Downbeat and moody early '80s crime drama. Shot in London's grimy docklands, now regenerated. A snapshot of a long gone era. Great performance from David Yip and other assorted eastenders. The Chinese people he interacts with are predictably cruel, as was the style back then.Excellent and evocative
Reviews
109 Reviews
Excellent and evocative
29 September 2018
Downbeat and moody early '80s crime drama. Shot in London's grimy docklands, now regenerated. A snapshot of a long gone era. Great performance from David Yip and other assorted eastenders. The Chinese people he interacts with are predictably cruel, as was the style back then.
Remarkable
30 March 2006
'Where The Action Is' ended Thriller's fourth series on a high note. It is a very involving and compelling story which snatches the viewer's attention from the very outset and carries on providing a series of clever twists and tricks until the final frame.
Eddie Vallance (played by Edd Byrnes) has been forcibly summoned to the house of Daddy Burns, a notorious gambler with a penchant for coercing promising yet reluctant opponents into a series of challenges that are heavily stacked against them. Burns meets his match in Vallance who also has to cope with the attentions (and fight his own desire) for the highly sensual girlfriend of his host - Ilse (superbly portrayed by the beautiful Ingrid Pitt).
The episode is quite action-packed and relatively claustrophobic given the confined nature of the surroundings. Burns' servants are a motley crew of addicted shysters and add a rather desperate and uneasy aspect to the narrative.
With excellent performances throughout, Where The Action Is can only be categorised as an unforgettable episode and a further example of the series quality and its ability to entertain.
Eddie Vallance (played by Edd Byrnes) has been forcibly summoned to the house of Daddy Burns, a notorious gambler with a penchant for coercing promising yet reluctant opponents into a series of challenges that are heavily stacked against them. Burns meets his match in Vallance who also has to cope with the attentions (and fight his own desire) for the highly sensual girlfriend of his host - Ilse (superbly portrayed by the beautiful Ingrid Pitt).
The episode is quite action-packed and relatively claustrophobic given the confined nature of the surroundings. Burns' servants are a motley crew of addicted shysters and add a rather desperate and uneasy aspect to the narrative.
With excellent performances throughout, Where The Action Is can only be categorised as an unforgettable episode and a further example of the series quality and its ability to entertain.
And then there were none
30 September 2005
'Death In Deep Water', first transmitted on 22 May 1976, marked the last episode of the best anthology series of all time - Thriller. Following a mixed final season which had highs ('Dial A Deadly Number') and lows ('Sleepwalker'), 'Death In Deep Water' is a most satisfying conclusion.
Bradford Dillman returns for his second outing as Gary Stevens, an eagerly sought-after (in a bad way - wanted dead) former hit-man who has taken refuge in a remote island cottage. His only companion is Ian Bannen, who plays the colourful fisherman Doonan. One day a young woman calls to the cottage seeking shelter from the storm. She is known as Blondie and after some initial hesitation it becomes obvious that Dillman is attracted to her. Gradually the relationship blossoms and more is revealed about her - primarily of interest is her marital status to a wealthy man more than twice her age.
Out of the blue Blondie tells Gary that her husband wishes to uproot them to Nice for sunnier climes and their liaison will soon conclude. Unless, of course, an accident were to befall him, whereupon the riches would go to her. A plan is concocted and Gary returns to his old profession with an well-taken hit. Soon afterwards things take a nasty turn for the worse when it appears that Blondie has fallen foul of the cruel sea, and indeed, died in deep water.
The pace is slow but satisfying and as the narrative unfolds we are continually reminded of Gary's wanted status with a lone assassin on his trail checking out various possible locations.
The ending is superb and comes is a neat twist - sometime which had lacked in later episodes. A worthy finale.
Bradford Dillman returns for his second outing as Gary Stevens, an eagerly sought-after (in a bad way - wanted dead) former hit-man who has taken refuge in a remote island cottage. His only companion is Ian Bannen, who plays the colourful fisherman Doonan. One day a young woman calls to the cottage seeking shelter from the storm. She is known as Blondie and after some initial hesitation it becomes obvious that Dillman is attracted to her. Gradually the relationship blossoms and more is revealed about her - primarily of interest is her marital status to a wealthy man more than twice her age.
Out of the blue Blondie tells Gary that her husband wishes to uproot them to Nice for sunnier climes and their liaison will soon conclude. Unless, of course, an accident were to befall him, whereupon the riches would go to her. A plan is concocted and Gary returns to his old profession with an well-taken hit. Soon afterwards things take a nasty turn for the worse when it appears that Blondie has fallen foul of the cruel sea, and indeed, died in deep water.
The pace is slow but satisfying and as the narrative unfolds we are continually reminded of Gary's wanted status with a lone assassin on his trail checking out various possible locations.
The ending is superb and comes is a neat twist - sometime which had lacked in later episodes. A worthy finale.
As You Like It
29 September 2005
'A Midsummer Nightmare' is Thriller's penultimate episode and like many of the later stories, is rather weak in comparison to the earlier material. However I would disagree that it is the worst - that accolade would go to 'Murder Motel' - and for a good deal of the 65 minutes, 'A Midsummer Nightmare' is reasonably entertaining, albeit somewhat flat in parts.
Joanne Pettet returns for her second outing (she had played Sylvia in 'A Killer In Every Corner') as Jody Baxter, the estranged wife of a private detective. As she shares the same initial as her husband, Jody decides to assume the part of "J.Baxter' when a client comes calling for assistance in solving the murder of his niece some five years previously.
The client is a sombre bachelor named Tully who remains convinced that the killer was a local man - Peter Ingram. The local police and Tully's housekeeper concur with this opinion but explain to Jody that there are unable to locate any evidence to make the charges stick. During the course of her investigation Jody discovers that while Ingram may be an unhinged individual, he may not be capable of murder. A vital clue from Shakespeare's 'A Midsummer Night's Dream' paves the way to revealing the real killer but Jody puts herself in grave danger as the story lurches to a conclusion.
The climax is quite understated and somewhat surprising. The performances are reasonable but nothing special. Even Brian Blessed gives off a dour air. Nevertheless this is worth seeing even if it is a remnant of the series' former glory.
Joanne Pettet returns for her second outing (she had played Sylvia in 'A Killer In Every Corner') as Jody Baxter, the estranged wife of a private detective. As she shares the same initial as her husband, Jody decides to assume the part of "J.Baxter' when a client comes calling for assistance in solving the murder of his niece some five years previously.
