Colonel’s office. Rounded off by the stark confrontation between Gratz and Vincent that probably seemed fairly likely early on in the episode as having only one possible outcome the second part of “Little Man, What Next” more than maintains the impressive dramatically engaging narrative established in the previous instalment making for an enjoyable slice of WW2 set drama.

There are 'major plot spoilers' featured in this posting concerning the series finale you have been warned!...

### (DISC SEVEN / 26) ### THE LOSERS (by William Martin) (52:33)
Part One – For the final episode of the series the titles bring together Jimmy, Nina, Adelaide and Gratz but it is Vincent’s handkerchief covered inert body that is the stories first image. Entering to survey the scene the following morning the long black leather coat wearing Lutzig soon expresses his anger to his former prisoner when he tersely says “Is this what I let you go for?, him, a corpse. I arranged everything for you Gratz time and a radio but to get the girl Gratz. I don’t care about anyone else… I want the girl now where is she? His only use was to lead us to her… now answer me!” Gratz attempts to forcefully rebuff the callous disregard Lutzig has for Vincent but his opinion of Nina’s final moments before leaving leave no impression on the SS officer. With Lutzig rapidly loosing patience with the evasive Gratz he levels his revolver to the man’s head to which the Abwehr Sergeant starts to frantically blather about the SS Colonel’s ‘mistress’ Adelaide. He refers back to “Confessional” (Episode 18) when Gratz searching for the missing Nina finds her in of all places Adelaide’s dressing room ‘having a more than favourite chat with your favourite lady’. We switch to Adelaide’s private apartment (where you’ll briefly notice the time indicated on a nearby clock is just after 1.00am) and the dressing gown wearing nightclub singer has the unexpected visitor of a pensive Jimmy whom after briefly looking around surmises that ‘she is alone’ and beckons Nina in. Apparently Adelaide having returned from the abortive train journey has been waiting for days with the projectile casing without a word and asks ‘where is the scoutmaster?’ This is clearly a code name for Vincent as Nina and Jimmy leap to the contrasting fractious exchange assumption that the shot they heard from waiting outside in the car meant the death of their friend. However when Jimmy makes the decision that they should traverse the remaining fifty kilometres to the rendezvous point Adelaide states that the casing is not in her apartment. To this the Squadron Leader asks for the casing to be delivered to Stefan’s café as he believes there is still enough of the resistance to help them whilst in the meantime Nina is going to use Sergeant Gratz, under supervision of course! Their conversation is suddenly curtailed as there is a knock at the door causing Jimmy and Nina to flee into the bathroom whilst Adelaide, now alone once more, answers the door. Lutzig enters and then unexpectedly is followed by an openly suspicious Gratz whom voices their shared question of ‘where is Nina?’ whilst Adelaide talks with Lutzig explaining her previous association with Nina, the pianist and the ‘halfwit’ Gratz furtively looks around adjacent rooms. It is when he opens and slowly enters the kitchen that he is shocked to discover gun drawn in his direction the stoically resolute Nina. Whilst he raises his hands in surrender she pulls a set of keys from his pocket and then Jimmy, whom had been waiting behind the opened door slowly takes hold of the handle and opening it gradually the Abwehr Sergeant gets the hint that he should slowly and quietly back out of the room. When Lutzig and Gratz have left Jimmy and Nina come out of hiding with the latter emotionally upset at the prospect that she could have easily shot him for being the murderer of Vincent. The segment concludes with Adelaide managing to persuade the tearful Nina that she should try to get a couple of hours sleep and helping her into bed she says that she has a very long day ahead of her.

