The Inspector Lynley Mysteries (2001 - 2007)

Elizabeth George is an American writer who in 2025 completed her 22nd Inspector Lynley novel. We thought we'd check out the original BBC incarnation, starring Nathaniel Parker and Sharon Small.

Sorry to be lazily copying Wikipedia here but 'The first episode (pilot), A Great Deliverance, was broadcast on 12 and 13 March 2001, the only two-part episode throughout the series run. It was also based on the first Inspector Lynley novel. The first full series began broadcasting on 8 April 2002, with the first episode based on and named after the third novel, Well-Schooled in Murder. The first eleven episodes were based on and named after the eleven Inspector Lynley novels published from 1988 to 2001, but not all in the published sequence.' There were 24 episodes in all.

So we watched the pilot, which together runs about 2 hours 20. It's quite a complicated tale - adapted by Lizzie Mickery - with lots of characters, set in Yorkshire, where it appears Lynley had previously been stationed - and run up against the corrupt and incompetent Inspector Nies (Colum Convey). A man is found murdered with only his traumatised daughter at the scene. With Anthony Calf, Amanda Ryan (actually the love of Lynley's life), Emma Fielding, Brendan Coyle, Pooky Quesnel. It turns out to be a case of intra-familial torture and the death of a new-born baby - heady stuff. 

The Lynley / Havers dynamic is a bit more spiky than in the reboot.

Jonathan Bloom gives it a tough look - whether like 28 Days  it was shot on some digital video system or on film I couldn't tell you. Kristina Heatherington edited.

I thought a locked bookcase was a clue - turns out it wasn't

Series 1, Episode 1 in 2002 is Well Schooled in Murder (written by Simon Block) and it's a rather good investigation into a murder at a boy's public school, with Bill Nighy, John Sessions and Martin Jarvis. The oiks include Henry Cavill (Head Boy), William Mannering (coke dealing bastard prefect) and Samuel Barnett.

Payment in Blood is about the murder of a playwright . This one I actually got halfway to figuring out, but was caught out by the denouement. Lynley and Havers are getting on a  bit better by this time - at one point he helps her take her boots off. Familiar faces here include Ronald Pickup, James McAvoy, Idris Elba and Julian Wadham, with Jonathan Firth and Camilla Power. Lizzie Mickery again adapted.

Well, that's another six hours gone.

Lynley (2025 Steve Thompson)

A reboot of characters based on novels by Elizabeth George, previously dramatised in a series running 2001-2007 with Nathaniel Parker and Sharon Small.

Leo Suter is the posh, Jenssen Interceptor driving DI and Sofia Barclay his somewhat strange-accented DS. And DCI Daniel Mays has something over the new DI.

A Place of Hiding. An art collector on a remote island, who styles himself Augustus Caesar, is found murdered. Funnily enough when I saw a terminally ill woman in bed, I thought 'She did it' as a joke - turns out it was her.

Say Nothing (2024 Creator Joshua Zetumer)

Epic nine part series for FX, based on Patrick Radden Keefe's non-fiction investigation into true events starting in the times of the 1960s Troubles.

Lola Petticrew (who was also the star of the Northern Ireland drama Trespasses) becomes indoctrinated into the IRA, whilst an older version of herself (Maxine Peake) recounts her story to a journalist.

Whilst the show proclaims that Gerry Adams has always denied any involvement with the IRA he's shown here being a passionate and active member of said organisation.

Bollocks of 2026

It's sadly early to start this list (5 January) but unfortunately we have a contender already, Hunting Wives, some crap about a woman who finds herself in the gun packing heart of Texas Republicanism. The title indicates how crap it will be.

Changeling (2008 Clint Eastwood)

 Background info here.

"Did you kill my son?"

The way Clint directs the kids is absolutely brilliant.

