A vicar and a detective, Rev Sidney Chambers and DI Geordie Keating, from ITV’s Grantchester
Ecclesiastical sleuths are not unknown to crime fiction and drama – there’s Father Dowling, there’s G K Chesterton’s Father Brown, and James Runcie’s Reverend Sidney Chambers.
But what about in real life? A priest has a pastoral duty to their flock, and who better than a priest to try to grasp the effects of good and evil. Members of the clergy inevitably find themselves on the cusp of crime. Whilst they might have to counsel family affected by violence, do they ever join forces with the police and help to solve mysteries?
In my research of nineteenth-century crime I’ve found two clergymen who found themselves drawn into investigations. In part 1, you’ll meet Reverend Wilkins from Wix in Essex, who suspected that one of his parishioners had met his death “by unfair means”. And in part 2, read about Reverend John Henry Cancellor, who found himself investigating the suspicious death of his own brother.
Tom Hardy in Taboo, BBC. Some people found Tom’s hat unintentionally amusing.
I was excited about BBC1’s gritty historical drama Taboo. After all, it was created by Steven Knight (the man behind Peaky Blinders, which I love), Tom Hardy and Hardy’s dad. Knight wrote it, as fans of Peaky Blinders will immediately spot – the troubled amoral “hero”, everything leading up to a nail-biting and very satisfying final episode. And I really loved the character Lorna Bow – an actress and young widow.
But I have to say that watching the series, I spent half the time entertained (sometimes when I should have been and sometimes when the concept’s daftness overwhelmed me – the Tom Hardy Grunt Counter springs to mind), and half the time feeling rather irritated.
I can’t help it. I know my history, and… well…. Shall we say that I identified a couple of historical errors, which, as someone who knows about these things, I really feel I need to point out.1)There were other things I found rather… strange, but other people have written about those aspects. Such as, does Tom Hardy look convincingly like someone who is part white British and part First Nations?
There were other things I found rather… strange, but other people have written about those aspects. Such as, does Tom Hardy look convincingly like someone who is part white British and part First Nations?
Television series Endeavour tells the adventures of young Inspector Morse, when he was mere Detective Constable Morse. I was late coming to this programme, but I have become completely addicted to it. Perhaps it’s the slightly grubby vision of the 1960s that fascinates. Perhaps it’s the puzzling plots. Perhaps it’s the portrayal of young Morse by Shaun Evans, who manages to include John Thaw mannerisms in his characterisation without looking as if it’s an impression.
There’s lots to love about it but one episode caught my attention particularly – “Nocturne”, in the second series.
Set in 1966 during the World Cup, there are flashbacks to 1866, when several children of a tea magnate, their nurse and governess, were murdered. Everyone thinks the murderer was the surviving daughter, who was, apparently, disturbed, and ended her days in an institution.
My interest was immediately piqued – nineteenth-century crime! – and when I heard the music, which was played on the piano and on the world’s creepiest music box, and was woven through the background music, I recognised it at once.
The piece of music is Chopin’s Nocturne no.1. It’s a beautiful piece for piano but it is intensely creepy and unnerving. It’s in B flat minor, which goes to some way to explaining it, plus the way that it keeps reaching for resolution and takes a surprising direction keeps the listener on the alert. This seems to be something to do with “picardie thirds” but that’s another story. It’s often peddled as a relaxing number – but I find it’s quite the opposite. It’s calm, but discordant, which makes it terrifying.
It was for this reason that last year, without having seen that episode of Endeavour, I used exactly the same Chopin piece for the Poison Panic book trailer.
So I’m not the only person to hear that nocturne and think of Victorian murder.
I’d seen the trailers – this Brontë biopic promised an accurately short Charlotte, and an Emily who doled out physical violence when enraged that her poems were read without her permission. This is the version of the Brontës that seems most plausible to me, and when the warning came up on iPlayer – Guidance: Contains some strong language and some scenes which some viewers may find upsetting – recommending it for viewers of 16 and over, I was hopping up and down on my sofa with glee.
Hans Rosenfeldt (The Bridge) and Ed Thomas (Hinterland)
A perfect chaser for the talk by Walter Iuozzolino, he of Walter Presents, had to be the talk given by crime drama writer-creators Hans Rosenfeldt, of Swedish/Danish production The Bridge (Bron/Broen), and Ed Thomas, writer-creator of Welsh/English crime drama Hinterland (Y Gwyll). Walter curates subtitled drama, but what goes into writing – and indeed, creating – dramas which are filmed in two languages? This fascinating talk was hosted by Lisa Holdsworth, who has written for New Tricks, Robin Hood and Midsomer Murders, amongst others.