The client is a sombre bachelor named Tully who remains convinced that the killer was a local man - Peter Ingram. The local police and Tully's housekeeper concur with this opinion but explain to Jody that there are unable to locate any evidence to make the charges stick. During the course of her investigation Jody discovers that while Ingram may be an unhinged individual, he may not be capable of murder. A vital clue from Shakespeare's 'A Midsummer Night's Dream' paves the way to revealing the real killer but Jody puts herself in grave danger as the story lurches to a conclusion.
The climax is quite understated and somewhat surprising. The performances are reasonable but nothing special. Even Brian Blessed gives off a dour air. Nevertheless this is worth seeing even if it is a remnant of the series' former glory.
Poor Boy
28 September 2005
While 'Kill Two Birds' is widely regarded as the most richly-budgeted Thriller episode, it ranks somewhat below the impressive standards set in series three and while reasonably gripping, suffers from some flat performances from the female leads.
David Daker plays the part of Charlie Draper, a released convict who calls to a friend, Busby only to discover him dead. A trio of unsavory crooks await, led by the refined but sadistic Gadder (Dudley Sutton excels), who are intent on determining the location of monies stolen by Daker some ten years ago. After a struggle Daker escapes and makes his way to the house of an alcoholic struck-off doctor named Kemp with whom he is acquainted. After a quick consultation Daker leaves only for the unfortunate Kemp to be visited by Gadder and his sidekicks, Tosher and Freddie.
Running parallel with is the storyline featuring two most attractive American ladies - Tracy (Gabrielle Drake, sister of the late, lamented Nick) and Sally (Susan Hampshire) whose car breaks down after they dine in a ramshackle snack bar run by Bob Hoskins whom we discover is Charlie's brother, Sammy. Enter Granville Saxton as Farrow, a down and out hippy, and the two plot lines begin to converge.
Gadder and his henchmen are waiting for Charlie to show up and decide that Sammy's premises is where he will come to. Sally and Tracy unwittingly get dragged when they return to the snack bar seeking assistance for their breakdown. Gadder has taken Sammy's wife Carrie hostage at gunpoint and the scene is set for a dramatic and unpleasant ordeal.
The pace is exciting but the female leads are somewhat disappointing and do not add much value to the story. The conclusion is neatly wrapped up with some emotion and a little irony.
Overall - one of the final series' better episodes and well worth a look.
David Daker plays the part of Charlie Draper, a released convict who calls to a friend, Busby only to discover him dead. A trio of unsavory crooks await, led by the refined but sadistic Gadder (Dudley Sutton excels), who are intent on determining the location of monies stolen by Daker some ten years ago. After a struggle Daker escapes and makes his way to the house of an alcoholic struck-off doctor named Kemp with whom he is acquainted. After a quick consultation Daker leaves only for the unfortunate Kemp to be visited by Gadder and his sidekicks, Tosher and Freddie.
Running parallel with is the storyline featuring two most attractive American ladies - Tracy (Gabrielle Drake, sister of the late, lamented Nick) and Sally (Susan Hampshire) whose car breaks down after they dine in a ramshackle snack bar run by Bob Hoskins whom we discover is Charlie's brother, Sammy. Enter Granville Saxton as Farrow, a down and out hippy, and the two plot lines begin to converge.
Gadder and his henchmen are waiting for Charlie to show up and decide that Sammy's premises is where he will come to. Sally and Tracy unwittingly get dragged when they return to the snack bar seeking assistance for their breakdown. Gadder has taken Sammy's wife Carrie hostage at gunpoint and the scene is set for a dramatic and unpleasant ordeal.
The pace is exciting but the female leads are somewhat disappointing and do not add much value to the story. The conclusion is neatly wrapped up with some emotion and a little irony.
Overall - one of the final series' better episodes and well worth a look.
If it's a wrong number - hang up!
27 September 2005
'Dial A Deadly Number' saw Gary Collins make his third and final appearance in Thriller, having shone in 'Only A Scream Away' and 'The Double Kill'. This is a real slow-burner of an episode with a suitably languid pace that rolls along pulling various parts of the jigsaw together before a very satisfying and somewhat disturbing climax.
The plot relies on a clever contrivance involving a a misdialled telephone number - from which Dave Adams (Collins) takes advantage. He has been mistaken for a psychiatrist and decides to seize the opportunity of making some easy money from his clearly upset patient Helen Curry (played with the right degree of nervousness and fragility by Gemma Jones). She has been having nightmares within which she stabs a young man and is becoming alarmed at their ferocity and frequency. A number of facts emerge: Helen's sister Ann had a boyfriend called Paul Kirby, he has disappeared and his sister Sally has hired a private detective named O'Hara to search for him. This exercise proves to be fatal as O'Hara meets his death in the Curry house. By stabbing.
Adams' friend Tim is appalled by the deception and decides to reveal the fraud to Helen when she dials his number. In the interim Adams becomes romantically involved with Ann and learns a little more about the sisters' past and the strong influence of their mother - which has a significant bearing on the final outcome.....
The plot relies on a clever contrivance involving a a misdialled telephone number - from which Dave Adams (Collins) takes advantage. He has been mistaken for a psychiatrist and decides to seize the opportunity of making some easy money from his clearly upset patient Helen Curry (played with the right degree of nervousness and fragility by Gemma Jones). She has been having nightmares within which she stabs a young man and is becoming alarmed at their ferocity and frequency. A number of facts emerge: Helen's sister Ann had a boyfriend called Paul Kirby, he has disappeared and his sister Sally has hired a private detective named O'Hara to search for him. This exercise proves to be fatal as O'Hara meets his death in the Curry house. By stabbing.
Adams' friend Tim is appalled by the deception and decides to reveal the fraud to Helen when she dials his number. In the interim Adams becomes romantically involved with Ann and learns a little more about the sisters' past and the strong influence of their mother - which has a significant bearing on the final outcome.....
It's hard to be engaging when the things you love keep changing
26 September 2005
'Nightmare For A Nightgale' is a reasonably entertaining installment from Thriller's final series. By this point it was proving difficult to sustain the original and gripping tales that had prevailed for most of the opening five series. However this remains an engaging story which is certainly worth a look.
Susan Flannery plays Anna Cartell, a renowned opera singer, who is shocked when her supposedly dead husband, Tony, pays her visit one evening. He quickly establishes his motives - money - but an argument ensues and she accidentally kills him.
