Motive: Universal TV review

Motive is a new television series shown on the Universal channel which began last week. I decided to watch the first episode of this North American cop show because it has an unusual premise. The viewer knows throughout who is the killer and who is the victim. This is because they are captioned "KILLER" and "VICTIM" in large letters on the screen at the start of the show. The real question is - what is the motive for the crime?

This is a clever spin on the classic detective plot. It was Richard Austin Freeman, back in the early years of the last century, who first came up with the idea of the detective story which starts out by showing the reader the culprit committing the crime, and then describes the detective work that led to the solution of the mystery. Freeman was a talented and inventive writer, and I mean to say more about him on this blog in the future.

Freeman's idea of the "inverted" story has been adapted many times, for instance by Roy Vickers in his stories about the Department of Dead Ends, and in the hit TV show Columbo. But I can't think of anyone who has tweaked the detective story in quite the same way as happens in Motive. For that touch of originality alone, the show deserves praise. Slightly less original is the decision to cast two exceptionally attractive women, Kristin Lehman (as the cop, Angie Flynn) and Lauren Holly (as the pathologist) in lead roles.

The first episode involved the killing of a teacher by a pupil. Why did the lad do it? I have to say that the mysterious motive wasn't especially memorable, and this was a bit of a disappointment. Overall, I'd say that the show was efficient rather than brilliant. But the premise alone makes it worthy of note. Will I watchi it regularly? Unlikely, because life is short. But I'd be quite happy to watch an occasional future episode.

Murder, Smoke and Shadows

For the first time in ages, I’ve watched an old episode of Columbo. ‘Murder, Smoke and Shadows’ involves a young film director, played by Fisher Stevens, with a gift for special effects, whose past catches up with him. A few years earlier, he and a friend were filming when the sister of another friend was killed in a motor bike accident. The Stevens character failed to save her, and now the sister’s brother has learned the truth, and is bent on exposing his betrayal. The brother is naïve enough to show his hand, and meets a grisly fate, electrocuted on a deserted film set. The director, naturally, persuades himself that he has committed the perfect crime.

Needless to say, he hasn’t reckoned on Lieutenant Columbo’s determination and detective genius. Bit by bit, Columbo sees through the evasions and pieces together the clues. The film-making background affords the opportunity for some clever and dramatic scenes before the killer is finally brought to book.

Columbo is formulaic in the extreme, but is so well done that I still found this episode very enjoyable, almost twenty years after it was made. Peter Falk is superb as the shabby detective and well served by ingenious and occasionally witty scripts. I think Columbo is (like, in a very different way, the Father Brown stories) best taken in small doses. But well worth taking, every now and then.

Patrick McGoohan

The news of Patrick McGoohan’s death saddened me. I was also startled, though of course I should not have been, to learn that he was 80. I still think of him as the smouldering hero of two major television series of my childhood.

I first came across him when I was very young, after he became a household name through his portrayal of the secret agent John Drake in 'Danger Man'. I’ve not seen an episode since I was about ten, and no doubt the show would not look too exciting today. But I was enthralled, week after week, and so were millions of others. (The theme tune was very popular, too.)

When it was announced that McGoohan was appearing in a brand new thriller series, therefore, everyone paid attention. I was one of those who watched the first episode of ‘The Prisoner’, in which an unnamed agent (some people suggest it was Drake) is kidnapped after announcing his intention to quit. He finishes up in a mysterious village, where he is known as Number Six. Escape from the village is impossible.

The weirdness of ‘The Prisoner’ annoyed many people at the time. ‘Danger Man’ had been straightforward action, but this was a very surreal story-line, very 1960s, as if Kafka had collaborated with a scriptwriter from ‘The Avengers’. I enjoyed it, although like many others I was baffled by it. No wonder it became a cult. Incidentally, if anyone has never visited the real-life location of The Village, Port Meirion in North Wales, I can recommend it most strongly – a wonderful place to visit; it’s also good to stay at one of the hotels, for when the tourists are gone, you can wander around The Village undisturbed – very eerie, sometimes.

Later, I enjoyed McGoohan in both Ice Station Zebra (I was going through an Alistair MacLean phase at the time) and in 'Columbo'. I saw little of him after that, but I remain an admirer. His acting range wasn’t in the Alec Guinness class, but he was very good at what he did. He will be missed.