Kelly Adams, Robert Vaughn, Adrian Lester, Robert Glenister and Matt Di Angelo (pics: BBC)

Rating ★★★½

BBC1, Friday, 7 January, 9pm

With child murder and serial killers now a staple on many cop shows, it’s hard to begrudge the return of this light-hearted – as well as light-fingered – conman-caper series.

Like the grandaddy of con-man films, The Sting, this series from writer Tony Jordan relies on the wit and charm of its grifters, along with beautifully played-out cons that relieve the corrupt and nasty of their ill-gotten lucre.

Anna Chancellor, right, as crooked Wendy Stanton

While the cast still misses original member Marc Warren as Danny Blue (series one can be seen online at SeeSaw), the current players are a watchable bunch. For series seven there are no changes, so Adrian Lester returns as Mickey Stone, the gang’s leader, with Robert Glenister (‘fixer’ Ash Morgan), the ever-suave Robert Vaughn (‘roper’ Albert Stroller), Kelly Adams (Emma Kennedy) and Matt Di Angelo (Emma’s brother, Sean).

Anna Chancellor is the mark
The opening episode is the usual impossibly convoluted affair in which the scamsters pull off four intricate cons at the same time (Tony Jordan must have fun working out these plots).

But before an arrogant viscount, a shady judge and a bent MP get their comeuppance, Mickey and the gang decide to help the niece of their favourite barman, Eddie (Rob Jarvis), who’s been ripped off by the owner of a modelling agency.

Anna Chancellor plays the Cruella De Vil-like Wendy Stanton, who routinely fleeces young wannabe models. Can the gang get the tight-fisted Wendy, who twitches whenever large sums are mentioned, to invest a huge amount of cash in their bogus fashion line?

Robert Vaughn’s still having fun
With its cool jazzy music, slick locations and witty grifters, Hustle makes it seem plausible and fun. Like a pickpocket’s diversionary tactic, it’s all an illusion and can leave us feeling short-changed if we unpick the story.

The formula will need to move on if the new series is to avoid becoming routine and dull, and so we will be meeting Albert’s daughter from the US soon. But perhaps the ante could be upped for the characters if a little more danger and risk were introduced at the expense of all the larkiness.

But Hollywood legend Robert Vaughn (The Magnificent Seven,The Man from U.N.C.L.E.) and his co-stars seem to enjoy showing us the tricks of the trade. And for a shallow bit of old-fashioned entertainment, the series usually provides a few good laughs and is a cheerful break from watching corpses being sawn open on Silent Witness.

• Crime Zapper – Death in Paradise, To Catch a Thief, Nordic Noir •

• Filming starts in the spring for the first joint production between the BBC and France Television of an eight-part drama called Death in Paradise. It is described as a fish-out-of-water story about an English cop posted to the Caribbean island of Sainte Marie. What to anyone else might be paradise, for detective inspector Richard Gill is hell. He hates th sun, sea and sand, and can’t adapt to the local style of policing. But he is a brilliant detective, whose first case is to uncover who killed another British cop. Sophie Gigon from France Television says, ‘This is a great example of our international co-production work, based on the universal theme of crime investigation with a comedy touch. We’ve combined English and French creative talent to aim for a production that will be light-hearted but meaningful.’ Death in Paradise is Robert Thorogood’s first TV credit and follows his discovery via the Red Planet Pictures annual writing competition. Casting to be announced…

• Monday’s Nordic Noir doc on BBC Four was terrific, an insightful tour through Scandinavia’s ground-breaking and popular crime writers back to Sjowall and Wahloo. Participants included Karim Fossum, Jo Nesbo, Maj Sjowall, Barry Forshaw and others. Catch it on iPlayer (though I’m not sure this is available to users outside the UK), and look out for the follow-up, Italian Noir, on Boxing Day night.