Problem solved? In a script not unlike 'Once The Killing Starts', Anna starts to receive flowers in the style that Tony used to send and a trip back to the scene of the crime reveals a missing body. She confides in her manager Sam with whom there is more than meets the eye...
The conclusion is reasonably cut and dried but is somewhat woolly in its execution. Certainly not the worst episode but not that memorable either.
Susan Flannery plays Anna Cartell, a renowned opera singer, who is shocked when her supposedly dead husband, Tony, pays her visit one evening. He quickly establishes his motives - money - but an argument ensues and she accidentally kills him.
Problem solved? In a script not unlike 'Once The Killing Starts', Anna starts to receive flowers in the style that Tony used to send and a trip back to the scene of the crime reveals a missing body. She confides in her manager Sam with whom there is more than meets the eye...
The conclusion is reasonably cut and dried but is somewhat woolly in its execution. Certainly not the worst episode but not that memorable either.
Long hot summer
25 September 2005
'The Next Victim' was the second episode of Thriller's final series and thankfully is an improvement on the lackluster opener 'Sleepwalker'.
Set during an intense heatwave (summer of 1976 - although transmitted in April) the action centres upon an apartment book where Sandy and Derek Marshall reside. Sandy (played by the striking Carroll Baker) is temporarily confined to a wheelchair following an horrific car accident while Derek is a high profile businessman who specialises in the insurance industry.
Against this backdrop is a serial strangler whom we see ending the lives of a number of unfortunate ladies. To complete the sense of unease, the janitor in the Marshall's building is the disturbing Bartlett who comes complete with a mother and baby fixation.
Derek is called away one bank holiday to a meeting with a Lebonese client while Sandy is left alone in the apartment. She invites a neighbour, Betty, down for a drink but when the latter fails to show, Sandy becomes anxious and fears the worst. Help seems to be at hand when kindly tenant, Tom Packer steps in....
Similar in plot to 'I'm The Girl He Wants To Kill', 'The Next Victim' is sadly not in the same league. There are some decent scenes and TP McKenna's Frampton is enjoyable to watch. The final quarter is very tense as Sandy realises the danger she is in. However the closing scene is somewhat perplexing and feels somewhat unfinished.
Set during an intense heatwave (summer of 1976 - although transmitted in April) the action centres upon an apartment book where Sandy and Derek Marshall reside. Sandy (played by the striking Carroll Baker) is temporarily confined to a wheelchair following an horrific car accident while Derek is a high profile businessman who specialises in the insurance industry.
Against this backdrop is a serial strangler whom we see ending the lives of a number of unfortunate ladies. To complete the sense of unease, the janitor in the Marshall's building is the disturbing Bartlett who comes complete with a mother and baby fixation.
Derek is called away one bank holiday to a meeting with a Lebonese client while Sandy is left alone in the apartment. She invites a neighbour, Betty, down for a drink but when the latter fails to show, Sandy becomes anxious and fears the worst. Help seems to be at hand when kindly tenant, Tom Packer steps in....
Similar in plot to 'I'm The Girl He Wants To Kill', 'The Next Victim' is sadly not in the same league. There are some decent scenes and TP McKenna's Frampton is enjoyable to watch. The final quarter is very tense as Sandy realises the danger she is in. However the closing scene is somewhat perplexing and feels somewhat unfinished.
Good atmosphere but a contender for the drop
22 September 2005
'Sleepwalker' opened Thriller's final series in April 1976. Like the series five closer, 'Murder Motel', 'Sleepwalker' is a comparatively weak installment which occupies a lowly position in the episodes' overall ranking.
Darleen Carr stars a Katey Summers, daughter of an American author Dan who has taken a house in England for a few months. Like the title suggests she is a sleepwalker who frequently leaves her bed and wanders. In addition she begins to experience nightmares, one which is set in an old-fashioned room where a wizened man kisses a bible and proclaims his fortune and the fact that it is unlikely to be discovered. A subsequent dream sees this old man being murdered by a youth in Victorian costume. Katey bares her soul to a young man named Barnstaple with whom she has struck up a romance. Her father is a kindly man but is preoccupied with his writing while the two servants Esme and Parsons are publicly sympathetic but privately disdainful (particularly the unimaginative Esme) of their employers.
The plot thickens when the Victorian costume-clad man turns up on Katey's door and convinces her that he has had the same dream. A cursory examination of her wardrobe leads to a Narnia-like discovery and an unconvincing climax.
Nevertheless the dream sequences are well handled and an air of mystery pervades throughout. Plus it's got John Challis as a friend of Dan's so all is not lost.
Darleen Carr stars a Katey Summers, daughter of an American author Dan who has taken a house in England for a few months. Like the title suggests she is a sleepwalker who frequently leaves her bed and wanders. In addition she begins to experience nightmares, one which is set in an old-fashioned room where a wizened man kisses a bible and proclaims his fortune and the fact that it is unlikely to be discovered. A subsequent dream sees this old man being murdered by a youth in Victorian costume. Katey bares her soul to a young man named Barnstaple with whom she has struck up a romance. Her father is a kindly man but is preoccupied with his writing while the two servants Esme and Parsons are publicly sympathetic but privately disdainful (particularly the unimaginative Esme) of their employers.
The plot thickens when the Victorian costume-clad man turns up on Katey's door and convinces her that he has had the same dream. A cursory examination of her wardrobe leads to a Narnia-like discovery and an unconvincing climax.
Nevertheless the dream sequences are well handled and an air of mystery pervades throughout. Plus it's got John Challis as a friend of Dan's so all is not lost.
Wobbly
21 September 2005
'Murder Motel' brings Thriller's fifth series to a rather damp end and is one of weakest episodes in the entire run. There are some decent comic touches and reasonably competent acting performances but the whole premise is entirely implausible and somewhat confusing.
It begins with a homage (albeit a gender swap) to Alfred Hitchcock's 'Psycho' with a businessman checking into the motel and being stabbed as he showers. It appears that the motel is used as a place for contract killings and beneath the affable veneer of the owner Sam (played by Derek Francis, of 'K is For Killing' and 'Who Killed Lamb?' fame) lies a steely heart that is only warmed by the prospect of money.