Random Harvest (1942 Mervyn LeRoy)

This was released after Mrs Miniver. Based on James Hilton's novel, and screenwritten by Claudine West, George Froeschel and Arthur Wimperis, it's something of a romantic tall tale, in which amnesiac Ronald Coleman (particularly good) falls for helpful Greer Garson (also good). They marry, but then he is injured and regains his memory - but also loses the last few years. The massive plot twist - that when his secretary is revealed it's Garson, and he has no idea who she is - is fabulous, but it's exceedingly unlikely... though of huge delight to the audience. It was of course a massive hit for MGM. we loved it - hadn't see it in years.

We were enjoying the way Harold Kress dissolves from one scene to another. (He's the Man Who Made Margaret Booth Cry. See here.) It's very splendidly photographed by Joseph Ruttenberg. Also thought the cottage set very sweet, designed by Cedric Gibbons:

You can almost hear the gasps of the 1940s audience

With Philip Dorn (doctor), Susan Peters, Henry Travers, Reginald Owen (boxer publican), Bramwell Fletcher, Rhys Williams, Una O'Connor, Aubrey Mather.

Here's what she looks like in colour:

She was of Scottish descent which I guess explains her Scottish number in music hall scene.

Loved the use of sound when he revisits the village from the opening and we hear the music that was playing then.

The Salt Path (2024 Marianne Elliott)

Written by Rebecca Lenkiewicz from Raynor Winn's memoir. Gillian Anderson and Jason Isaacs play the unhomed couple who walk around the Cornish coast, whilst his terminal illness seems to recede. This article in The Observer reports that the wife was a scammer, the house was lost because they had stolen money, they actually owned a house in France at the time, and that it is highly questionable that the husband had the 'terminal' illness CBD. So whilst they did do the walking, or at least some of it, the rest of their story is highly questionable.

If you look at it purely as a film, it's only OK.

Gillian Anderson and Jason Isaacs are the couple. With Hermione Norris.

It was filmed by Hélène Louvart and edited by Gareth Scales and Lucia Zucchetti. Chris Roe was the composer.

But. The couple are in their tent one morning and a dog walker passes and whacks their tent with a stick and says very rudely "You can't camp here" and I wanted to kill him. If it's on someone's land then fair enough you need permission, but surely much of that walk is common land?

I didn't notice that for some odd reason the film starts out in 1.85:1 then switches to widescreen 2.4:1.

Indiana Jones and the Last Crusade (1989 Steven Spielberg)

I was mainly drawn to it by Douglas Slocombe's cinematography - it was his last film - he was 76 (lived till 103!) He is still capable of giving it a lovely tone.

The special effects for the time were award-worthy but they look quite dated now. The set inside the cavern when the floor starts breaking up looks really fake.

It was filmed all over the place, must have cost an absolute fortune - even just Venice establishing shot must have been so difficult to organise in every way (period background, permission from authorities, etc.)

Great to see so much not-CGI stunt work, e.g. opening fight on speeding train with River Phoenix playing the young Indie. Horse work, stunt driving, explosions, tanks, an airship.. amazing.

Harrison Ford is joined by Sean Connery enjoying playing his dad. With Denholm Elliott, Alison Doody, John Rhys-Davies. Alex Hyde-White as 'young Henry' whoever he is is Wilfred's son. Q noticed a blink-and-you'll-miss-him Alexei Sayle.

The screenplay is by Jeffrey Boam from a story by George Lucas and Menno Mayjes. It has quite a jokey tone with little nods to previous films in the series, as well as a frequent disregard for logic and credibility. Michael Kahn edited, John Williams composed, Elliot Scott is the production designer.

The Ballad of Wallis Island (2025 James Griffiths)

Written by stars Tim Key (the host) and Tom Basden (the singer) first as a short film, with Carey Mulligan added in to the extended version. It took me a while to click what was going on, which is a quite unlikely but sweet premise. Key's endless schtick is a bit of an acquired taste.

It apparently took only 18 days to film, Carey being there for only eleven of them. Filmed by G Magni Agustsson.

Ruby in Paradise (1993 Victor Nunez & scr, ed)

Drawn here from Ulee's Gold. This is a now very rare film to find and only available in a crop of its original 16:9 ratio.