Part Two – “Forget Gratz! It is now 10.30 hours, he was with his commanding officer Colonel Rechvine at 8.30 hours and he told him something very important because Rechvine telephoned an hour ago to inform me that Gratz was not to be touched. Those conditions are only granted to an agent with vital information and for Gratz whose been under suspicion for weeks there must have been enough to exonerate him. He has pulled off a coup and saved his skin now you do the same if want to save yours!” Yes we get this second segment of this story underway with another openly aggressive impassioned outburst from Colonel Zander which fails to engender any showing of emotion in the implacable Lutzig. Instead with the same air of cool detached resolve we’ve come to expect he picks up the phone and calls the cipher section whom he demands results in cracking the code of the message sent the previous night. His next phone call to the patrol section is to “establish road blocks on all routes leading out of Bordeaux and doubling patrols on all secondary roads”. He continues by saying that “all vehicles should be searched and papers properly checked, anything suspicious must be reported immediately to Colonel Zander” with the information to be circulated to a comprehensive list of German and French military divisions with the exclusion of the Abwehr. “With this information circulated a description of Ann-Marie Poitiers codename Nina, the Englishman Briggs known as Jimmy and Adelaide. It is unlikely that they are travelling separately but anyone remotely fitting that description must be held for questioning and released only when they have been satisfactorily vouched for. The road blocks are to be maintained until they are caught”. Zander is understandably satisfied by this proactive action and to his subsequent inquiry Lutzig says with Jimmy now dead what else can they do but run and he believes it’s only a question of time before they are caught. The leadership of the local Bordeaux resistance appears to have fallen to Raoul (as played with suitably stoic resolve by John Salivdent) whom now faces Jimmy and Nina in the backroom of the café where they are under the impression that Gratz will simply now let them go to the rendezvous point unchallenging. Further to assuring Raoul (better known by his codename of Voltare) Jimmy states that they are to take the metal casing with them to which the local resistance leader states that ‘the casing has been expensive’ following a list of ‘brave professional men’ whom have given their lives since “The Ugly Side of War”. We then switch back to Adelaide’s apartment and this time Lutzig is in no mood to entertain the nightclub singer’s naivety when concerned with Nina with a show of aggressive threatenin behaviour to intimidate her. Lutzig’s last phrase is very telling when he says to Adelaide “the past is beginning to catch up and I’m wondering if Cannes is far enough”. This certainly indicates that despite her best efforts to convince the SS Officer of her innocence he is not totally convinced by her story and sudden decision to flee to the south of France. Next having locked the door and checked out of the window to make sure that they were not followed Jimmy and Nina stoically confront Gratz whom states that it was self defence that caused the death of Vincent. Having gained his agreement for doing nothing to impede them Jimmy and Nina leave the apartment and go to a garage shed where Adelaide, Voltare and Stefan are waiting. With false papers handed over they all pile into a low slung black Citroen car and out on the country lanes viewers will notice that Nina has changed into a white wedding dress and veil as part of the groups cover. Eventually as they break out in joyful singing they encounter a German checkpoint where they all climb out of the vehicle whilst the solider on duty carefully inspects the identity papers they are travelling under. Complete with moderate car problems, presumably an overheating engine I personally thought they gave a very convincing performance and indeed eventually it is enough to get them through. As night approaches they eventually come to a halt in the midst of a forest off the main road and it is here that they discard their wedding party attire and four hours later, around eleven o’clock they head towards the coast. Initially Nina takes the lead and on meeting a British Naval Officer on the beach she gains the satisfactory “war is love” reply to the coded question “what is war?” After a momentary return to the group to say her goodbyes to Voltaire and Steffan Nina is the first of the trio to subsequently climb into the beached rowing boat. Adelaide is the next start to make her way onto the beach but moments after breaking cover from the safety of the sandbank searchlights and a nearby alarm klaxon indicate that their presence has been detected. Once again death follows those whom aid our escaping regulars as we tragically watch, in relatively quick succession Adelaide, Steffan and Voltaire shot whilst running down onto the beach. Last to move from the sandbank is Jimmy whom instead of following the others wisely elects to make his way to the nearest gun emplacement where he tosses an explosive charge into the aperture with a suitably satisfying pyrotechnic explosion! He then scrambles down onto the beach and manages to retrieve the metal casing from the still moving form of Adelaide before jumping into the rowing boat where he forcefully insists that they, to put it politely, move away as swiftly as possible. In the early morning light of the following morning moving about the lifeless bodies of Adelaide, Steffan and Voltaire we find Lutzig and Gratz contemplating the abject failure of their collective efforts.

