TV Gold

Yipee! Something new and enjoyably interesting that I would like to praise here on TVGold, 'new stuff' for October means for me that I've got a Tuesday evening, double episode treat to look forward to each week. Refreshing after a fairly average September with 'Flash Gordon' and 'The Tomorrow People'

I'd like to open with this...

At a time when Jon Pertwee and Katy Manning (as the third Doctor and Jo) were facing up to the sadistic Marshal’s plans for Solos whilst delivering a mysterious message to an unknown party in Bob Baker and Dave Martin’s Doctor Who story “The Mutants” television viewers of 1972 could find another BBC treat among the schedules of April through to June of that year. I only discovered “THE LOTUS EATERS” quite by chance first by a free ‘Simply Home Entertainment’ monthly advertising booklet and then by reading the I.M.D.B. entry but it sufficiently intrigued me enough that I knew it was something I had to have a look at. The box set and individual disc painted artwork has attractive unique series specific packaging with a worthy sixteen page illustrated behind-the-scenes booklet laid out in a style similar to that which you’ll find in previous DD Home Entertainment release “The Omega Factor”. Personally due to its overseas location I didn’t for the most part find it overtly dated, it seemed reasonably contemporary and mixing such a convivially appealing, authentically presented setting with an element of mysterious background to the central characters certainly make for a highly enjoyable viewing experience. Undoubtedly a key strength has got to be the casting of series lead actors Ian Hendry and Wanda Ventham whom bring a believable, convincing resonance to their intriguing characters, something that certainly helps to elevate this classic series quite considerably.

If you haven't seen it yet here are some thoughts about the first episode to give you an idea what you'll see...

(01) COLD WIND FROM THE NORTH
(by Michael J Bird / Directed by Cyril Coke :: original tx – 23 April 1972)
As with all episodes to this series the opening titles finds Erik Shepherd at the wheel of ‘Joanna’, his medium sized motor cruiser boat heading into the port of the small picturesque village of Aghios Nikolaos. He manoeuvres it round alongside white walled building steps from the craft and makes his way through the town, briefly offering a wave of acknowledgement to locals sitting nearby, and on towards Sheperd’s Bar where he enters the establishment. This is matched by a memorable, seductively relaxed theme tune, twinned with Greek character lettering of principle cast members and series title, which effectively captures the Mediterranean feel of “THE LOTUS EATERS”. As the first episode of the season this title sequence leads seamlessly into Erik’s first scene briefly talking with his local bar man Nikos, giving an immediate sense of his ownership of the establishment to new viewers. He then moves to the partially open area at the rear of the premises where he meets with Mr and Mrs Zimmerman, a visiting German tourist couple who are rather disgruntled at the lack of success at their recent fishing trip. Irrespective of this and acknowledging that they have come ‘off season’ Erik is suitably pragmatic and businesslike when estimating how much the couple own for the charter of his boat and sundry items like a well catered packed lunch. While her husband dwells on the cost of their pleasure trip excursion Mrs Zimmerman flirts with Erik back at the bar in the next scene but, with great surprise to Ann, she finds her co-owner husband turning down the offer of the tourist. Now the central premise aspect to “Cold Wind From The North” is the arrival of freelance travel writer Donald Culley whom initially conveys the impression that he is merely interested in learning more about the area however it’s his interaction with Ann Shepherd that elevates "THE LOTUS EATERS" from a pleasant enough relaxed soap opera to a highly intriguing, engagingly interesting drama. It begins when whilst resting on the bar he places his camera on the counter which gives Ann a momentary personal black and white flashback to a small rectangular spy camera resting on a desk. Throughout the episode opportunities for Ann to be alone with Donald present themselves whilst Erik is otherwise occupied and at these instances further background to one of our series lead characters are slowly revealed. From the evidence of this opening story the series makes great use of its seemingly exotic location with Donald and Ann walking around an old church and white walled Greek countryside village. As they walk through the narrow streets Donald states that he has briefly learned that Ann was formerly known as MI5 operative Judith Chernik, born 12th May 1958, speaks three languages, has been married for ten years and lived on the island for seven. This leads to a black and white flashback with Judith being briefed by her superior and then introduced to future husband Erik whom we see as an alcoholic crouching in the corner of an empty room as the two at the door peer inside. The couple have a second liaison with Ann giving Donald a brief history lesson as they walk around ruins of a third century BC town. There is an emotional attraction between them which eventually results in a kiss just as Erik suddenly appears on the near horizon witnessing the embrace. So what of Erik I hear you ask? Well as a secondary plot story a young girl called Ruth Stewart arrives on the island and, making her way to Sheperd’s Bar, she asks Erik if he could help in finding her brother whom had gone missing during a back packing trip to India with friends. Our co-series lead agrees and during their time together he learns that her brother Colin, also hailing from Nottingham had last been heard of seven months ago via a received post card. Ruth had learnt of a major row between Colin and his friends in Athens and since then he had not been heard of. Eventually their search leads them to a far off island which according to Ann Shepherd requires a three day boat trip. It is whilst Erik and Ruth are racing across the high seas on his boat that the pair watch dolphins nearby rising and falling in the water leading to the boat owner recalling a heart-warming tale concerning this aquatic mammal. Whilst he talks Erik experiences his own black and white flashback sequence where we see him and Ann (with short black hair wearing a raincoat) feeding ducks in a city park. This leads into attending their own marriage ceremony, emerging from the town hall in a hail of confetti, then Erik alone leaving Crown Court pursued by a crowd of reporters as he rushes towards a waiting car. Finally Erik and Ruth reach the island and on entering a deserted Sheppard’s hut outside a village the pair are stunned to look around and see a variety of strange psychedelic image paintings of ‘love’ and ‘hate’ adorning the walls. Ever suspicious of her husband’s activities whilst out of her sight Ann is fully ready to emotionally berate Erik for his seemingly excessive absence however she is stunned into silence when he retorts that he and Ruth had discovered that Colin was a heroin addict whom had tragically overdosed at the isolated locale. Worth noting, on the periphery of the action you’ll see in the background a few familiar faces during this series opener, like for example a mildly bearded Maurice Denham enjoying the local evening musical entertainment. Crusty old colonial residents Major and Mrs Woolley are an ever present fixture in the Sheperd’s Bar and whilst the actor portraying the monocle wearing old campaigner is not known to me his wife is played by one of Great Britain’s charmingly endearing eccentric actresses. You’ve possibly seen her crop up in classic series Doctor Who (as reclusive painter Amelia Ducat in “Seeds of Doom”) and Blake’s Seven (the croupier in Season Two’s “Gambit”) but here it’s a delight to see Sylvia Coldridge knitting away whilst the lively entertainment of Greek dancing and music (with Erik one of those playing an instrument) takes centre stage as evening entertainment at the local watering hole. For me “Cold Wind From The North” succeeds admirably in drawing the viewer in by its relaxed convivial Mediterranean setting which is effectively conveyed by pleasing authentic Greek incidental music and location filming. I would also like to praise the entirely convincing use of lighting, set design and sound effects for scenes like that of the partially open rear of Sheperd’s bar, something that for me is one of the main strengths of “I, Claudius”, a series that so completely had to rely on this totally studio based production. A superb first episode with much to praise leaving viewers, myself included, hungry for more!

