Speakerine

The first four episodes are worth eight stars, but the last two drag the series down. All the previous subtlety goes out of the window and we have a scenery chewing villain, and numerous story lines not followed up. It seems that there was a possibility of another series, but that idea was abandoned and the writers told to just finish things up quickly (and unsatisfactorily). It's a great shame because it was an interesting era politically, and the initial four episodes promised much.

I was searching for something else on All4 when I came across 'Walter Presents, The Announcer' recognising Gregory Fitoussi in the photo I realised this was the sub-titled version of 'Speakerine'. I clicked to download wondering how I'd missed it in the schedules. Although all episodes are available it will not screen on E4 till November 27th, 2020. I only meant to watch one episode but ended up watching all six. This drama is set in 1962 and the central character is Christine Beauval (played by Marie Gillian). Christine works for a TV company, RTF, as an announcer between programmes. Back then the announcer delivered the programming details directly to camera and was seen on TV. Christine is a celebrity in France, she is also a working mother, which was usual in the 60s, and at 42 she's looking to move on her career by producing her own programme. She has sent the pitch for 'Portraits de Femmes' to the studio's director. Her husband Pierre works for the government under the direction of the Minister of Information, Eric Jauffret, who is also a close family friend. Pierre is to head the launch of a TV link between France and the USA, General de Gaul has personally selected him for this role. This news does not please the studio director who feels unsettled by the Beauval's growing influence. Christine's children have problems of their own. Her son, Jean-Claude, has lost two friends in the war in Algeria of Independence and is trying to find out what happened to them. Her daughter Collette has been doing working experience in Eric's office and they have become romantically involved. The programme has been tagged as 'Mad Men mixed with Agatha Christie'; yes, it is set in the 1960s and yes there is a murder, but this drama is more than that. There are the underlying politics of the period; international, business and personal. I was surprised that the French government had such an influence on TV output. Being a child of the 60s I was less surprised at the racism and sexism depicted in the programme. Of the cast Gregory Fitoussi is probably the one most UK viewers will recognise. His previous British TV appearances include; BBC's Spiral (a French production), Spin (an earlier Walter Presents series), Mr Selfridge (an ITV production) and Beecham House (also an ITV production). Marie Gillian received a nomination for Best Actress in this role at the Globes de Cristal Awards.

This is a relatively light-hearted French whodunnit TV series (hints of Les Petits Meurtres de Agatha Christie, especially in the production, look, etc) but set against the intriguing backdrop of the growth of television as a power across France and the globe and, more effectively, the messy and indeed very violent end of French occupation in Algeria. It's impossible to imagine a mainstream American show tackling anything like this kind of subject but somehow here (thanks to excellent acting, great direction and some stunning locations brilliantly used) it all comes together in a truly surprising little gem that is well worth a few hours of your lockdown time. Viva la France!

No spoilers here.

Four-and-a-bit episodes building up intrigue and drama in the stylish milieu of early-60s French TV, complete with misbehaviour in high office, illicit love affairs and dangerous ambition.

Absolutely ruined by an overblown and absurd finale that left most of the story unresolved.

The storyline got darker and more intense as the drama progressed. Somewhat implausible, but at 6 episodes was the right length. Featuring the political situation relating to Algeria and the role of the OAS was possibly something better suited to a different drama rather than this one.

Marie Gillain and Barbara Probst were both excellent in different ways. The latter creating a screen villain that rivals many more notable characters in screen history.

Attitudes of the time, 1962, were capture in the blatant sexism and the incessant smoking.