Part Three – Back in uniform Sergeant Gratz stands before Colonel Zander and informs the ranking officer that the Abwehr have managed to obtain most of the information that Nina had through the time they had spent living together in his apartment. Across the channel in the London office of a British Army Officer Nina is shown in and on the military mans desk he has a file containing the fairly comprehensive amount of information that she has provided them with. He acknowledges that it is highly detailed and useful however for the most part, considering the lengthy amount of time it has taken for her to reach England it is now largely ‘out of date’. We shift to the a nearby public bar where we find Jimmy, now starting to once again sport his trademark moustache (as seen back in his very first series appearance), back in RAF uniform is clearly in high spirits, drinking with a fellow officer. We learn that he has received promotion from Squadron Leader to Wing Commander however his new rank means that he is now a desk bound member of the service. He berates this to his friend Eddie (another surprise bit of casting finds Blake’s Seven ‘Avon’ actor Paul Darrow putting in a brief cameo appearance) whom attempts to diplomatically pacify his friends displeasure by roughly saying that there are “lots of youngsters eager to get into the RAF, you don’t want to stand in their way to wish to fly”. There is worse to come for Jimmy as moments later Nina enters and having tacitly acknowledged his presence as their eyes meet she goes up to the bar. It is here that an American Officer attempts to make conversation with the offer of buying her a drink. This exactly confirms what Jimmy previously thought would happen which he said to Nina in the previous episode and the disgust his expression betrays indicates how he believes Nina’s actions have dishonoured the memory of Vincent. “The Losers” is I think an effectively rewarding dramatic conclusion to the series which leaves viewers with the opinion that everyone concerned failed to succeed in their respective objectives.

Next this...

### (DISC SEVEN) ### IMAGE GALLERY
BONUS FEATURE – It is most welcome to see that Network have managed to locate sixty-three images connected with the series and these are silently played out, in fairly leisurely succession, over about three minutes. Sadly the series didn’t make use of incidental music and possibly due to either potential copyright issues or the probable tedium of the same piece looped there is no use of the dramatic title music to accompany these shots. Although they are not present in a full frame manner like which you’d find on other television series releases, for example the ‘classic series’ Doctor Who titles, they are a reasonably good rather comprehensive collection. You’ll find some satisfying regular and guest cast member shots alongside more generic episode images so it is certainly a worthy pleasing extra to be offered.

I'd like to look over the entire series with this posting...

SERIES SUMMARY
‘Manhunt’ is certainly a curious war time drama series that over its twenty-six episodes sees much diversion from its primary initial premise and many changes of regular cast members featured from just before the mid point of its entire run. Things begin in a fairly straightforward manner in “Fare Forward Voyagers” where local resistance member Vincent is faced with the unwelcome prospect of attempting to get Ann-Marie Poitiers, code name “Nina” back to England as well as dealing with an opinionated undisciplined RAF Squadron Leader to complicate matters. Despite the evident shortcomings of this first episode (conveying a rather static stage play feel and probable English countryside location filming) I thought there was certainly enough potential for further dramatic development in subsequent episodes. However with the next offering (under the title “Break-Up”) I felt the tension of evading capture from the Germans was rather diluted by what can only be classified as a ‘rather disappointing woodland ramble’. Still feeling relatively below par we next have the third and fourth instalments which come under the respective titles of “Only The Dead Survive” and “What did you do In The War Daddy?” and really feel like they play as the series first two-part story. The narrative for these finds our trio hiding out in the grounds and the chateau belonging to Vincent’s family. The most notable aspect here is the introduction of semi regular SS Officer Lutzig played with marvellously believable gusto by Philip Madoc whom offers a marvellous contrast to the cultured self effacing General Von Trenow portrayed by distinguished guest actor Richard Hurndall. Now for me the first real classic story that ‘Manhunt’ offered was the following fifth episode which atypically was filmed entirely on location. The fast paced dramatically suspenseful narrative on offer during “One More River” finds our trio involved in a variety of evasive manoeuvres to attempt to outthink both the local malice and the German bloodhounds of Major Schneider and Sergeant Adler. In my opinion this entirely rewarded my continued faith in both purchasing the DVD set and settling down to regular down episode viewings. Regular viewers no doubt have found it a bit jarring to go from this well cast outdoors adventure to sixth episode “Open House” a studio set story which only featured the three principal cast. In my opinion it’s a worthy exercise to allow the writers to further flesh out the relationships of the series leads within a suitably suspenseful mystery tale despite not offering viewers too much connection with the wartime situation happening beyond its confines. It’s another safe house for our trio presided over by individuals sympathetic to the resistance cause in next tale “Better Doubt Than Die” although rather than just be confined to another locale Jimmy at least ventures into a nearby café. This story like the following offering presents us with more former friends of Vincent however whilst “A Different Kind of War” offers a similar kind of minimalist cast and studio set it looses out for having no discernable dynamic flare and dramatic insistence to its premise.