Michael Spencer and his sister Helen arrive at the hotel with the aim of meeting a work colleague (Charles Burns - played by Edward Judd who also shone in 'Sign It Death') of Michael's that they suspect is involved in an internal embezzlement of company funds. Both parties fall foul to the motel's murderous staff and it later transpires that Burns is up to his neck in fraud and conspiracy. Michael's fiancé Kathy - an attractive American girl checks in at the motel in an attempt to solve the mystery but from then on it just unravels into forced dramatics and a weak conclusion.
In mitigation the story will keep you entertained and there is a wonderful appearance from Alan McClelland as a sleazy private investigator whose services are engaged by Kathy. His meeting with Sam is particularly inopportune. Gillian McCutcheon also lights up the screen as Burns' secretary who is revealed to be as corrupt as her boss.
An anti-climax.
It begins with a homage (albeit a gender swap) to Alfred Hitchcock's 'Psycho' with a businessman checking into the motel and being stabbed as he showers. It appears that the motel is used as a place for contract killings and beneath the affable veneer of the owner Sam (played by Derek Francis, of 'K is For Killing' and 'Who Killed Lamb?' fame) lies a steely heart that is only warmed by the prospect of money.
Michael Spencer and his sister Helen arrive at the hotel with the aim of meeting a work colleague (Charles Burns - played by Edward Judd who also shone in 'Sign It Death') of Michael's that they suspect is involved in an internal embezzlement of company funds. Both parties fall foul to the motel's murderous staff and it later transpires that Burns is up to his neck in fraud and conspiracy. Michael's fiancé Kathy - an attractive American girl checks in at the motel in an attempt to solve the mystery but from then on it just unravels into forced dramatics and a weak conclusion.
In mitigation the story will keep you entertained and there is a wonderful appearance from Alan McClelland as a sleazy private investigator whose services are engaged by Kathy. His meeting with Sam is particularly inopportune. Gillian McCutcheon also lights up the screen as Burns' secretary who is revealed to be as corrupt as her boss.
An anti-climax.
Sight revisited
20 September 2005
The theme of blindness which Thriller handled so effectively in 'The Eyes Have It' from its first series is revisited in 'The Next Voice You See' which is the penultimate episode in series five.
The story begins in 1964 with a bank robbery in which Stan Kay's wife, Susie is tragically killed while he is blinded from a double-barreled shotgun blast. We then fast forward to 1974 where Stan (played by Brad Dillman), a successful jazz pianist, is due to play an engagement party for a wealthy society girl. Whilst performing he is shocked to hear a snatch of a familiar voice in the crowd - which he recognises as the dulcet tones of the armed robber ten years beforehand.
He conveys his worries to his agent Julie (played by the beautiful Catherine Schell) who is initially sceptical. As the evening unfolds the voice is heard again and again while Stan vainly tries to ascertain the speaker. It soon becomes evident that the murderer is aware of Stan's presence and an exciting game of seek and destroy follows. During this time his identity is kept a secret and we are just treated to glimpses of his shoes.
Amongst the supporting cast are Ray Smith as the gruff security guard Tamplin, Nigel Havers as a drunken guest and Geoffrey Chater as the affable host Sir Peter. The closing sequence in the wine cellar is extremely exciting as we see the killer close in on Stan.
Whilst not as strong as 'The Eyes Have It', 'The Next Voice You See' is a very competent episode and has plenty to recommend it. Go see.
The story begins in 1964 with a bank robbery in which Stan Kay's wife, Susie is tragically killed while he is blinded from a double-barreled shotgun blast. We then fast forward to 1974 where Stan (played by Brad Dillman), a successful jazz pianist, is due to play an engagement party for a wealthy society girl. Whilst performing he is shocked to hear a snatch of a familiar voice in the crowd - which he recognises as the dulcet tones of the armed robber ten years beforehand.
He conveys his worries to his agent Julie (played by the beautiful Catherine Schell) who is initially sceptical. As the evening unfolds the voice is heard again and again while Stan vainly tries to ascertain the speaker. It soon becomes evident that the murderer is aware of Stan's presence and an exciting game of seek and destroy follows. During this time his identity is kept a secret and we are just treated to glimpses of his shoes.
Amongst the supporting cast are Ray Smith as the gruff security guard Tamplin, Nigel Havers as a drunken guest and Geoffrey Chater as the affable host Sir Peter. The closing sequence in the wine cellar is extremely exciting as we see the killer close in on Stan.
Whilst not as strong as 'The Eyes Have It', 'The Next Voice You See' is a very competent episode and has plenty to recommend it. Go see.
Too good to be true
19 September 2005
The enigmatically titled 'Good Salary - Prospects - Free Coffin' is a solid piece of television that forms part of Thriller's fifth series. The story is more like an episode of The Avengers in that it deals with the murky world of espionage and what follows is quite disturbing.
Three girls share a flat - Wendy, Babs and Helen. Wendy answers a mysterious looking job advert in the paper looking for someone with a 'sense of adventure'. Following an offscreen interview she is successful and is quickly whisked away to a large country house where she meets a girl who is not dissimilar in appearance to herself. The lookalike then shoots her and is commended by her two supervisors, Gifford (played menacingly by Julian Glover) and Carter (James Maxwell). Some weeks later an identical advert appears with Babs and Helen coming to the conclusion that Wendy must have not been able for the job. Babs, like her friend, is brought to the same location and meets a similar fate. It is then left up to Helen to try and uncover what has happened to her two flatmates. A trip to the American Embassy to change her marital status on her passport brings her face to face with another Babs (one who she feels is impersonating her former flatmate). Her unsympathetic and boorish husband Charley is sceptical and of no help.
Babs' brother Timothy returns from South America on a chance visit and immediately is taken into Helen's confidence. He launches an investigation of his own and in a memorable scene confronts Carter.
The remaining scenes are quite dramatic and the conclusion is reasonably neat. Bruce 'Waldorf Salad' Boa makes a fleeting appearance (his second in Thriller) as an Embassy employee. However the motives of the organisation are never clearly defined and this takes from the overall execution. Nevertheless this is an episode which keeps the viewer guessing and bears repeated viewing.
Three girls share a flat - Wendy, Babs and Helen. Wendy answers a mysterious looking job advert in the paper looking for someone with a 'sense of adventure'. Following an offscreen interview she is successful and is quickly whisked away to a large country house where she meets a girl who is not dissimilar in appearance to herself. The lookalike then shoots her and is commended by her two supervisors, Gifford (played menacingly by Julian Glover) and Carter (James Maxwell). Some weeks later an identical advert appears with Babs and Helen coming to the conclusion that Wendy must have not been able for the job. Babs, like her friend, is brought to the same location and meets a similar fate. It is then left up to Helen to try and uncover what has happened to her two flatmates. A trip to the American Embassy to change her marital status on her passport brings her face to face with another Babs (one who she feels is impersonating her former flatmate). Her unsympathetic and boorish husband Charley is sceptical and of no help.