It will be my first chance to see the third and fourth episodes this evening but before that I'd like to share with you guys my thoughts on the second episode of this marvellous series...

(02) THE PRESENT MRS CLIVE
(by Michael J Bird / Directed by Douglas Camfield :: original tx – 30 April 1972)
We open this second episode with a early morning knock at the door of Sheperd’s bar and Erik, rested from his slumber, slowly slips from the double bed he shares with Ann and makes his way down to the front door of the establishment. Now I only mention this sequence as it’s difficult not to notice a rather large circularly sized lump on the centre of his back. At this point in the series with so many secrets yet to be revealed I don’t know if this part of the characters murky past or if it is more innocently something unique to the actor. Anyway before opening the door he taps on the window attempting to gain the attention of the caller and a long dark haired pretty girl moves to Erik’s position. They briefly stare at one another however for Erik it briefly triggers another black and white flashback, this one featuring a tall school uniform wearing, short haired young girl whom slowly moves round him smiling. There’s more mystery to this individual brought to bear as in a later scene after a brief conversation with Katrina, Erik despatches the bar maid into town on an errand leading to Ann first suggesting that they don’t really need her services at the bar. She further cryptically adds that she bares more than a passing resemblance to Carol Sadler, a now deceased former acquaintance although the circumstances of her demise lay unspoken between the couple. The central premise for this story revolves around David Clive, a weak man, trapped in an unhappy marriage whom has taken refuge in Aghios Nikolaos where he attempts to lead a self sufficient lifestyle as a freelance painter with blonde haired vacuous girlfriend Jennifer. There is certainly a beatnik type feel to their existence with David, Jennifer and another youngster seen briefly down on the beach meditating although their activities are not always so discrete. At one point we see local Police Captain Krasakis visiting Erik on his boat and asking if he could persuade the youngsters to practice some restraint when they go swimming in the sea naked! This is only verbally inferred and Erik agrees with the Captain to speak to them about this. There seems to be a good relationship with Krasakis and Erik with the Police Captain saying of new American tourists due to visit that he will advise them to seek the bar owner when they require pleasure boat facilities. David and Jennifer’s idyllic carefree existence is shattered when Jennifer hands David a letter from his brother which states that Lorna is coming to the island. Well David puts his best suit on and goes down to the jetty to see his wife arrive on the incoming boat from the mainland intent to forcefully tell her that he is entirely happy living there and requires an immediate divorce but is stunned when she totally ignores him. Well two weeks go by and apparently Lorna has spent the entire time shut away in her villa which clearly unsettles David yet further. Things get worse when, whilst at Sheperd’s Bar David learns that Lorna has arranged a party to which everyone, except him, is invited. Ann attends this get together and soon develops a dislike for the new arrival whilst Erik, during gentle verbal probing by Lorna at a subsequent more intimate evening dinner of just the three of them seems not unduly perturbed. In fact Erik and Lorna seem reasonably convivial when the couple spend time together when Lorna charters Erik’s boat to take her along the coast. Out on the open water these sequences are very satisfyingly filmed however when we subsequently see them sitting on the beach close to the cliff face it’s clear that despite effective use of lighting and sound effects we’ve suddenly lapsed back into studio. When Lorna momentarily rises behind her it’s clearly a stock shot and the use of CSO (or Colour Separation Overlay if you prefer) is barely but undoubtedly detectable around the edges of her hair. There are two additional points of interest worth mentioning about this story. Firstly at Lorna’s party Maurice Denham’s character of Nestor has a more prominent cameo, a delightful sequence where dressed in an ill fitting suit that is significantly too large he burps in front of the prim and proper Wolleys, upsetting their delicate sensibilities. The Woolley’s themselves also contribute memorably to this story as, quite unexpectedly, the Major suddenly loses his temper in Sheperd’s Bar, smashing glasses in front of his wife clearly upset about something she has done which temporarily obviously silences the regular chatter of the establishment. For the most part I feel that “The Present Mrs Clive” lacks the dynamic punch that was clearly evident in the preceding series opener. However it more than makes up for it through effective pacing leading to a devastating, unexpected ‘sting in the tail’ which totally destroys David’s self confidence and firmly establishes in the minds of the viewers what a ‘cold calculating bitch’ Lorna Clive is. A satisfying if a tad muted second episode of a series that is definitely shaping up to be one of my favourites!