It is with the ninth episode entitled “Betrayal” that the fragmenting of our trio really begins with the introduction of Abwehr Sergeant Gratz so marvellously portrayed by Robert Hardy. He is clearly an excellent antagonistic foil for Lutzig with the characters sparring marvellously off one another right from their initial scene together. “Betrayal” also marks the introduction of the Famechon Aviation metal works which plays host to a top secret project which has a bearing on most of the remaining episodes of the series. This episode neatly leads into the next with much of “With A Sort of Love” covering the subsequent interrogation of Nina by Gratz. Essentially a two-hander script where the two characters establish the beginnings of an ultimately flawed relationship. Eleventh episode “The Price of Resistance” is aptly named where the real dangerous consequences of harbouring our trio of fleeing characters is conveyed within its narrative. Again another reoccurring character whom has a bearing on most of the remaining stories in the series is introduced during the next story. Within the confines of the La Lapin Bouleverse establishment we meet nightclub singer Adelaide (played with typical Australian relaxed style by actress Maggie Fitzgibbon) whose loyalties are available to whomever offers the best price. There is obviously inherent dangers for Vincent, Jimmy and Nina whom adopt the duties of club pianist, ‘half-wit’ cleaner and waitress particularly when both Lutzig and Gratz frequent the establishment. The locale also features in the next “A Way To Die” offering however having just fragmented the trio with the loss of Nina this story sees Vincent and Jimmy cornered in a deserted warehouse. Whilst the former character is taken prisoner Jimmy largely dominates proceedings on his own in fourteenth episode “One Way Home” which is once again a fairly minimalist cast and setting led piece but succeeds thanks to strong scripting.

By this point of the series viewers are no doubt getting used to the fluctuation of regular cast members and the next story, the first official two part story under the title “Little Man, Big Gun” ostensibly focuses on Nina and Gratz with a third past association character added to the mix. In my opinion seventeenth episode “The Ugly Side of War” can undoubtedly be considered one of the true classic stories that ‘Manhunt’ has presented. This is the story where the dramatic premise of a secret project within the metal works and the integral part that Jimmy plays in discovering what it is really helps to strengthen the story quite noticeably. Eighteenth story “Confessional” has one suspenseful sequence to play, that of Nina and Adelaide appearing to be captured and interrogated by the SS and then after that, in my opinion, it fails to live up to its initial promise. Quite forgotten by the series since his capture in “A Way To Die” viewers, like myself, will no doubt be surprised at the sudden reappearance in nineteen story “The Death Wish” where the dirty and dishevelled Vincent gains a sudden stay of execution so as to meet another former college friend. Aside from another worthy, albeit briefer than usual cameo from Lutzig I personally felt this was a relatively forgettable offering. Picking up the dramatic premise gauntlet thrown down in “The Ugly Side of War” we return to the metal works factory for episode twenty called simply and enigmatically “Machine” however best illustrated by Jimmy’s rather lethargic progress much of the dramatic tension of the former instalment seems to have been lost. Its only saving grace is of course the return of Vincent but even his reunion with Jimmy cannot suitably enthuse the Squadron Leader’s enthusiasm for making further progress at the factory.

Another fine episode which presents us with more insight into the working practices of Gratz comes next and I for one appreciate the contrasting treatment offered to the recently captured female prisoners premise on offer in “Degrade and Rule”. However this twenty-first story is significant as it ultimately proves the downfall of Sergeant Gratz. In stark contrast to every other story presented in ‘Manhunt’ episode twenty-two offers up a premise totally devoid of scripted dialogue between cast members. Instead “Intent To Steal” is an entirely visual, location filmed raid on the metal works establishment which succeeds in highlighting the inestimable talents of stunt outfit HAVOC for effectively realising action sequences within a drama series. Once again the series changes tack completely for its next story, the minimal studio set twenty-third instalment known as “The Train May Be Late”. Other than reuniting Vincent with Nina this offering adds little to the overall narrative with the two characters and Adelaide making an ultimately futile escape attempt with the casing before being turned back thanks to the tracks ahead being destroyed in a RAF raid. Twenty-four and twenty-five return to the plight of Sergeant Gratz whom is now forced into entering into a deal to deliver Nina to the SS during the double episode “Little Man, What Next” story. The ultimately tragic ramifications of its conclusion initially have a bearing on the series finale story known as “The Losers” where never was a truer title more appropriate for the entire main and guest characters involved.