• Vintage crime hounds may be interested in two radio adaptations coming up soon. BBC Radio 4 is dramatising David Dodge’s 1952 novel To Catch a Thief, which Alfred Hitchcock turned into a glittering suspense movie starring Cary Grant and Grace Kelly. American John Robie is living quietly in the south of France trying to live down his career as a notorious jewel thief, when a series of copycat burglaries lead the police to suspect that he is back to his old ways. To catch his imitator he tries to lay a trap, which is complicated by the daughter of one rich American tourist taking a fancy to him. Jeff Harding plays John Robie, Jennifer Lee Jellicorse plays Francie Stevens, Laura Brook is Mrs Stevens, Alun Raglan is Paul, Simon Armstrong is Bellini, Aurelie Amblard plays Danielle. Catch it on Saturday, January 8, at 2.30pm.
Meanwhile, to mark the 50th anniversary of Dashiel Hammett‘s death on January 10, BBC Radio 7 has a two-hour dramatisation of another tale that became one of the great crime films, The Maltese Falcon. This goes out of Sunday 9 at 1pm and stars Tom Wilkinson.

• As if walking to work in London’s freak snow blizzards this winter is not bad enough, I stumbled into this 10ft monster this morning. What chillled my spine, apart from the sub-zero temperature, was that I am currently reading Jo Nesbo‘s The Snowman. For those who haven’t got round to this best-seller yet, it’s the story of detective Harry Hole tracking a sinister serial killer whose calling cards are disturbing snowmen. OK, this one’s got a friendly smile, but so did Norman Bates.

• Best seasonal wishes to everyone who has visited crimetimepreview. In its first four months the site’s had 15,000 hits, and there are some terrific new crime series lining up for 2011. They’ll all be covered, we’ll have interviews and a YouTube channel of promos and trailers, and much more. Happy viewing.


Above Suspicion – Deadly Intent PREVIEW

Ciarán Hinds, Kelly Reilly, Shaun Dingwall and Celyn Jones (pics: (C) ITV Plc/LA PLANTE)

Rating ★★★

ITV1, Mon 3 Jan, Tues 4 Jan, Wed 5 Jan, 9pm

This is a third outing for Lynda La Plante’s Above Suspicion featuring detective Anna Travis, the modern-day heir apparent to Prime Suspect‘s Jane Tennison.

But while she may be Tennison’s heir, Travis is not her equal. Above Suspicion has performed very decently for ITV in the ratings – first series notching up 8m viewers – and Kelly Reilly, who plays Travis, may be an attractive lead, but this new La Plante production is not as sure-footed or powerful as Helen Mirren’s predecessor.

Reilly is too girlish (despite being 33) and glam to convince as a high-flying detective in what is still shown here to be a male-chauvinist enclave. And she is flying – having started out as a teetering rookie in series one, she is now a detective inspector.

Jane Tennison would never have cut it if she’d worn short black skirts and low-cut singlets around the office, and though we may have moved on since 1991, we haven’t moved on so far that Travis would be taken seriously looking so exposed today.

Despite such quibbles, this third series is possibly the best yet. Not as gruesome as the others, particularly last time’s The Red Dahlia instalment, but still a compelling story.

Plastic surgery in Mexico
In a prelude, we see a mystery man in Mexico getting plastic surgery, before the action switches to London, where there’s been a shooting on a council estate drug squat. The victim turns out to be Frank Brandon, a bent cop and former chum of Travis’s gruff guvnor, DCS James Langton (Ciarán Hinds).

His team quickly discovers that Brandon recently married Julia Larson (Stine Stengade), a glamorous, wealthy woman who was employing him as her driver. All of which seems a bit unusual.

Known to have been on the estate are fierce drug dealer Silas Roach (Robbie Gee, left) and small-time user Eddie Court (Ashley Court). Meanwhile, Travis questions a resident on the estate who insists he heard three shots, when only two bullets hit Brandon.

Travis’s style to follow her hunches on her own, because her male superiors don’t listen to her. She finds the third bullet – and gets a rollicking – questions Julia Larson, who reluctantly reveals she had a previous husband, and researches Fentanyl, a pure drug with the street name Drop Dead, traces of which were found at the squat.