Babs' brother Timothy returns from South America on a chance visit and immediately is taken into Helen's confidence. He launches an investigation of his own and in a memorable scene confronts Carter.
The remaining scenes are quite dramatic and the conclusion is reasonably neat. Bruce 'Waldorf Salad' Boa makes a fleeting appearance (his second in Thriller) as an Embassy employee. However the motives of the organisation are never clearly defined and this takes from the overall execution. Nevertheless this is an episode which keeps the viewer guessing and bears repeated viewing.
An accomplished episode
18 September 2005
'The Crazy Kill' represents the midpoint of Thriller's penultimate series. It is an impressive and tense story with excellent acting performances all round and despite the somewhat implausible conclusion, is particularly enjoyable.
The scene is set with Dr Henson (played with panache by Denholm Elliott) and his wife Hilary (the stunning Claire Neilson gives it her all despite the lack of screen time) having an argument in their home. Mrs Henson is somewhat traumatised and her husband refers to her as being neurotic. We then learn that two dangerous criminals are on the loose in the area - Garard and Filton - and are armed. The character of Garard is impressive with Anthony Valentine giving him a steely and heartless air. Juan Moreno returns for his second Thriller appearance as his sidekick Filton.
The criminals make the Henson home their retreat and waste no time in taking the unfortunate couple prisoner. Despite assurances that the Hensons are expecting no further visitors, the criminals' plan goes awry when an American journalist Tracy Loxton (Tandy Cronyn) calls to interview Mrs Henson about her poster collection. Even though she is informed that her subject is unfortunately absent, Loxton persuades the clearly nervous Doctor to admit her to the house where she commences taking various notes about the posters on display.
The role of the police is a significant one and there are some good performances in this regard especially by Alan Browning as Superintendent Brook.
The final scenes are fraught with tension while the tables are turned and we learn that Garard and Filton are not the only people with murder on their minds....
The scene is set with Dr Henson (played with panache by Denholm Elliott) and his wife Hilary (the stunning Claire Neilson gives it her all despite the lack of screen time) having an argument in their home. Mrs Henson is somewhat traumatised and her husband refers to her as being neurotic. We then learn that two dangerous criminals are on the loose in the area - Garard and Filton - and are armed. The character of Garard is impressive with Anthony Valentine giving him a steely and heartless air. Juan Moreno returns for his second Thriller appearance as his sidekick Filton.
The criminals make the Henson home their retreat and waste no time in taking the unfortunate couple prisoner. Despite assurances that the Hensons are expecting no further visitors, the criminals' plan goes awry when an American journalist Tracy Loxton (Tandy Cronyn) calls to interview Mrs Henson about her poster collection. Even though she is informed that her subject is unfortunately absent, Loxton persuades the clearly nervous Doctor to admit her to the house where she commences taking various notes about the posters on display.
The role of the police is a significant one and there are some good performances in this regard especially by Alan Browning as Superintendent Brook.
The final scenes are fraught with tension while the tables are turned and we learn that Garard and Filton are not the only people with murder on their minds....
Relegation zone
17 September 2005
'Won't Write Home Mom - I'm Dead' is one of Thriller's least memorable episodes. Both female leads are appearing in their second Thriller story - the wonderfully attractive Pamela Franklin excelled in 'Screamer' while Suzanne Neve had a small but relevant part in 'The Next Scream You Hear'.
The main problem I have with story that it takes too long to spark into life. The narrative plods along with some mildly diverting asides until a flurry of activity for the last quarter and a surprisingly dramatic conclusion. Oliver Tobias is suitably moody as chief hippy Alan who is surprised to see his long-lost half cousin Abby (Franklin) make an appearance in their commune. Abby is searching for her boyfriend Doug whom she believes was due to the visit the village where the 'artistic community' are based. Doug is nowhere to be found so Abby decides to hold out and wait to see if he arrives for Alan's birthday.
Ian Bannen plays the part of Frank, an older hippy who appears somewhat taciturn and sinister at the beginning but gradually mellows out during the hour.
A rare let down but still worth watching for Franklin and in fairness, the atmosphere (especially the kiln scenes) is quite creepy.
The main problem I have with story that it takes too long to spark into life. The narrative plods along with some mildly diverting asides until a flurry of activity for the last quarter and a surprisingly dramatic conclusion. Oliver Tobias is suitably moody as chief hippy Alan who is surprised to see his long-lost half cousin Abby (Franklin) make an appearance in their commune. Abby is searching for her boyfriend Doug whom she believes was due to the visit the village where the 'artistic community' are based. Doug is nowhere to be found so Abby decides to hold out and wait to see if he arrives for Alan's birthday.
Ian Bannen plays the part of Frank, an older hippy who appears somewhat taciturn and sinister at the beginning but gradually mellows out during the hour.
A rare let down but still worth watching for Franklin and in fairness, the atmosphere (especially the kiln scenes) is quite creepy.
Twist the knife
16 September 2005
'The Double Kill', the second episode in Thriller's fifth series is one of the strongest episodes overall and one which will keep you guessing all the way to the final credits.
Gary Collins makes his second of three Thriller appearances - this time he is Hugh Briant, an intense American who has been hatching a plan to murder his wife, Clorissa, subject to the right opportunity presenting itself. A botched burglary is seen as the ideal means of eliminating her and Briant wastes no time in aiding potential thieves by loudly discussing his valuable collection of antiques and paintings in his local pub to anyone who will listen. Soon afterwards he discovers the clinical Max Burns in his home one evening and blackmails him into agreeing to murder Clorissa. An elaborate plan is formulated and an appropriate alibi put in place.
However things do not pan out as hoped and Briant soon finds himself as chief suspect in his wife's death. It seems that Burns has turned the tables by deviating from the script and the American is prominently in the frame for murder. But are the police keeping something from him? A chance remark from a sympathetic friend leads Briant to Burns' door and following a dramatic meeting, a stunning twist in the narrative ensues.
Excellent.
