#christopher menaul

The 2013 television movie began with Jack Whicher coming to the aid of a wealthy middle-age woman, when a young thief snatches her purse inside a London pub in London. After retrieving her purse, Whicher discovers that the woman, Susan Spencer, is searching for her missing niece, a 16 year-old girl named Mary Drew. Miss Spencer learns of Whicher's old position as a police detective and hires him to find the missing girl. Whicher eventually discovers Mary's brutally murdered body inside the police morgue. Both eventually learn that before her death, Mary had given birth to a child and someone had stolen a family heirloom from her. Miss Spencer hires Whicher to act as her private consultant and find Mary's killer.

When I first saw "THE MURDER ON ANGEL LANE", I had assumed the story began sometime after the events of 2011's "THE SUSPICIONS OF MR. WHICHER: THE MURDER AT ROAD HOUSE HILL". It took a rewatch of this second television movie for me to realize that it was set during the events of the 2011 movie - sometime between the four or five years between Mr. Whicher's failure to get the killer prosecuted for murder and the latter's eventual confession. I was able to ascertain this conclusion, due to the hostile behavior of Police Commissioner Richard Mayne toward Whicher and the one of the supporting character's comments. This setting also explained Whicher's occasional doubts regarding his skills as a detective. Now whether the other two Whicher television movies that followed were also set during this period is a matter I will eventually discover.

Unlike "THE MURDER AT ROAD HOUSE HILL", "THE MURDER ON ANGEL LANE" proved to be a genuine "whodunnit" story. This particular case was not some true crime narrative. And Whicher did not discover the antagonist's identity until the finale act. I am not saying that this particular difference made the 2013 television movie an improvement over the first one. But in a way, it felt a little refreshing to view a murder mystery/period drama, instead of a mere true life case set in the far past. "THE MURDER ON ANGEL LANE" started as an investigation into the disappearance of a well-born adolescent managed to transform into a lot more. Like "THE MURDER AT ROAD HOUSE HILL", this story also proved to be a family drama beset with murder, betrayal and corruption. But unlike the 2011 movie, greed also play a major role in "THE MURDER ON ANGEL LANE". I thought screenwriter Neil McKay and director Christopher Menaul handled the movie's narrative very well, with a minor exception or two. I also admired how McKay used the unresolved events of THE MURDER AT ROAD HOUSE HILL" to not only provide the Whicher character as an emotional obstacle for him to overcome, but also an excuse to place him in the dangerous situation that he found himself in the movie's final act.

I do have a few complaints about the plot for "THE MURDER IN ANGEL LANE". And it centers around a small group of quibbles regarding the television movie's final act. Whicher's investigation led him to a third visit at an insane asylum, where he found himself incarcerated as a patient. A part of me felt relieved that this particular scenario lasted less than five minutes. However, another part of me found this sequence rushed and contrived for it did not take Whicher long to receive help in making his escape. Following on the heels of the asylum sequence, Whicher finally confronted the murderer. But he did so alone . . . and without contacting his old friend, Chief Inspector Adolphus "Dolly" Williamson or other members of the Metropolitan Police. I understand why Neil McKay had written the confrontation scene this way. I simply found it implausible and wish he could have created another way to close the case.

I certainly had no complaints about the movie's production values. David Roger returned to the "MR. WHICHER" series to serve as production designer. As he did for "THE MURDER AT ROAD HOUSE HILL", Roger managed to re-create the look and style of early 1860s Britain with the additional work of Paul Ghirardani's art direction and the set decorations of Jo Kornstein, who had also worked on the "ROAD HOUSE HILL" production. Only in this production, his vision extended to the streets of London. Tim Palmer served as the film's cinematographer. I thought he did a solid job, but his work did not exactly blow my mind. Lucinda Wright also returned to serve as the movie's costume designer. As she did for the 2011 television movie, her work for "THE MURDER ON ANGEL LANE" perfectly recaptured the early-to-mid 1860s without being either shoddy or over-the-top.

Paddy Considine returned to reprise his role as Jack Whicher. As he had done in the first movie, the actor did an excellent job of quietly capturing the character's reserve nature, intelligence and skill for criminal investigation. However, Considine managed to add an extra touch of poignancy, as he project Whicher's occasional bouts of insecurity in the wake over the Road House Hill case and his minor failures during his investigation of this case. Both William Beck and Tim Piggott-Smith reprised their roles as "Dolly" Williamson and Commissioner Mayne from from the first film. Like Considine, both actors gave first-rate performances. And both added extra touches to their performances - especially in their characters' attitudes toward Whicher - in the wake of the Road House Hill debacle. Olivia Colman provided the movie's emotional center as the well-born Susan Spencer, who hired Whicher to first, find her niece Mary Drew and later, find the latter's killer. She and Considine, who had co-starred in the 2007 comedy, "HOT FUZZ", worked very well together. Shaun Dingwall gave a very subtle performance as Inspector George Lock, the main investigator of Mary's murder and the only one willing to give him a chance in helping the police. The television movie also featured solid performances from Mark Bazeley, Alistair Petrie, Billy Postlewaite, Angela Terence, Justine Mitchell, Sean Baker, Sam Barnard, Christopher Harper and Paul Longely.

Of the four "MR. WHICHER" television movies, I must admit that "THE SUSPICIONS OF MR. WHICHER: THE MURDER ON ANGEL LANE" is my least favorite. I believe the last fifteen to twenty minutes had been marred by some contrived writing that I believe had rushed the narrative's pacing. However, I still believe it was a first-rate production in which screenwriter Neil McKay had created an intriguing whodunnit involving a major family feud, betrayal and greed. And director Christopher Menaul, along with a talented cast led by Paddy Considine had skillfully conveyed McKay's story to the screen.