What’s going on between Travis and Langton?
Brandon’s strange marriage, the man who changed his identity and the drug that seems to have prompted several assassinations make this a heady story. Mixed in are Travis’s clashes with DCI Mike Lewis (Shaun Dingwall), who’s also been promoted and is heading the investigation, and the intensifying emotional spark she has with their boss, Langton.

La Plante gives an insight into this strange attraction. She says, ‘It’s really down to the will-they-won’t-they, question?

‘A lot of women absolutely love Langton, and some find him really awful to Travis. In that respect it’s a bit like Gone with the Wind. He’s so nasty to her at times, but in this one we do have the emotional impact when he tells her the truth about his life. We see that this vulnerability allows Travis to reveal her feelings for him, if only to herself. It continues to build the tension between them. I think this is what makes their interaction compelling.

‘Langton is a dedicated police officer and an exceedingly good one who has very strong gut instincts, but he is not an intellectual man. He’s hardly ever read a book, if it wasn’t connected to a crime.

‘However, Travis is university educated and different… she also stands up to him, which none of the other women or men do. But like Langton, Travis is intuitively intelligent and in many ways has a similar trait to Langton in that, she won’t let something go. This makes her a very good detective, she could very easily dismiss the fact that one of the witnesses said she heard three bullets. Her persistence in uncovering the detail proves to be the key in this case. A fact that Langton admires.’

Travis stirs the case further when she discovers a link between Julia’s ex and a drug distributor on the FBI most wanted listed, who could now be in the UK. The team don’t really know what they are investigating or how the case will escalate, and neither will viewers.

Silent Witness – A Guilty Mind PREVIEW

Emilia Fox as Dr Nikki Alexander (BBC)

Rating ★★½

BBC1, starts Monday, 3 January, 9pm

Silent Witness has had viewers on a scalpel’s edge for 14 years now. The franchise is one of the longest-running crime dramas produced by UK television – older than Spooks (2002), but not so long in the tooth as Taggart (1983).

It’s been a gruesome ride with the pathologists, right back to Amanda Burton’s residency (1996-2004). The scientist Richard Dawkins says there are vastly more ways of being dead than alive, and it feels as though Silent Witness has given us a close-up of most of them. Bloated, decaying bodies and dissected human organs along with some disturbing crimes have been its lifeblood.

This unflinching gaze and upsetting subject matter are abundantly present in the opening two-part story of the new series, A Guilty Mind. The forensic pathologists – Dr Nikki Alexander (Emilia Fox), Prof Leo Dalton (William Gaminara) and Dr Harry Cunningham (Tom Ward) – investigate the rape and murder of an eight-year-old girl in tandem with the unexpected deaths of three patients on the same ward of a London hospital.

Professor having a breakdown
The main suspect for the child’s murder is a man called Bodle (a creepy Michael Shaeffer), who was given a life-saving brain operation by Professor Silverlake (Roy Marsden). Meanwhile, Leo and Harry  work out that the ward deaths were no coincidence, and suspicion falls on Silverlake, who apparently attended the patients late at night and was having a breakdown, which results in his brandishing a gun in front of armed officers.

Detectives also suspect a missing nurse, while the dead man’s distressed daughter, Naomi (Sinead Keenan), asks Nikki to see if there are mitigating reasons to explain her father’s behaviour.

We get several close-ups of the child’s caved-in skull, later a scalp being peeled and brain removed, internal organs being squeezed. What is new, however, is the effect the child’s murder is shown to have on Nikki, who does its post-mortem.

So after all the gore, the series is showing that this work can take a seriously unsettling toll on those doing it. Nikki can’t sleep, is distracted and shaky when she has to give evidence in court. She becomes depressed.

Emilia Fox, now in her seventh series here, says, ‘A lot of the real pathologists who we work with choose not to work with or do post-mortems on children because of the effect it has on them, especially if you have a young family yourself. So I very much found that quite instinctive – the horror of what you would feel. This is taken to quite an extreme level of how it affects Nikki.’

It’s no wonder her character is depressed. Many viewers will also feel down after seeing the final moments of a child abducted by a rapist. These opening moments are voyeuristic and gratuitous.

