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A SUPERLATIVE anthology of hour-long suspenseful playlets about well-tailored middle class types methodically doing each other in, THRILLER was a textbook example of straightforward, unpretentious telly drama doing its job to perfection. The pre-title sequences were reassuringly formulaic, setting the tone for each week’s dose of macabre happenings in, more often than not, a superficially cosy remote provincial setting.. Various ITV series followed in kind – the supernatural ARMCHAIR THRILLER and HAMMER HOUSE OF HORROR, and the twist-happy TALES OF THE UNEXPECTED, which was the one that ran off with all the nostalgia value, more through being repeated a lot during ITV strikes than anything else – but for sheer no-nonsense cliffhanging effect, nothing beats the original.
Cross-class chicanery a-plenty thanks to protagonists’ respective families, foibles and fiercely textbook-80s obsessions with sharp suits, curries, wine bars and share options.
Mastermind BRIAN CLEMENS conceived and wrote most of the six series: forty three stories of suspense and horror, sometimes with supernatural overtones, often with an American guest star on the books for export purposes, always with plenty of plot twists.
A charming cottage was seen being cased by a sinister type in a Gabardine coat, or maybe a flashy TR7 would pull into the driveway of a well-appointed country house, arousing the suspicions of the gardener. Oh, and the dialogue, with the possible exception of one or two Matthew Earp bon mots, never rose, or even aimed above speakable. What would nowadays be considered glacial pacing (the long, deliberate tracking shot across an empty room accompanied by sinister oboe cadence was something of a motif, for instance) was integral to the atmosphere. The arrival of a poet in a Yorkshire village arouses suspicion in local farmers, and sexual longing in farm girl Jan Francis.

Today though we can only offer up this new series in which Ricky, from off of Deacon Blue of course, plays some recently released records and then picks them apart to play some old records which he thinks sound very similar, and ponder why certain themes continue to recur in pop.
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On-off business went on and on then off seemingly for good, before Michael Grade insisted there be happiness ever after on Christmas Day 1986. Young married couple freshly moved into mysterious rural location, stranger turning up who may not be all he seems, unidentified killer on the loose etc.
JAN FRANCIS was the original resistance ring-leader before getting killed by a falling brick.
It was the masterly variations and wrong-footings wrought from these familiar scenarios that made the programmes riveting, even when acting and production values started to exhibit the tell-tale signs of mid-series sag. CHRISTOPHER NEAME was her love interest and British agent who ultimately escaped by driving a bus, Roger Moore-style, very fast towards Switzerland. One of the main things mitigating against any modern revival of the programme is the number of plots that revolve around young women not being able to get to a phone box in time, or killers cutting the phone lines to a remote country cottage. ANGELA RICHARDS was the angelic-voiced chanteuse and Foiret’s bit on the side, forever irking his bedridden cantankerous missus.

GLYN HOUSTON provided little help as Friendly Bobby On The Beat; BOB PECK piled on the menace. Apprenticed to Jedi Master Plo Koon, you are assigned a mission to locate and destroy the training ground of Dooku's secret army.
CLIFFORD ROSE peered down his nose at all and sundry, failing to ever guess what was going on behind his Beef Wellington, while MICHAEL CULVER almost worked it out before shooting himself and future Demon Headmaster TERRENCE HARDIMAN guessed it but just as the war ended. Your search will take you to different planets and introduce you to many interesting characters – but who should you trust? STEPHEN YARDLEY showed up as a treacherous piano player (always the worst kind), RON PEMBER was the ever-loyal wireless man Alain, and VALENTINE DYALL the superb, non-ruffled Dr Keldermans. Rose resurfaced in KESSLER, wherein his eponymous evil bastard was trying to stay anonymous in some South American banana republic. Opening tracking shot down stills of railway lines, canals, roads and winding tracks set to sombre theme music the epitome of the perfect title sequence.

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