Hope to come back soon for some more words on what I've been watching!

The first disc of this, adorned with a painted image of Erik Sheperd features four episodes and here are my thoughts on the next one I watched...

(03) AND HERA HAD A SISTER
(by Michael J Bird / Directed by Douglas Camfield :: original tx – 7 May 1972)
Paranoia stalks the owners and patrons of Sheperd’s Bar in “And Hera Had A Sister”, the third episode of this first season of ‘THE LOTUS EATERS’. The whole tone of the story is established from the opening scene where we see Erik Shepherd sitting up in bed attempting to read a newspaper although his focus shifts away from the periodical to the buzzing sound of a mosquito flying around the room. Subsequently the episode initially seems like it will take a fairly routine pattern with Ann overseeing the assembling of packed lunches for visiting Americans making sure that there is adequate food and drink provisions for the tourists. These preparations are interrupted by the morning mail delivery. Erik playfully teases with Katerina as the youngster flicks through the envelopes leading to another brief black and white flashback, this one with Erik and the short haired girl wearing lifejackets as they travel across the water of a lake in a small sailing boat. There is one letter in particular that gains Erik’s particular interest and cultivates a sense of anger, suspicion and a slight degree of fear in the bar owner. The contents of the letter reads ‘Believe me when I say I’m writing to you as a friend with your best interests at heart. Someone with your background and past experience will, I am sure, appreciate the need to safeguard your present position and protect your future. I have no doubt that it would be to our mutual advantage if we had a chat about this. To that end, I shall be in the Shepherd’s Bar tomorrow afternoon at four o’clock. As I say, my one concern is your welfare and I can predict with confidence that if you pass up this opportunity for a meeting, you will most certainly have cause to regret it. Yours sincerely, signed “A well-wisher”’. In conversation with Ann the recollections of Erik’s appearance in a magistrates court gains greater detail for the viewer. Apparently our series lead was charged with, on the 3rd of April in Essex the murder of 15-year-old girl Ann Sadler and although we do not hear his plea to the charges levelled against him it seems, now eight years on, that he was found not guilty. To further embellish the overriding feeling of paranoia you’ll find regarding the cryptic letter this correspondence is also sent to our colonial resident Colonel Woolley and visiting American tourist Philip Mervish whom both have similar shady pasts. Thanks to Miriam we learn that the Colonel was dishonourably discharged from his regiment due to some shady goings on with the mess funds, something that as Treasury Secretary (and former Lieutenant Colonel) was viewed with distain. If you throw in an imminent storm, full of darkened sky, thunder, lighting, driving wind and rain (as illustrated by some stock exterior footage around the buildings lining the waterfront) and the doom laden atmosphere purveying the Bar is certainly I think complete. Providing a worthy bit of momentary light relief Maurice Denham’s character of the over ebullient, good natured tramp Nestor Turton will certainly raise a smile with viewers as he shambles in and takes a moment to go over to the Major and having announced his service number of 39695 salutes the old colonel campaigner before attempting to gain a drink, charged on his hefty bar bill. Although considered as the episodes comic element I guess viewers will be astonished to find that he is highly instrumental in instigating the paranoia purveying the establishment something that Colonel Woolley’s subsequent rage when provoked admirably conveys. Whilst offering some more welcome background to Erik Sheperd and Colonel Woolley “And Hera Had A Sister” is an excellent dramatic piece of television which maintains the heightened paranoia and tension amongst the key character players so successfully that the final payoff towards the latter stages of the story will undoubted come as such a complete unexpected surprise that it will having you cheering at the writing audacity of the series creator. A highly recommended episode!

The other episode I watched last week led me to put together these thoughts...