Ashley Judd is delightful as the lost young woman who takes a job in a gift shop in Northern Florida and recounts her reactions with various people. (Loved the way she follows her neighbour - who she has never spoken to - out on the pier where he's fishing, but still never manages to connect with him. And the warmth of the two women she meets in the laundry.)

Todd Field is the slightly weird boyfriend, Bentley Mitchum the abusive one (he's Chris Mitchum's son). Allison Dean her colleague / friend, Dorothy Lyman her employer, Betsy Douds.

The book he lends her opening on Catherine Morland is 'Northanger Abbey' and the film is allegedly loosely based on Jane Austen's novel. (Bit if a stretch I would have thought.) Out of season desolate Florida well caught.

Won the Grand Jury Prize at Sundance.

Charles Engstrom wrote the music. Alex Vlacos photographed. 

I liked it. It's very female-centric. Judd is the whole show - she carries the film well. Has been working steadily but didn't really hit the big time... though she is in Heat, which I've still not seen.

Deconstructing Harry (1997 Woody Allen & scr)

Some useful insight here, but this is actually quite a complex work, with flashbacks and fictional versions of flashbacks intertwining. Is the conversation between Allen and Billy Crystal in hell a sort of homage to Heaven Can Wait? But very funny - Crystal telling him 'You couldn't kidnap anyone' cut to Demi Moore 'Kidnapper! He's kidnapped my son!'

It's one of his most distinct, different, experimental and funny films. I was amazed to find it's quite highly rated on IMDB as 7.3, but as usual, many audiences get it wrong - they think this is Woody Allen, when it couldn't be further from his actual personality.

Crossing Delancey (1988 Joan Micklin Silver)

Where is Delancey, first of all? It's an important cross route cutting between the East Village in the north and Chinatown in the south. It was something of a centre to the Jewish and Italian populations, though it's now more upmarket and diverse. It connects to the Williamsburgh Bridge at the eastern end, which is probably what we're seeing here:

Susan Sandler wrote a great screenplay - based on her play - about a slightly lost woman, her relationships with men and her old school Jewish grandmother. That's it, but it's a very realistic-feeling and pleasing concoction with much local flavour.

The actors are Amy Irving, Peter Riegert, Reizl Bozyk (who's great as the grandmother), Jeroen Krabbé, George Martin and David Hyde Pierce.

Kosher wine? It's been prepared according to strict Kosher tradition making it usable for religious services. (Jews can drink non-Kosher wine too.)

And the poem quoted about the ripe plums, which may or may not be Confucious, is 'Anxiety of a Young Lady To Get Married' (apparently).

Memorable scene: singer comes in to diner and starts performing song about holding on to love 'Some Enchanted Evening'

Silver's first success was the very low budget Hester Street in 1975. She cites Shadow of a Doubt, Presenting Lily Mars (1943 Judy Garland musical comedy) and Song of the Islands (1942 Betty Grable musical comedy) as early influences, and has an affinity with Truffaut and Satyajit Ray. I think I've also seen Between the Lines (1977) about an independent newspaper and its staff, with a young Jeff Goldblum.

The Man I Love (1946 Raoul Walsh)

Well, there's a fairly complicated scenario at work here, courtesy of Catherine Turney, she and Jo Pagano having adapted Maritta Woolff's novel. A New York singer (Ida Lupino) travels to LA to visit relatives. Her sister Andrea King is being pursued by dodgy nightclub owner Alan Alda, but she in fact has an ex-service husband who's in an institution following a mental breakdown. Another sister Martha Vickers seems to have lost confidence (she is really one character too many who we don't really need)  and brother Warren Douglas is getting in with Alda in a not good way. Over the hallway lives couple Dolores Moran and Don McGuire, he a night shift worker and she bored with her role as wife and mother.

Lupino starts singing at Alda's club and develops an at-arm's-length relationship with him, but gets interested when she helps a melancholic pianist, Bruce Bennett (the original husband in Mildred Pierce), thus taking us into an interesting story we weren't expecting. All through you get this great music from jazz bands, Ida singing (not actually her) and whoever's playing the piano stuff. It's a kind of film noir jazz musical.