This story isn’t about the child’s murder directly, but we still get to see it dragged into bushes, the man leaning over her. Then her caved-in skull in close-up.

The producers will no doubt say these moments show us how Nikki’s depression is triggered, but to depict the crime like this is not necessary. The child is not a character here. We only see her in her final moments before she is a corpse on the slab. She is a plot device, and child rape and murder are too harrowing to be dropped into a drama like this.

Fox, Ward and Gaminara make a good cast
While Silent Witness takes huge of trouble over the realistic recreation of the pathologist’s gory job – ‘The bodies just get better and better,’ says Emilia Fox – the show’s designer, moodily-lit lab and Nikki teetering around it in killer heels are reminders that this is entertainment, a simple whodunnit.

But although Fox is an expressive actress and her co-stars, Ward and Gaminara, complete an appealing cast, this mystery is ludicrous and unconvincing.

Without giving too much away, one character engineers their own death for reasons so unbelievable it immediately exposes how artificial the drama is. Because this death is a piece of misdirection to stop viewers guessing the real killer in the first episode.

And there are a load of other red-herrings, such as some drawn-out business about anti-depressants (plus a mystery man who warns Prof Dalton off investigating this drug, which is never resolved).

Having been through the entrails of both instalments of A Guilty Mind, I still have no clear idea why the killer commits so many fiendishly contrived murders in the first place.

More effort spent on producing believable stories and less on the pathology money shots – when does showing a head being cracked open advance the plot? – would help to bring Silent Witness back from the dead, and its morbid fascination with their insides.


Zen and the art of law-and-order maintenance (BBC/Left Bank Pictures) 

Rating ★★★

BBC1, starts Sunday, 2 January 9pm

We love abroad and we love foreign crime-busters, from Bernie Gunther to Lisbeth Salander. And TV honchos love a successful detective series set abroad.

The Beeb had a hit with Maigret starring Rupert Davies in the early 60s, ITV with Barry Foster’s Van Der Valk in the 70s. While in 2008 Kenneth Branagh produced a very fine Wallander for the BBC.

Now we have a BBC adaptation of Michael Dibdin‘s Rome detective Aurelio Zen, and this latest viewing vacation gives us the full Italian brochure like a plate of spaghetti over the head.

There’s the beautiful suits, the stunning Roman vistas, the machismo, cigarettes and lots of coffee. Watching this you could be forgiven for thinking that every single Italian in existence has stepped straight out of Vogue magazine.

Zen‘s very cool opening credits
The Beeb obviously felt that a series set in Italy had to be stylish, and this production is 100 percent alta moda. Gleaming – usually speeding – Alfa Romeos, raven-haired lovelies and detectives fresh from the catwalk are everywhere.

From its 60s-retro opening credits (music by Adrian Johnston) to beautifully-shot scenes in washed-out, sombre tones, this is a series with a near-cinema quality look and attitude.

Oh, and then there are the actors. Rufus Sewell’s Zen is a bemused player in the dirty business of law enforcement Italian style. Sewell, recently seen in The Pillars of the Earth, scrubs up well here and has more of a twinkle in his eye than Zen has in the books, perhaps. The actor may be an acquired taste for some, but he’s good playing against the archetypal suave hero – he even lives at home with Mama, for goodness’ sake.

The opening book in the Zen series is Ratking, which is the third of the BBC’s adaptations, and Zen’s troubled love interest in that novel is the American Ellen. The BBC’s opener, Vendetta, focuses on a more flirtatious romance with police support worker Tania Moretti, played by Daniel Craig’s grappling partner in Casino Royale, Caterina Murino.

Like all Italians here, she is eye-poppingly gorgeous, but Zen, with his standard-issue broken marriage, may be too gentlemanly to win her with so many sharks circling her desk at the Questura.

Or is he? An essential ingredient of Dibdin’s hero is the way he appears to be a pawn played by unscrupulous politicians, investigating judges and police superiors, but then turns out to be fairly conniving and manipulative when the stakes are most perilous.