Gary Collins makes his second of three Thriller appearances - this time he is Hugh Briant, an intense American who has been hatching a plan to murder his wife, Clorissa, subject to the right opportunity presenting itself. A botched burglary is seen as the ideal means of eliminating her and Briant wastes no time in aiding potential thieves by loudly discussing his valuable collection of antiques and paintings in his local pub to anyone who will listen. Soon afterwards he discovers the clinical Max Burns in his home one evening and blackmails him into agreeing to murder Clorissa. An elaborate plan is formulated and an appropriate alibi put in place.
However things do not pan out as hoped and Briant soon finds himself as chief suspect in his wife's death. It seems that Burns has turned the tables by deviating from the script and the American is prominently in the frame for murder. But are the police keeping something from him? A chance remark from a sympathetic friend leads Briant to Burns' door and following a dramatic meeting, a stunning twist in the narrative ensues.
Excellent.
Ring Ring
15 September 2005
'If It's A Man, Hang Up' opens Thriller's fifth series with a slow-burning tale of voyeurism and obsession.
The ravishing Carol Lynley stars as Suzy Martin, a stylish and beautiful model who leaves in a salubrious apartment with her dog and no man. A series of upsetting calls to her telephone commence - taking a variety of forms; silence, heavy breathing, toneless invocations of her name; whispered sweet nothings... To complicate matters and make life difficult for Suzy and the helpful police it seems that there a few possible suspects namely - Terry (her photographer), Greg (her part-time lover) and Murchison (the somewhat sinister caretaker)
Two further male characters which make their way into Suzy's web. The first is Terry's Sicilian friend Bruno Varella (aka Bruno 'Something') played to perfection by Tom Conti while the second is the over helpful policeman Hal (the younger of a pair of friendly bobbies) who reckons that the suspect can be caught if he and Suzy join forces.
As if this backdrop of harassment wasn't enough things take a turn for the worse when Suzy's brother Peter is killed by a hit and run driver following a night spent in his sister's flat. The finger points to the mysterious caller and the suspense is upped when Hal persuades Suzy to spend the weekend at his remote country cottage.
The climax is very dramatic with an inventive twist. Caril Lynley would go on to keep the suspense anthology torch burning with a excellent performance in Hammer House Of Mystery And Suspense's 'In Possession' nine years later.
But back to 1975 - 'If It's A Man, Hang Up' is a quality episode of Thriller that will keep you engrossed.
The ravishing Carol Lynley stars as Suzy Martin, a stylish and beautiful model who leaves in a salubrious apartment with her dog and no man. A series of upsetting calls to her telephone commence - taking a variety of forms; silence, heavy breathing, toneless invocations of her name; whispered sweet nothings... To complicate matters and make life difficult for Suzy and the helpful police it seems that there a few possible suspects namely - Terry (her photographer), Greg (her part-time lover) and Murchison (the somewhat sinister caretaker)
Two further male characters which make their way into Suzy's web. The first is Terry's Sicilian friend Bruno Varella (aka Bruno 'Something') played to perfection by Tom Conti while the second is the over helpful policeman Hal (the younger of a pair of friendly bobbies) who reckons that the suspect can be caught if he and Suzy join forces.
As if this backdrop of harassment wasn't enough things take a turn for the worse when Suzy's brother Peter is killed by a hit and run driver following a night spent in his sister's flat. The finger points to the mysterious caller and the suspense is upped when Hal persuades Suzy to spend the weekend at his remote country cottage.
The climax is very dramatic with an inventive twist. Caril Lynley would go on to keep the suspense anthology torch burning with a excellent performance in Hammer House Of Mystery And Suspense's 'In Possession' nine years later.
But back to 1975 - 'If It's A Man, Hang Up' is a quality episode of Thriller that will keep you engrossed.
Total conditioning
13 September 2005
After the disappointing 'Killer With Two Faces', Thriller's fourth series got right back on track with the riveting and sometimes terrifying 'A Killer In Every Corner'. While not as nailbiting as 'I'm The Girl He Wants To Kill', it is nevertheless a gripping piece of storytelling which will keep you on the edge of your seat, particularly during the last 20 minutes or so.
Patrick Magee plays the part of Professor Carnaby, a renowned psychologist who invites three university students to his home for a seminar. The trio are Tim, Helga and Sylvia and all are at vary stages of their degree but it later transpires that they have one salient thing in common - no parents. Make of this what you will... Carnaby employs two manservants, Boz and George who add to the sense of unease with their intense behaviour (George) and barely restrained aggression (Boz). It soon becomes clear that both men have had violent pasts and are now completely under the professor's control. There is also a journalist, Slattery, staying in the house on a temporary basis.
Almost immediately it is obvious that Carnaby, while undoubtedly brilliant in his field, is relentless in the pursuit of a 'cure' for murderous criminals and will stop at nothing to carry out experiments to see how well their treatment has fared. And that is where the three students come in - as foils in this demented research.
Soon both Tim and Helga fall by the wayside and it is left to Sylvia to realise the danger she is from the mad Professor and his unhinged experiments. The final scenes are gripping and will leave you drained.
A fine episode.
Patrick Magee plays the part of Professor Carnaby, a renowned psychologist who invites three university students to his home for a seminar. The trio are Tim, Helga and Sylvia and all are at vary stages of their degree but it later transpires that they have one salient thing in common - no parents. Make of this what you will... Carnaby employs two manservants, Boz and George who add to the sense of unease with their intense behaviour (George) and barely restrained aggression (Boz). It soon becomes clear that both men have had violent pasts and are now completely under the professor's control. There is also a journalist, Slattery, staying in the house on a temporary basis.
Almost immediately it is obvious that Carnaby, while undoubtedly brilliant in his field, is relentless in the pursuit of a 'cure' for murderous criminals and will stop at nothing to carry out experiments to see how well their treatment has fared. And that is where the three students come in - as foils in this demented research.
Soon both Tim and Helga fall by the wayside and it is left to Sylvia to realise the danger she is from the mad Professor and his unhinged experiments. The final scenes are gripping and will leave you drained.
A fine episode.
Not even their mother could tell them apart
12 September 2005
'Killer With Two Faces' sees Donna Mills gain her third leading role in Thriller - 'Possession' and 'One Deadly Owner' being the other two. Like the latter this episode is somewhat flat and is not particularly memorable.