The core trio of Jimmy, Vincent and Nina are I think particularly well cast with Alfred Lynch, Peter Barkworth and Cyd Hayman providing pleasing effective interpretations of their respective characters. Aside from this effective collective ‘people in peril’ dynamic ‘Manhunt’ is further strengthened by marvellously memorable performances offered by Robert Hardy as Abwehr Sergeant Gratz and Philip Madoc as SS Officer Lutzig. This is another period drama series proliferated by praiseworthy guest stars better known for other dramatic and comedic roles. They are unexpectedly spread throughout the entire series run and whilst convinced that they generally give excellent convincing portrayals of their respective characters I for one enjoy attempting to associate each individual with the role I better know them for. Along the way there are occasional clues as to the amount of time elapsed between first episode “Fare Forward Voyagers” and series finale “The Losers” which I think will give viewers an intimation of the developing dynamic of the broader wartime situation beyond the televised narrative. When considering this the eventual outcome offered in the concluding instalment whilst in many regards emotionally devastating should come as no real surprise. The dangerous journey that Vincent, Jimmy and Nina take is a particularly tortuous one and there is certainly great credence in the claim that they do indeed leave a trail of death behind them in their quest to reach England. Ultimately ‘Manhunt’ successfully offers a blend of location and studio set stories of a varying dramatically engaging nature which either employ generous or minimal casting depending on the script requirements. With a fluctuating regular character dynamic on offer for most of the series ‘Manhunt’ is clearly a show that has a narrative which is both broad and fragmented in its structure but continued viewing throughout all its twenty-six instalments should generally be considered as a rewarding and enjoyable period drama experience.

Finally to finish off things this morning I put together the following product review under the heading 'Mixture of narrative style and casting make for worthy WW2 drama'...

MANHUNT is certainly a curious World War 2 drama series that over its twenty-six episodes sees much diversion from its primary initial premise and many changes of regular cast members featured from just before the mid point of its entire run. The core trio of Jimmy, Vincent and Nina are I think particularly well cast with Alfred Lynch, Peter Barkworth and Cyd Hayman providing pleasing effective interpretations of their respective characters. Aside from this effective collective ‘people in peril’ dynamic MANHUNT is further strengthened by marvellously memorable performances offered by Robert Hardy as Abwehr Sergeant Gratz and Philip Madoc as SS Officer Lutzig. This is another period drama series proliferated by praiseworthy guest stars better known for other dramatic and comedic roles. They are unexpectedly spread throughout the entire series run and whilst convinced that they generally give excellent convincing portrayals of their respective characters I for one enjoy attempting to associate each individual with the role I better know them for. Whilst there are many excellent moments on offer from the majority of episodes you will find in this DVD set there are a few stories which in my opinion can be considered essential series viewing offerings. Firstly there is the fast paced dramatically suspenseful narrative on offer during the totally location filmed ONE MORE RIVER finding our trio involved in a variety of evasive manoeuvres to attempt to outthink both the local malice and the German bloodhounds of Major Schneider and Sergeant Adler. Sixth episode OPEN HOUSE is both a suitably suspenseful mystery tale and opportunity to flesh out the core series trio in a studio set minimal cast offering. Episode 17 entitled THE UGLY SIDE OF WAR where series regular Jimmy becomes integral in the resistance movements attempts to learn about the secret project in the nearby metal works factory. The worthy dramatically engaging premise on offer in Episode 21 called DEGRADE AND RULE where Gratz employs differing interrogation methods to two captured women working for the resistance with a satisfying conclusion. The series biggest failings are episode 8 A DIFFERENT KIND OF WAR a minimalist cast and studio bound tale that lacks both the immediacy of wartime danger and an effective dramatic dynamic. Episode 18 CONFESSIONAL which begins promisingly enough but fails to capitalise on the suspenseful capture and interrogation of Nina and Adelaide. Episode 22 INTENT TO STEAL which although entertaining enough location filmed offering is essentially one massive non speaking promotion for stunt team HAVOC. Essentially what you have here is a series which successfully offers a blend of location and studio set stories of a varying dramatically engaging nature which either employ generous or minimal casting depending on the script requirements. With a fluctuating regular character dynamic on offer for most of the series MANHUNT is clearly a show that has a narrative which is both broad and fragmented in its structure but continued viewing throughout all its twenty-six instalments should generally be considered as a rewarding and enjoyable period drama experience.