(04) A TOUCH OF HOME
(by Michael J Bird / Directed by Cyril Coke :: original tx – 13 May 1972)
Out in the wild Crete countryside, decked out in traditional all weather tweed topped off with deerstalker hat Colonel Woolley focuses with his gun on another intense period of clay pigeon shooting. Whilst he directs a young local boy to operate the release mechanism, the Colonel’s faithful dog, a young Labrador pup called Dick attentively sits close by. Back at Sheperd’s Bar, Erik steps out of a side door of the property, his attention momentarily diverted by the sound of distant gunfire. Later in conversation with Ann about the Colonel’s dedication to regular recreational shooting Erik reflects, in another brief black and white flashback, that there is a more familiar adversarial use for weaponry with our series lead decked out in combat fatigues using an automatic machine gun with total impunity. The principal focus of “A Touch Of Home” centres around the old colonial pairing of the Woolley’s, something that begins by having rather derogatory comedic overtones. Discussion about their regimented, totally predictable routine amongst the bar’s other more relaxed patrons will no doubt bring thoughts of how foreigners typically (presumably used to) see the supposed stoic British living in their country. Two of the customers even play out the daily routine of Colonel and Mrs Woolley with vocal and physical mannerisms to humourous effect however there is trouble in store for the reclusive, odd but harmless couple. The catalyst for the sequence of events that play out is the non-delivery of a regularly scheduled parcel from England which directly elevates the tension in the Colonel. We get to see the Woolley’s isolated home, an impressive well-appointed period residence with a considerably large garden that is the pride of Miriam. Whilst running an errand hippy couple Mark Potter and Kirsten McLuhen visit and having knocked with no reply the pair tentatively step inside and whilst calling for the Woolley’s are slightly taken by surprise by the palatial colonial settings. Having returned to their waiting donkey outside Mark and Kirsten then look to the garden at the rear and are puzzled to see Mrs Woolley, broom in hand, frantically bashing at the empty ground with murderously insane zeal. It later transpires that Miriam suffers from a delusional state imagining masses of spiders are traipsing all over the grounds and is fearful that these terribly creatures may one day make their way inside the house. Despite the tension her husband is passing onto her the timid bespectacled spouse gains delight when Ann broaches the subject of how highly regarded her well-tended garden has become amongst other island residents. This helps to cultivate a fleeting period of friendship between them and not only does Miriam invite Ann to visit to look over the garden but also asks her to secretly pick up a certain item from the local chemists, something that she does not want her husband to know about. The Colonel becomes increasingly incensed as the delay of his package continues with him harassing the port office clerk and the docked ferry. At one point he attempts to climb onboard the craft but in the scuffle with the crew he is sent back onto the quayside and whilst seated on the concrete he gains much amusement from local children assembled watching the commotion. For me, at moments like when the Woolley’s sit down for an evening meal it reminded me of how Doctor Robert Buzzard in the second season of “A Very Peculiar Practice” really came mentally unglued and (for a brief moment) virtually catatonic however the Colonel did not have a wife as strong as Daphne to snap him back into the reality of daily life. Concerned about the Woolley’s Erik speaks with Captain Krasakis with the Police officer consulting the file which offers very little of note apart from their being married in Singapore in 1934 and that they have lived on the island for a period of two years and eight months. In amongst the stories central premise we delve a bit more into the personal histories of Erik and Ann Shepherd. For Eric it’s a black and white photo montage of images showing him being arrested whilst with Ann, as part of her conditioning her flashback indicates that her cover identity was born in Prague on 3rd January 1937 with a lawyer father born in 1906. For me this stories ability to shift so shockingly from humourous to significantly dark and disturbing is the most memorable aspect that is indelibly fixed in my mind. The final sequence of events begins when the Colonel discovers his Labrador pup lying dead in the nearby countryside (naturally sleeping of course, because obviously ‘no animals were harmed in the filming of this series’) which is the final straw when he discovers that it was Miriam’s desire to eradicate the tarantula infestation with the ‘poison’ bought by Ann that caused the death of his faithful pet. The strong emotions of the characters in such a pivotal sequence of events are totally convincing and believable and it is all credit to Thorley Walters and Sylvia Coleridge for the way they play their roles. When Miriam subsequently starts to imagine masses of spiders inside her house, I think well imagined by CSO, it doesn’t take a genius to work out what will happen next. This is particularly effective thanks to an excellent cut between events at the Woolley house and the impromptu 21st birthday party celebrations with lively dancing and music at Shepherd’s bar. Another powerfully strong instalment of this impressive early 70s BBC drama series which for me seems to gain stature and praise through dramatic storytelling and character development with every story.

Fantastic seventh episode and low key but marvellously satisfying eighth episode that I watched last night with much that I want to say about both but in the meantime I'd like to talk about the pair of stories I watched last week...