The story is concerned with two twins - Terry and Bob Spelling (played reasonably well by Ian Hendry). Terry has just escaped from a home for the criminally insane while Bob is a melancholy but decent architect trying to cope with the infidelity of his lady friend. Terry's penchant for killing and killing again is quickly demonstrated as he cruelly strangles a woman he has just had a amorous encounter with. Enter Patty Heron (Donna Mills character), an attractive American who meets Bob Spelling on a train journey. They get talking and she is impressed with his architectural knowledge so an arrangement is made for them to meet the following day to survey a house she has just bought.
There are shades of 'The Colour Of Blood' (from Thriller's first series) in this story what with psychopaths and trains but 'Killer With Two Faces' pales in comparison. There is some clever use of the doppleganger effect but it is all too predictable as the narrative lurches to a climax.
As spine-chilling tales go it's not bad but for Thriller standards this is only average.
The story is concerned with two twins - Terry and Bob Spelling (played reasonably well by Ian Hendry). Terry has just escaped from a home for the criminally insane while Bob is a melancholy but decent architect trying to cope with the infidelity of his lady friend. Terry's penchant for killing and killing again is quickly demonstrated as he cruelly strangles a woman he has just had a amorous encounter with. Enter Patty Heron (Donna Mills character), an attractive American who meets Bob Spelling on a train journey. They get talking and she is impressed with his architectural knowledge so an arrangement is made for them to meet the following day to survey a house she has just bought.
There are shades of 'The Colour Of Blood' (from Thriller's first series) in this story what with psychopaths and trains but 'Killer With Two Faces' pales in comparison. There is some clever use of the doppleganger effect but it is all too predictable as the narrative lurches to a climax.
As spine-chilling tales go it's not bad but for Thriller standards this is only average.
Express fun
11 September 2005
'Night Is The Time For Killing' starts out as one of Thriller's more intricate stories. The third outing in series 4, it is quite different to its two predecessors 'Screamer' and 'Nurse Will Make It Better' and while less effective, is nevertheless a worthwhile production.
Activity is centred on a train where Helen Marlow (played by the beautiful Judy Geeson) is a mournful young woman who is still depressed over the death of her fiancé some twelve months beforehand. She is befriended by Bob Malory (Jim Smilie - who would turn up as Return To Eden's Dr Dan over ten years later) while a motley crew of other passengers rapidly make their mark on the story. Among them is the caustic Hilary Vance (played brilliantly by Charles Gray) and an unnamed honeymoon couple. A atmosphere of espionage ensues when Helen discovers Vance's dead body only for it to disappear, re-appear and vanish again. All this makes her look pretty insane - and is dismissed by the others as a symptom of her depression.
It becomes obvious that there a couple of the other passengers have hidden agendas and before long Helen and Bob become embroiled in a role of trying to discover who, what, where and why.
An entertaining episode - well worth watching even if just for Vance's withering opinions on the state of the British rail system.
Activity is centred on a train where Helen Marlow (played by the beautiful Judy Geeson) is a mournful young woman who is still depressed over the death of her fiancé some twelve months beforehand. She is befriended by Bob Malory (Jim Smilie - who would turn up as Return To Eden's Dr Dan over ten years later) while a motley crew of other passengers rapidly make their mark on the story. Among them is the caustic Hilary Vance (played brilliantly by Charles Gray) and an unnamed honeymoon couple. A atmosphere of espionage ensues when Helen discovers Vance's dead body only for it to disappear, re-appear and vanish again. All this makes her look pretty insane - and is dismissed by the others as a symptom of her depression.
It becomes obvious that there a couple of the other passengers have hidden agendas and before long Helen and Bob become embroiled in a role of trying to discover who, what, where and why.
An entertaining episode - well worth watching even if just for Vance's withering opinions on the state of the British rail system.
Witching time
10 September 2005
'Spell Of Evil' brings Thriller's first series to an effective, if underwhelming, climax. A somewhat less successful venture into the supernatural, it nevertheless brings out reasonably good acting performances from the main leads Diana Cilento and Edward De Souza.
The story begins with the somewhat unsettling death of Tony Mansell's wife who seems to have taken the sudden vision of a black-clad figure as being absolutely terrifying in a 'let's scare her to death' fashion. After the obligatory mourning period Mansell decides to go down the personal ads route in an effort to find love. Enter Cilento's Gothic beauty Clara who makes sure he swallows the love potion bait without delay.
From then on Clara and her particular brand of witchcraft begins to exert a malignant influence over Mansell and he soon falls ill. He must then rely on the suspicious nature of others to save him from these evil clutches.
It pans out reasonably well but is hard to take seriously. A somewhat disappointing end to the opening series but at this point there have been enough highpoints throughout the previous episodes to ensure that overall, Thriller is something very special indeed.
The story begins with the somewhat unsettling death of Tony Mansell's wife who seems to have taken the sudden vision of a black-clad figure as being absolutely terrifying in a 'let's scare her to death' fashion. After the obligatory mourning period Mansell decides to go down the personal ads route in an effort to find love. Enter Cilento's Gothic beauty Clara who makes sure he swallows the love potion bait without delay.
From then on Clara and her particular brand of witchcraft begins to exert a malignant influence over Mansell and he soon falls ill. He must then rely on the suspicious nature of others to save him from these evil clutches.
It pans out reasonably well but is hard to take seriously. A somewhat disappointing end to the opening series but at this point there have been enough highpoints throughout the previous episodes to ensure that overall, Thriller is something very special indeed.
The Evil That Dors Do
10 September 2005
The second episode of Thriller's fourth series was a supernatural effort entitled 'Nurse Will Make It Better'. Naturally Thriller had gone down this route previously - see 'A Place To Die' and 'Spell Of Evil' (from series 1) - but this was a far better story.
Diana Dors is the malevolent force here, a role she would later reprise in Hammer House Of Horror's 'Children Of The Full Moon' in 1980. She arrives to the Harrow house (father a diplomat, three daughters Charley, Ruth and Suzy) as Bessie - a nurse for Charley who has been paralysed as a result of a riding accident. Charley has been a particularly difficult patient to a sequence of previous nurses but Bessie soon has her under control. As the action progresses we learn that Bessie is a force of evil intent on stealing souls. A couple of nasty incidents take place which serve to rid the suspicious from her path while the mantle is left to Ruth (played by a strikingly beautiful Andrea Marcovicci) to combat Bessie's destructive influence which has spread to Suzy (and many other people over the years - watch out for Ruth's encounter with Mrs Fuller. Nasty) Patrick Troughton (who would appear in The Omen a year later) is summoned to battle Bessie in an overblown climax. Yet 'Nurse Will Make It Better' is a well-crafted story with some genuinely chilling moments. It continues the strong start to the fourth series and is well worth seeing.