Dishonest and underhand
Sewell sums him up like this, ‘He’s plenty dishonest when he wants to be. He’s sneaky, he can be underhand, he can pull strings, he can break rules but not in some cool way. He’s just a bloke trying to get by.’

Several characters say to him, ‘You’re too honest for your own good.’ But his USP is that he is too shrewd to be as easy-going and passive as he appears. Politicians, criminals and Tania should beware.

With so much emphasis on the gloss, needless to say these are not dramas in the Jimmy McGovern league of grittiness. But the first two stories are absorbing mysteries, capturing well the country in which intrigues, backhanders, favours and a handily-placed relative make the world go round.

And while the tone is lighter than in the novels, and Zen’s suave ducking and diving sometimes sit awkwardly with stories of murder and corruption, the dramas are entertaining and distinct from the CID and serial killer stuff we get so often.

VENDETTA, BBC1, Sunday, 2 January, 9-10.30pm
Zen is ordered to re-investigate the multiple killing of construction magnate Oscar Faso and his hooker guests. The case is re-opened because the self-confessed killer, Renato Favelloni (Greg Wise), has apparently found god and retracted his confession.

Powerful government figures want Zen to get the potentially embarrassing Favelloni off, despite all the evidence against him, while Zen’s boss wants him to shut the prisoner back inside – pronto.

Meanwhile, a recently released convicted killer with a grudge is murdering his way towards his ultimate victim, Zen, who doesn’t realise he is a target.

This opener sparkles and moves at a snappy pace, with some great action in the mountains and a clever denouement.

CABAL, BBC1, Sunday, 9 January
Opening with a man apparently throwing himself off a Rome bridge, this story sees the stakes raised considerably for Zen.

This time he is under political pressure to confirm it was a suicide, but Zen learns that a powerful cabal of politicians and criminals may be behind the man’s death and that he was killed because he wanted to expose them.

Viewers will need to watch closely as this story of prostitutes, disappearing witnesses, stolen evidence and double bluffs would leave your average conspiracy-obsessed Italian gasping for breath.

Third Degree: Bill Crider

Award-winning Texan mystery novelist Bill Crider is hauled into crimetimepreview HQ to answer questions about his criminal viewing proclivities…

Your favourite British crime series or thriller on TV?
Is Z Cars still on? I even have a novelization of that one. But currently, it would be Sherlock.

Favourite US crime series or thriller on TV?
At the moment, Terriers, but only because Justified is on hiatus.

Top TV cop?
An easy one. Joe Friday [Dragnet], hands down.

Which unfilmed book/character should be made into a TV drama?
You mean aside from my books, right? Then I’d have to say Lee Child’s Jack Reacher should become a movie franchise for someone.

If one of your novels were filmed, who would you cast to be the hero?
I used to think James Garner would be great as Sheriff Dan Rhodes. Now, maybe Tommy Lee Jones.

What do you watch with a guilty conscience?
I hardly ever feel guilty about watching TV, but I do feel a bit that way about Castle.  I’m not fond of the mystery elements or the procedure, but I like Nathan Fillion and his mother and daughter. 

Least favourite cop show/thriller?
I’ve never been fond of any of the CSI franchise. I watched a couple of shows but couldn’t get interested.

Do you prefer The Wire or The Sopranos?
The Wire.

Marple/Poirot or Sherlock Holmes?
Holmes, but then I started reading him a few years before I discovered Christie.

US or British television crime dramas?
Mostly I watch the US shows if I watch at all.

Your favourite crime/thriller writers?
Far too many to name, but I love the old stuff by Hammett, Chandler, and Ross MacDonald. And then there are John D MacDonald, Harry Whittington, Gil Brewer, Day Keene, Donald Hamilton and don’t get me started. I could keep going for far too long.  Brits: Alistair MacLean, Eric Ambler, Dick Francis, Jack Higgins (especially the earlier books), and many more.

Favourite non-crime/thriller author
Again, too many to name.  I was an English major in college, and I love reading just about anything.  US writers: Hemingway, Faulkner, Fitzgerald, Joseph Heller, and on and on and on. Brits: Dickens would be at the top of the list, but I like Maugham, Forster, and a host of others.  More contemporary, George MacDonald Fraser.