(05) APHRODITE
(by Jack Ronder / Directed by David Cunliffe original tx – 21 May 1972)
As the opening titles fade we see Ann Shepherd looking out from the first floor balcony of her apartment above the bar towards the fishing boats on the other side of the bay. There she spots her husband bartering with a local fisherman attempting to purchase his reasonably bountiful catch. As business is conducted resident hippies Mark Potter and Kirsten McLuchen stop by on their bicycles and after exchanging a few words with the bar co-owner the pair make their way up the coast to a deserted stretch of beach. Whilst Mark strums away on his guitar the opening few notes of religious hymn ‘All things bright and beautiful’ Kirsten’s attention is distracted by a small motorboat that has come to rest on the shore. As she and Mark approach it soon becomes apparent that there is a blonde haired young floral bikini wearing lady is lying unconscious aboard the craft. Well having alerted Erik the woman is transported back to Shepherd’s bar where she slowly wakes whilst lying on the Shepherd’s double bed. Down at the local Police station the boat owner expresses his angry frustration at his craft being missing for eleven hours to the officer on duty. It later transpires that the woman is known as Julie Johnson whom, along with three others (Val, Nat and Frank (whom subsequently returns home)) arrived in Crete on holiday. It seems that there was some argument between the tourists and the drunken Julie sidled down to the waters edge and from a mixture of Scotch and Champaign clearly passed out in the boat which then got washed out to sea before landing on the beach where Mark and Kirsten found her. Sadly for me this offering penned by ‘Survivors’ writer Jack Ronder feels relatively tame, routine and underwhelming with its central premise more commonly found in one of those mediocre dull weekly soap operas that seem to clog up the terrestrial channel prime time weekday schedules nowadays. In my opinion you could almost compare it to “Girl From The Sea”, a 1976 script that “THE LOTUS EATERS” series creator Michael J Bird offered up for BBC naval drama series ‘Warship’ which I personally consider as being the stronger story. “Aphrodite” does have redeeming qualities like for example Erik Shepherd knowing new arrival Val whom used to be singer with a dance band at the time, prior to his marriage to Ann, that he had a romantic relationship with her. Actress Ingrid Hafner has a worthy scene where Val plainly speaks her mind about Julie as well as unsettling Erik and Ann’s relationship with her frank views. There is pleasing location filming on offer with Julie briefly strolling through the market place past a fruit and veg stall then onto buying cloth from a tailors followed by buying a sewing machine with the supposed intention of opening a shop in Aghios Nikolaos. It’s another fine cameo performance from Maurice Denham as likeable rouge Nestor Turton whom whilst smitten with Julie makes a rough and reasonably realistic pencil sketch of the new arrival. Nestor also once again really gets into the spirit of the local culture with him joining in, with his usual verve and vigour, an impromptu Greek dancing in the bar accompanied by three locally styled guitars. The unique appeal of the series with its atypical setting and strong central characters is not overtly diluted by such a weak premise however fifth episode “Aphrodite” is hardly the most memorable of first season offerings.

Yesterday I received Season One of the next new series I'll be eventually moving on to watch in weekly double episode Tuesday evening 'new stuff' viewings, probably in early December. I got this through the HMV website as there seemed to be some confusion about it over at Play.com. Anyway in the meantime some thoughts about the other episode from last week...

(06) A TIGER IN BRISTOL STREET
(by David Fisher / Directed by Cyril Coke :: original tx – 28 May 1972)
Rather atypically the opening titles of this sixth episode give way to the rather jarring sight of Bullring Shopping Centre and its adjacent large branch of Wolworths. We then pull back from a nearby pedestrian underpass to offer an aerial view of the central Birmingham skyline. This initially establishing vista is then replaced by the sight of a well dressed man with a pointed beard anxiously talking on the phone as he sits behind a desk in the midst of the city art gallery. Close by this individual called Jarvis Duncan a relatively demure lady wearing a brown wide brimmed hat leisurely makes her way around the assembled paintings. It later transpires that her identity is that of schoolteacher Miss Monica Turton, daughter to Aghios Nikolaos resident rouge Nestor whom learns that her father’s work is now being displayed in the establishment. Initially Monica is dismissive of one example known as ‘Birmingham town hall with elephant’ although incredulously art gallery owner Jarvis Duncan says that someone in Solihull is prepared to pay £250 for it. The same person has, apparently previously bought ‘Birmingham Town Hall with Elephants’ and, only two weeks ago someone else bought ‘New Street Station with Rhinoceros’. From the remuneration gained from selling the late painters work Jarvis is obviously keen on acquiring further examples and his contact with Monica leads to the young woman suspecting that certain items adorned with Greek stamps in her attic might be of similarly profitable interest to the art world. They indeed find fifteen of them painted in Rethymno in Crete matching Greek Orthodox priests with a variety of different animals. In later conversation with Jarvis, Monica relates that she believes her father to be dead and that following his leaving England in 1948 a further letter was received in 1955 informed her of his death. By Jarvis arithmetic in seven years that could add up to 84 more paintings which could conceivably be in the region of £30,000 in value. Spurred on by the prospect of further profits derived from discovering further paintings from the late painter Jarvis and Monica make their way to the island. Now Crete they understand is divided into four provinces. Chania, Rethymno, Iraklion and Lasithi and there’s a registrar of births and deaths in each provincial capital. So all Jarvis and Monica plan to do is find the death certificate, and from that find Nestor’s last address. Back around Aghios Nikolaos we see Nestor is at his usual likeable rougish best walking through the town sharing a drink with locals before approaching a fruit and veg shop. Whilst he keeps the lady proprietor occupied in his usual smooth talking cheeky manor a young boy helps himself to as much produce as he is able to carry. Nestor still, on occasion, dabbles with the odd artistic rendition for the tourists and we see him working on a surprisingly good pencil sketch of a bespectacled middle aged lady tourist punctuated with his usual flattering patter and the occasional glass of local liquid refreshment. There is also an amusing instance where Nestor is physically ejected, minus his trousers, from the residence of Madam Lara with the disreputable regular taking a moment to pick up the collection of mostly foreign coins scattered on the floor which obviously the lady had rejected as a form of payment. Naturally there’s a satisfying well played moment of shock when Nestor and his daughter Monica finally meet but this is soon evaporated when the she angrily spurns her estranged father for squandering the £17 funeral expenses that her mother sent. In truth Nestor had used the money to patch up the leaking roof a shepherd’s cottage up in the white mountains during a particularly rainy season. You know sometimes you get the impression that Erik Shepherd is somewhat of a soft touch as exemplified during this story when he spends money on painting equipment and canvas for Nestor to paint new works of art for sale back in England. Although in this instance there might be a slight ‘kindred spirit’ relationship between the two as best illustrated when having gone missing former alcoholic Erik finds Nestor slumped in the corner of a derelict building, a bottle of some intoxicating alcoholic beverage in his left hand clearly in an inebriated condition. The character of Nestor Turton is a pleasing lighthearted distraction whenever the central premise of a story is of a more serious dramatic nature so the prospect of this likeable rouge taking precedence could potentially have made for a weak offering. However in my opinion Maurice Denham’s creditably touching performance as Nestor Turton adds immeasurably to an enjoyable tale of avarice and deception which conveys much background about this character and how he came to be in Aghios Nikolaos. For a series that no doubt is still traumatised by the emotionally shocking departure of Major and Mrs Woolley in “A Touch of Home” the possible prospect of loosing such a familiar, likeable character as Nestor would have been I think tough to accept. Although during the story this seems a possibility it is indeed a relief when we touchingly see him join the other regulars of Shepherd’s bar in waving off Jarvis and Monica before celebrating his good fortune in typically ebullient good natured style. Despite being a relatively lightweight premise in comparison with other first season offerings this is a very enjoyable instalment of this very pleasing drama series.