Diana Dors is the malevolent force here, a role she would later reprise in Hammer House Of Horror's 'Children Of The Full Moon' in 1980. She arrives to the Harrow house (father a diplomat, three daughters Charley, Ruth and Suzy) as Bessie - a nurse for Charley who has been paralysed as a result of a riding accident. Charley has been a particularly difficult patient to a sequence of previous nurses but Bessie soon has her under control. As the action progresses we learn that Bessie is a force of evil intent on stealing souls. A couple of nasty incidents take place which serve to rid the suspicious from her path while the mantle is left to Ruth (played by a strikingly beautiful Andrea Marcovicci) to combat Bessie's destructive influence which has spread to Suzy (and many other people over the years - watch out for Ruth's encounter with Mrs Fuller. Nasty) Patrick Troughton (who would appear in The Omen a year later) is summoned to battle Bessie in an overblown climax. Yet 'Nurse Will Make It Better' is a well-crafted story with some genuinely chilling moments. It continues the strong start to the fourth series and is well worth seeing.
Vengeance Is Mine Inc.
10 September 2005
'Screamer' opened Thriller's fourth series in January 1975 and is a particularly tense tale of rape and revenge - a topic which was quite common in movies of the era - Last House On The Left, I Spit On Your Grave, Ms.45 to name just three.
Pamela Franklin (who also starred in 1970 chiller And Soon The Darkness - adapted from a Brian Clemens screenplay) is Nicola Stevens, an American girl en route to stay with her friends Virna and Jeff Holt. On the train she learns about a rapist loose in the area ['he's got blonde hair'] and is warned to be on her guard. Shortly before her stop a blonde man (Jim Norton - familiar as Father Ted's Bishop Brennan) gets into her carriage and unnerves her. She alights from the train, makes her way to the Holts house and is followed by the man. The next scene shows the Holts returning only to discover Nicola battered and bruised - a victim of rape.
Recovery is slow and painful and to convalesce she decides to stay with the Holts - who are sympathetically played by Donal McCann (giving Screamer its second Irish actor) and Frances White respectively. However she keeps seeing her attacker in every man and is driven to formulate her own plans for revenge....
The action unfolds in a taut fashion and the ending is neatly wrapped up.
Recommended.
Pamela Franklin (who also starred in 1970 chiller And Soon The Darkness - adapted from a Brian Clemens screenplay) is Nicola Stevens, an American girl en route to stay with her friends Virna and Jeff Holt. On the train she learns about a rapist loose in the area ['he's got blonde hair'] and is warned to be on her guard. Shortly before her stop a blonde man (Jim Norton - familiar as Father Ted's Bishop Brennan) gets into her carriage and unnerves her. She alights from the train, makes her way to the Holts house and is followed by the man. The next scene shows the Holts returning only to discover Nicola battered and bruised - a victim of rape.
Recovery is slow and painful and to convalesce she decides to stay with the Holts - who are sympathetically played by Donal McCann (giving Screamer its second Irish actor) and Frances White respectively. However she keeps seeing her attacker in every man and is driven to formulate her own plans for revenge....
The action unfolds in a taut fashion and the ending is neatly wrapped up.
Recommended.
Great start to the second series
10 September 2005
'Only A Scream Away' kicks off Thriller's second series in impressive style. Powerful acting performances from Gary Collins and Hayley Mills make this an unsettling must see which deals very effectively with the theme of obsessive nostalgia for one's childhood.
Robert and Samantha Miller are newlyweds whose wedding is slightly marred by a sinister red paint bomb attack which splatters the bride's dress. Upon their return they are perplexed to receive a single white glove as a wedding gift. Later on that week Samantha discovers the other glove in the pair while sorting through a old chest of childhood toys.
Cue the arrive of Howard Heston, a friendly but intense American, who bears an unhealthy interest in Samantha and her past. This coincides with a series of unfortunate accidents involving Samantha's Aunt Liz and her husband. Just what role has Heston to play - in Samantha's past and present? 'Only A Scream Away' is a strong and gripping mystery - watch out for Collins in two later installments of Thriller.
Robert and Samantha Miller are newlyweds whose wedding is slightly marred by a sinister red paint bomb attack which splatters the bride's dress. Upon their return they are perplexed to receive a single white glove as a wedding gift. Later on that week Samantha discovers the other glove in the pair while sorting through a old chest of childhood toys.
Cue the arrive of Howard Heston, a friendly but intense American, who bears an unhealthy interest in Samantha and her past. This coincides with a series of unfortunate accidents involving Samantha's Aunt Liz and her husband. Just what role has Heston to play - in Samantha's past and present? 'Only A Scream Away' is a strong and gripping mystery - watch out for Collins in two later installments of Thriller.
Pretty vacant
8 September 2005
'Once The Killing Starts' fails to live up to the impressive start that 'Only A Scream Away' provided for Thriller's second series. Nevertheless it is an interesting story which is not dull to watch and for some people, is ranked highly in their favourite episodes list.
Patrick O'Neal plays the part of Michael Lane, a respectable university professor who has a little problem - a wife he wants rid of. This is achieved with minimum difficulty and a convincing alibi is taken - I was particularly impressed with the use of the tape recorder here. However the trouble begins when he starts to receive a series of revealing and anonymous letters informing him that someone knows what really happened.
Professor Lane takes rapid steps to eliminate those he sees has been responsible for the blackmail but it seems that he could be dealing with a hydra akin to the one Hercules battled. The denouement is perplexing and some will find it acceptable while others may not.
Either way, 'Once The Killing Starts' is a competent episode and well worth 65 minutes of your time.
Patrick O'Neal plays the part of Michael Lane, a respectable university professor who has a little problem - a wife he wants rid of. This is achieved with minimum difficulty and a convincing alibi is taken - I was particularly impressed with the use of the tape recorder here. However the trouble begins when he starts to receive a series of revealing and anonymous letters informing him that someone knows what really happened.
Professor Lane takes rapid steps to eliminate those he sees has been responsible for the blackmail but it seems that he could be dealing with a hydra akin to the one Hercules battled. The denouement is perplexing and some will find it acceptable while others may not.
Either way, 'Once The Killing Starts' is a competent episode and well worth 65 minutes of your time.
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