Favourite crime movie or thriller?
Tough call.  If I had to name just one, it would probably be the Bogart’s The Big Sleep, but Chinatown is a close second.

You’ve been framed for murder. Which fictional detective/sleuth would you want to call up?
Ross Macdonald’s Lew Archer. He’s the kind of guy who’d keep on digging until he found out the truth of the matter.

• Bill Crider’s 17th novel in the Sheriff Dan Rhodes mystery series, Murder in the Air, is out now.

• Crime Zapper – DCI Banks, Garrow’s Law, Silent Witness •

• OK, I admit it. I wasn’t a fan of DCI Banks: Aftermath on ITV1. It didn’t do Peter Robinson’s book justice, and its lead player, Mr Everyman Stephen Tompkinson, was too manic and just plain wrong in the part. Banks is pretty hot with the ladies in the novel, whereas on screen Tompkinson was forever ranting and looking psychotic. He seems to be in the Robson Green-Martin Clunes knee-jerk favourite zone at ITV – every part that comes along, no matter how unsuitable, being put his way. The newspaper reviews were also lukewarm, many saying it was a bit too routine a procedural. The great British viewership, however, switched on to it. Banks got higher ratings (5.6m) on its opening night than Spooks, which is impressive bearing in mind the latter’s huge fanbase and eight-year headstart. And now Left Bank Pictures has announced that there will be three new further Banks adaptations in 2011 – Playing with Fire, Friend of the Devil and Cold as the Grave (six hour-long episodes, two per story). 

• The ludicrously brief series of Garrow’s Law – just four episodes – was short but compelling, and ended with a terrific finale on Sunday. Andrew Buchan wrung tears and snot in a highly charged story as Garrow faced ruin and disgrace along with the woman he loves, Lady Sarah (Lyndsey Marshal). Apart from the central drama and Garrow’s brilliant performances in the old Old Bailey, the series has reflected on the grotesque legal system of the late 18th century – with a 12-year-old boy being hung for theft in this episode. Alun Armstrong as Garrow’s solicitor and mentor, Southouse, gave a grandstanding speech at Garrow’s trial for Criminal Conversation (adultery to us), and Sir Arthur (made very loathsome by Rupert Graves) got his humiliating comeuppance. Anyone intrigued by these stories, based on the records of the Old Bailey, may be interested in knowing more about the real cases behind the series’ dramas from its legal consultant on historical matter, Mark Pallis, who has a blog. And the Beeb has a round-up of all the buzz created by Garrow’s Law here.

Emilia Fox in Silent Witness (BBC)

• In addition to Zen with Rufus Sewell coming along on BBC1 in the first week of January, a new series of Hustle and the 14th of Silent Witness are also lined up (though no dates and times have been announced yet). Silent Witness opens with a two part story called A Guilty Mind, in which three patients die unexpectedly in the same ward of a London hospital. Emilia Fox, who plays Dr Nikki Alexander, says, ‘The case affects Nikki deeply and personally and looks at the less tangible part of pathology, which is the mind. We are used to the team finding things out through the organs and the body, but of course when it comes to the mind it’s a lot harder to deal with.’ Previews will follow on crimetimepreview.

• The Beeb has also announced another new thriller series for 2011, Stolen starring Damian Lewis (Band of Brothers, The Forsyte Saga, Life). He plays Detective Inspector Anthony Carter, who’s trying to rescue some children from child slavery. It’s to be directed by Justin Chadwick, whose credits include The Other Boleyn Girl and Bleak House.

Foyle’s War is thrashing all-comers in crimetimepreview‘s poll of 2010’s top crime series. Only Sherlock is putting up a fight, with the likes of Spooks and Poirot taking a pasting. Just 13 days of voting to go…

And a very Merry Christie to you all

David Suchet as Poirot (all pics ITV)

Murder on the Orient Express, ITV1, Christmas night, 9pm

ITV is spoiling Agatha Christie devotees by gift-wrapping three new dramas featuring Marple or Poirot this Christmas season – including a fresh adaptation of the author’s much-loved Murder on the Orient Express.