Best bit: McGuire comes to kill Alda; Lupino slaps him around and sends him home. Best line: 'She wouldn't give you the time of day if she had two watches.'

With Alan Hale in the nightclub, William Edmunds (from It's a Wonderful Life).

Photographed by Sid Hickox and edited by Owen Marks. From that great year, 1946. According to the Warner Bros Story, audiences 'gave it the thumbs down'.

We Bought a Zoo (2011 Cameron Crowe & co-scr)

Cameron gave Matt Damon the script, an hour's worth of music and the film Local Hero, saying it was that happy-sad feeling he was trying to invoke.

Otherwise, see the previous seventeen jottings. 

Wasn't expecting to see Peter Sellars

Sully (2016 Clint Eastwood)

A staggering piece of work, brilliantly constructed. If you think about Clint's first film, Play Misty For Me, you can see just how far he has progressed. Writer Todd Komarnicki, also wrote the well rated The Professor and the Madman (2019).

Great sound design (Robert Alan Murray, mixers José Antonio Garcia, John Reitz, Tom Ozanich), editing (Blu Murray), special effects.

Clint with Jane Gabbert, Molly Hagan and Anne Cusack (I think)

Also very well acted in all the less important parts, a real ensemble.

Endeavour: Terminus (2021 Kate Saxon)

 Woo. Woo!

The Full Monty (1997 Peter Cattaneo)

Written by Simon Beaufoy. Needing money, an unemployed steelworker Robert Carlyle and his best mate Mark Addy decide to get together a male striptease act. The only thing this, they forget one dance routine and strip is not enough to entertain a packed room of women, and they tear them to pieces. Morse investigates...

Um. Very entertaining. Hadn't seen it in decades. With Ton Wilkinson, Paul Barber, Hugo Speer, Lesley Sharp.

Economical (an hour and a half). DP John de Borman, editors Nick Moore and David Freeman. The producer is Uberto Pasolini, who went on to make those great films Still Life and Nowhere Special. Music by Anne Dudley.

The Apartment (1960 Billy Wilder & co-scr)

 

Above: It's Chagall, 'I and the Village', his memories of growing up in Belarus.

Tom Newman double bill: Erin Brockovich (2000 Steven Soderbergh) / The Help (2011 Tate Taylor)

Erin Brockovich was nominated for Best Film, Screenplay (Susannah Grant), Director and Supporting Actor (Albert Finney) and won for Best Actress (Julia Roberts); BAFTA had the intelligence to see that Anne Coates' editing was also nominee worthy (lost to Pietro Scalia for Gladiator). Only the BMI Film and TV awards thought of giving Tom any attention - he won, but so did lots of films. So that seems like something of a hollow award.

Here's Anne talking about that last great scene:

As I'm sure you know, often when you don't have a scene you really need toward the end, and it's written later, it stands out like a sore thumb, because it's not very good, and it doesn't do what you want. But this scene, which was written by Richard LaGravenese, did exactly what we wanted in exactly the right place. And they both played it so beautifully. It made the difference to the film, I think.

Sheryl Crowe also gets some soundtrack time.

Tom's music is less to the fore in The Help but when needed, he underscores the scene brilliantly. I'd love to be able to cite an example, but I can't. It's another brilliant screenplay, by Tate Taylor, including:

"Whose story you got left to tell?"
"Mine."

and

"You broke her heart."

Huh. I managed not to get any screen shots of the irresistible Emma Stone. I was thinking about how lovely it is for us to have experienced her career taking shape before us.

It's also a lovely job by Stephen Goldblatt, but no one but me noticed. Edited by Hughes Winborne.

I love the way the cast is credited in surname alphabetical order as though to say 'This is such an ensemble piece that no one gets billed over anyone else."

Hercules the Bear: A Love Story (2025 Michelle Friel

Maggie Robin dictates the crazy story of her, her husband, wrestler Andy Robin and the grizzly bear they adopted, who became a part of the family. And the tense four week period when Hercules went missing on a Hebridean island and in all that time didn't hunt or kill anything... that was because he liked his food cooked.

It was one of those things that we came in on in the middle and just had to watch the whole thing.