Ahead of watching the final episode tonight I thought I'd offer some thoughts about last weeks pair starting with this...

(07) THE FACINATING COUPLE
(by David Weir / Directed by David Cunliffe :: original tx – 4 June 1972)
It’s certainly a surprising shock to open this seventh story with the brief sight of couple of nude male and female bodies emerging from the water and start to make their way towards the nearby beach. We later discover that they are the islands visiting hippies Mark Potter and Kirsten McLuhen spending time together on an isolate stretch of coastline. Their unclothed presence gains the attention of three young local men whom start to derisorily jeer and throw rocks at the youngsters, attempting to drive them away from the beach. Just off shore a large sailing yacht, under motor engine power cruses close by, the occupants are visiting Americans Philip and Leigh Mervish whom ask Eric (accompanied by Ann) as to whether the boat would make a worthy financial investment. Their passage across the water leads them close to the island of Spinalonga where the deserted ruins of a former leper colony still harbours bad feelings amongst the locals whom will not visit the isolated locale. However at the Mervish’s insistence Erik manoeuvres their craft in and the four of them spend some time walking around the crumbling ruins. It’s interesting to note that this is accompanied by a distinctly eerie effective piece of incidental music that was previously heard about seven years prior to this episode in the classic series Doctor Who story “The Web Planet”. Philip and Leigh pay particular interest in an isolated stone shack which for the Shepherds seems at this point innocent enough. Having returned to the boat and sailing once more out across the water and down the nearby coast their light-hearted banter is cut short when they notice the commotion coming from the shoreline and offer assistance to the hippie youngsters by driving off the accusing locals. Back at Sheperd’s bar, despite the opinions expressed that they should contact Captain Krasakis, Mark (with agreement from Kirsten) is adamant that they will not show any outward malice to the local malcontents. This leads to Philip’s analysis that they are the ‘last two Christian martyrs’ which indeed is just what he is looking for. It transpires that Philip is a graduate in psychology at Pennsylvania State University where he is currently working on a thesis on the effects of fear, isolation and deprivation on non-combative personality and he and his sister look on the youngsters as potential research subjects. They invite Mark and Kirsten back to their plush, well appointed residence offering a free meal and bed. When you consider what later transpires there is certainly an ironic aspect to Leigh showing Kirsten rare birds caged in a glass case in their home as well as the young girl drawing the ‘go to jail’ card whilst playing Monopoly with the Mervish’s. Eventually Philip puts the offer of their staying in the stone hut in the isolated island of Spinalonga for a week and as a willing part of their research they further attempt to gain their compliance by saying that they will be paid $50 a week for their trouble. It seems innocent enough however when the pair find that they have been locked in and that the food and drink is largely rotten leaving them with only limited bread and water the tone of the story certainly takes a much more serious, potentially life threatening aspect. When he hears about it Erik is naturally suspicious however seems to be convinced when he initially visits the youngsters at the islands stone cabin. However later when the truth of the Mervish’s plan is revealed Erik turns the tables on the visiting Americans primarily due to his own Korean prisoner of war camp experiences. It’s ironic that the very personality changes they wished to observe are something they experience, something that is particularly evident in Leigh when she is unable to gain any sense of malice from Kirsten for what they had done. Another extremely effective of emotive drama which successfully blends from lightweight to suspenseful with worthy location filming and creditable performances from the key actors involved. One last point of note and something that is totally unrelated to the central premise is that you’ll notice Maurice Denham’s Nestor Turton character can be seen briefly back in Shepherd’s bar however this is a non speaking appearance from the likeable rouge.

and for the other one...