This is a different take on the story compared to the famous movie of 1974, more of what David Suchet, who plays the sleuth, calls a psychological drama.

David Morrissey as Colonel Arbuthnott
He says, ‘To be making the most famous and iconic Poirot story Agatha Christie ever wrote is possibly the most daunting task I’ve had in over 20 years of filming Poirot.
‘Albert Finney got an Oscar nomination for his portrayal as Poirot so to be making it again is a real challenge. And an exciting one because we’re not doing it as a remake of the film. Stewart [Harcourt, the screenwriter] has approached it from a very interesting and tantalising point of view.
‘Tragic occurrences happen before Poirot even steps on the train which affect him very much. First, a man commits suicide as a result of his evidence, and then he witnesses a stoning in Istanbul. 
Barbara Hershey as Mrs Hubbard
‘We see him, in both instances, full of his own self justification and almost self righteousness in saying “well, that’s the world – it’s nothing to do with me”. Then he boards the Orient Express and is  approached by this horrible man, Samuel Ratchett, who asks him for protection. 
‘Poirot turns him down because he takes an instant dislike to him. The man is later found dead. And so we’re dealing with a very different Poirot. You can’t make Poirot the same as he’s always been with those three things happening in his life. 
Hugh Bonneville as Masterman
‘It’s really a psychological journey for him, one that absolutely breaks him. The decision he is forced to make at the end forces him to drop his whole raison d’être, which is ridding the world of crime. He is made to dig deep and finally do the right thing against his better judgment.’
ITV has lavished a fine production and international cast on this Christmas Day two-hour special. 
Hugh Bonneville (Downton Abbey) plays Edward Masterman, David Morrissey (Thorne, State of Play) is Colonel John Arbuthnott, and Barbara Hershey (Portrait of a Lady) is Mrs Hubbard. Serge Hazanavicius (I’ve Loved You So Long) is Xavier Bouc, Denis Ménochet (Inglourious Basterds) is Pierre Michel, and Dame Eileen Atkins (Cranford) is Princess Dragomiroff.

Julia McKenzie and Dervla Kirwan
 Agatha Christie’s Marple, The Secret of Chimneys, ITV1, Monday, 27 December, 9pm
As well as being the 120th anniversary of Christie’s birth and the 90th anniversary of Poirot’s first appearance, 2010 is also the 80th year since Marple’s debut. 

ITV has continued to mount lavish productions of author’s two amateur detectives throughout this special year, rounding off with The Blue Geranium and The Secret of Chimneys. Among the cast of the latter are Gavin and Stacey‘s Mathew Horne and Ruth Jones, along with Edward Fox, Michelle Collins and Dervla Kirwan.

Classic Christie ingredients are all present here – the country house, aristos, a murdered Austrian count, and a secret love affair.

The Blue Geranium, Wednesday, ITV1, 29 December, 8pm
Yet another star cast is in the dock for this final Marple of 2010, including Donald Sinden, Patrick Baladi and Toby Stephens. Here, Jane Marple is appealing to an old friend, Sir Henry Clithering (Sinden), to get a court hearing into the death of unpopular Mary Pritchard (Sharon Small) stopped because she has some new evidence.

While Julia McKenzie still feels like the new girl in this role, The Blue Geranium is actually her eighth outing as Marple (and her fourth this year). After a lukewarm reception to her portrayal in some places, she now seems to have put her own brand on the character.

She says,  ‘I’ve gone for the sturdier version, as it were. Agatha Christie wrote Jane Marple in two different ways. When she first invented the character she was a more fragile, rather Victorian soul. Then she rewrote her about 10 years later and she came up a bit tweedier and more solid. I’ve really gone for the latter one because of the modern audience. I think, for her age, Miss Marple is quite a modern woman. She’s certainly got a tremendous intelligence and intellect that I have had to work hard at! But, I’ve based most of her on the fact that she’s a woman who’s very much of her period, but also modern.

‘I feel I’ve settled into it and would like to play her for the rest of my working life, if there are enough stories to go round.’

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