(08) YOU MIGHT GET HURT, JOCASTA
(by David Weir / Directed by Douglas Camfield :: original tx – 11 June 1972)
We open with the sight of a small red two door car rushing down a countryside road, a beautiful blonde haired woman wearing a wide brimmed hat, at the wheel, her steely gaze firmly set at looking ahead. The car eventually stops at the end of a shingle driveway and to the strains of a purposeful piece of incidental music punctuated with the occasional notes of a flute the woman rushes towards the house, a gun in hand. Following a rapid search around the interior of the residence she proceeds down some stone steps at the rear of the property to the waters edge at the base of the cliff face. It is here that we unexpectedly learn that there is no intention of malice as the young lady, now identified as Jocasta, is pleased to be reunited with her father once more after a year away. The gun itself was nothing more than a replica and that she has gained a ten week leave of absence from her job of company secretary, presumably back in the United Kingdom. Her father, Alan Fletcher, is a highly successful writer, whom enjoys the peaceful reclusive lifestyle of the Mediterranean island in the tastefully furnished surroundings. Jocasta is clearly a rather precocious young flirt whom we later learn has a past association with Erik whilst he was married with Ann. The return of Jocasta clearly has a destabilising effect on Erik but for Ann the rival for her husband’s affections appears to be the least of her concerns when we have the sudden, unexpected return of Donald Culley, the freelance journalist whom featured in opening story “Cold Wind From The North”. He attempts to convince Ann that it’s purely a social visit this time however Ann clearly cannot separate this from the potential of her being reactivated from her current ‘sleeper agent’ status. Erik, Ann and Donald later attend an evening dinner party hosted by Alan Fletcher (with daughter Jocasta naturally in attendance) and the white haired, but extremely youthful and virile reclusive writer is in distinctly philosophical mood offering his thoughts on a wide range of subjects. In my opinion it is definitely all credit to actor Griffith Jones for the resonate self assured delivery of these lines both at the dinner table and then later out on the nearby patio to his guests which makes the characters sudden departure all the more shocking. I would also like to praise young actress Anouska Hempel whom has her own impassioned emotive scenes to tackle and renders them with commendably convincing ability. Her name is probably one you are not immediately familiar with however she would reappear on television later in the 70s with a small guest starring role in “The Metamorph”, the first story of the second season of Gerry Anderson’s science fiction series ‘Space 1999’. If you know this instalment well you might recall a scene where Security Chief Tony Verdeschi receives a ‘Directive 4’ communication from Commander Koenig to destroy the planet to which Anouska’s character of Annette Fraser emotively protests against taking this action. Now returning to the subject of this eighth episode of ‘THE LOTUS EATERS’ and it’s interesting to note that when Alan Fletcher feels he has expressed more than enough of his philosophical viewpoints there is a clear division of rather telling conversations between his guests. Naturally this is adumbrated by they choice of seating however the obvious split finds Erik talking about a recent archaeological find to Jocasta whilst Donald relates to Ann about a personal relationship situation subject he recently experienced. Again this is another premise that is not immediately suspenseful and emotionally disturbing like for example “A Touch of Home” or “The Fascinating Couple”. However with its premise of testing the loyalties of Erik and Ann regarding the temptations offered respectively by Jocasta and Donald it’s resonate strength is in the acting and measured delivery of the lines. From an interpersonal relationship standpoint “You Might Get Hurt, Jocasta” can in my opinion definitely be regarded as a triumph.

Watched the first couple of episodes from the Second Season last night. Definitely a very different beast from this first run.

In the meantime thoughts about last weeks finale and 'please beware major spoilers in this post!'

(09) THE CLIMBING WAVE
(by Michael J Bird / Directed by David Cunliffe :: original tx – 18 June 1972)
Atypically the easy going theme tune is specially extended for this episode and as the title sequence fades away this charmingly appealing composition seems totally in keeping with the St Nicholas festivities being held in the port town of Aghios Nikolaos. This story benefits greatly from extensive filming of the local celebrations which features Greek Orthodox priests decked out in their traditional costumes, a brass band playing and children and local townsfolk both watching and joining the procession. In the midst of the crowd, enjoying the party atmosphere, Erik and Katerina watch on with evident delight. Eventually the couple depart and away from the main procession Erik pauses briefly to purchase a decorative headscarf for his waitress. Having tied, with a suitably light-hearted flourish, said garment to the vehicles aerial they drive back to the bar where Erik momentarily steps back into the bar to pick up his cigarettes. Naturally Ann is reproachful to her husband’s continued interest in the waitress and points out that they will be considerably busy and that she and Niko simply can’t cope on their own. Essentially “The Climbing Wave” focuses entirely on Ann Shepherd and the conflict she feels between her responsibilities as a reactivated ‘sleeper’ secret agent and her love for husband Erik, something that becomes readily apparent when freelance travel writer Donald Culley returns once more. With the prospect of Ann’s ‘sleeper agent’ to be reawakened for a mission this causes emotional turmoil to the seemingly convivial, stable married life that the Sheperd’s enjoy in Aghios Nikolaos. We again have a lengthy black and white flashback to Ann’s formative training although this time certain key words spoken by her superior are echoed in this reflective sequence. I reckon there was possibly a sense of surprise for Donald when Ann prefers to opt out of the mission she is about to be reactivated for preferring instead to continue to stand by Erik whom she feels has gained considerable emotional stability from their time together on the island. Changing tack Donald subsequently confronts Erik on his boat (worth noting the moving stone backing out of the window of the inside cabin to convey the movement of the sea), during the local festivities, and states that he and Ann are lovers and that they had gone to bed together. Naturally Erik is dismissive of this however, later, outside the bar, conveyed just by telling glances between the three people he comes to his own conclusion that this must indeed be true. Just as Donald and Ann surmises Erik retreats to an isolated bar, destined to go back to his alcoholic past. I thought it interesting that there is a counter-pointing of the series lead, now in an inebriated state, getting behind the wheel of his car and Katerina, down at the local fair riding a dodgem car. There is an unforeseen and understandably tragic development in the form of two locals finding the dead form of Katerina floating in the harbour the following morning (echoing Erik’s own past as mentioned through flashbacks and in conversation in previous episodes). It could have been used as incriminating evidence against the now emotionally unstable bar co-owner, however, as Captain Krasakis points out the drunken Erik was in jail twenty-five miles from where Katerina was found. The barmaid was estimated to have died around 2.00am by which time Erik had already spent about one hour and twenty-five minutes in jail, so who could have killed her? Having been confronted with this Ann thinks she knows and subsequently leaves the bar, drawing a gun out of a drawer which was kept next to the establishments cash box and pays a visit on Donald. This is definitely a worthy tense scene which is filmed in such a way as to leave the viewer wondering if indeed she actually has enough sense of malice to pull the trigger and end the life of the manipulative secret service operative. Emotionally distressed Ann runs through country lanes and takes refuge in a rural church where, eventually Erik finds her. The episode and the first season concludes with a well played confrontation on Erik’s boat where rather restrained concern of Captain Krasakis for his friend is tainted with his responsibility as an investigative Police Officer before he eventually allows the Shepherd’s to sail off away from the island. I think it’s highly significant and something that had me cheer with delight when Erik, considering retreating once more to his drinking ways, firmly puts the cork back in the bottle and slings it off the boat into the water indicating that maybe he has changed his ways thanks to the stabilising influence of Ann. The St Nicholas festival celebrations I feel marvellously counterpoint the inner turmoil Ann is experiencing and this is probably best illustrated that whilst Mark Potter and Nestor Turton enjoy with familiar gusto the party atmosphere purveying Shepherd’s bar that evening the co-owner sits alone in the darkened upstairs bedroom in a deeply concerned upset state wondering about the fate of her (at this point) presumed drunken husband. Without doubt “The Climbing Wave” is a marvellously satisfying conclusion to this first season effectively blending the joyful local festive celebrations with the traumatic dramatically engaging developments in the Shepherd’s lives. With such a powerful conclusion viewers are obviously left to anxiously wonder the fate of Erik and Ann and if they will ever return to Aghios Nikolaos and attempt to rescue their shattered lives from the events of this episode.

...and to finish off this first season thoughts about the main bonus feature of this three disc set...

REMEMBERING THE LOTUS EATERS
The third disc of this set also offers a welcome special feature ‘exclusive interview’ with series lead actress Wanda Ventham which is obviously a marvellous extra item to further embellish this DVD release. However when you get past the gratitude of the makers for filming this and for Wanda for participating there is obviously little depth in this fairly brief seven minute interview. Wanda begins by mentioning that the series was initially to be set in Spain however when it was suggested to consider Crete series creator Michael J Bird spent some considerable time on the island researching the location. The actress relates that he came back with masses of stories from talking with the locals. Naturally Wanda pays considerable tribute to her co-star Ian Hendry whom she believes is ‘up there with Sean Connery and far better than Michael Caine’ and although ‘he was playing an ex-alcoholic when in his personal life he was an ex-alcoholic’ he was never drunk on set. Additionally, Wanda says that ‘he’d recently gone through a bitter divorce’, something that I think also indirectly benefited the character. The actress drifted onto mentioning the various directors she’d worked with during “THE LOTUS EATERS” and gave particular praise to the ‘young wild haired Viktors Ritelis’ whom had such extraordinary shots like her ‘running along a beach into a massive sheet of reflective material’. This certainly matches the similar favourable opinions expressed by Andy Priestner of the director in his well researched, exhaustively detailed “Secret Army” book regarding the episodes of that series that he worked on. I get the feeling that the interview with Wanda Ventham was a fairly broad one taking in both series so viewers, myself included at this moment in time, are probably a bit puzzled by mention of Ritelis second season work. Personally I felt that Wanda (whom hasn’t seen it in its entirety since it was initially broadcast in the early 70s) was rather disingenuous about the series with her feeling that it’s rather dated and slow by modern day standards. I disagree with that and in my opinion feel that it stands up particularly well due to dramatically engaging scripts, worthy cast performances, convincing lighting/set designs and pleasing location filming. Although I myself have not had the chance to visit Crete I believe that little will have changed in such an idyllic rural setting and that if “THE LOTUS EATERS” were re-filmed today I doubt it would look vastly different. Personally I feel that this all too brief interview was a tad disappointing, as Wanda did not touch on subjects like working with guest stars/regular characters like Sylvia Coldridge, Maurice Denham and Anouska Hempel and it would have been good to have heard of her opinions of the scripts and maybe recollections of actual filming. Despite its obvious shortcomings this ‘exclusive interview’ with Wanda Ventham is a pleasingly relaxed bonus feature that definitely enhances this three disc title.