CosmicDwellings

In between the TV showings of the original series of "Special Branch" (1969) and "The Sweeney" (1975), Thames Television delivered a classic piece of Detective fiction in the form of "Van Der Valk" - Commissaris Piet (Simon) Van Der Valk of the Dutch CID based in Amsterdam. It was a very good updated take on the character from a series of best- selling novels by Author Nicolas Freeling and a superlative characterisation by actor Barry Foster in the lead role. Furthermore, it was the marrying of Foster's performance with the intelligent and gritty realism of the scripts and location that made this a must-see of the time (the entire five series - 32 Episodes in total - was made over a twenty-year period). As a youngster, I was more familiar with the third series (1977) which was made by Euston Films for Thames, but watching the episodes of the original series from 1972 and 1973 (2nd series) was most enjoyable too as it not only gave us an insight into how the character of Van Der Valk was originally conceived for television, but also allowed us to experience the production process of the time - a mix of VT (studio) and film (location) work that assisted in the unfolding of the drama. The city of Amsterdam is beautifully captured in each and every overcast shot of period detail - trams, bikes, canals, cars and bars all add to the realistic take on a glorious setting. There was a gap of almost 14 years before the decision was finalised to commence work on the fourth series (screened 1991) and by this time the episodes were produced for a longer format: a two-hour time slot (the trend of the time). However, it was wonderful to see the older Barry Foster continue his memorable characterisation all those years on, and I felt that the series had lost none of that gritty style and intelligence that gave it an endearing quality almost two decades previously. In these longer early '90's episodes there is obviously an emphasis on the changing face of culture and environment, and a new face is added to the Van Der Valk family - namely an adopted daughter called Ruth who has a young child. The Van Der Valk's eldest son, Wim is also in the employ of the Amsterdam Police as an Inspector, and he plays a considerable part in some of the case-cracking proceedings of these later episodes, and reference is also given to his brother in the final series (1992) although he never makes an appearance. Overall, 'Van Der Valk' is a highly-recommended viewing experience especially for those entertained by the crime fiction genre.

The gripping sequel to the award-winning television mini-series 'Rich Man, Poor Man' stands the test of time, and also is a stand alone representation of a well-produced piece of drama. Peter Strauss returns in fine form as Senator Rudy Jordache (the original 'Rich Man' of the title) as the story continues to chronicle his life, career and family. The story proceeds to 1968 and is transfixed to this period of time as opposed to relaying the action over a period of years as per the mini- series. The introduction of Rudy's nephew, Wesley and stepson, Billy adds a new entertaining dimension to the elements over 22 episodes. The series features some very good acting performances in support which includes Susan Blakely, Van Johnson, Ray Milland, Peter Haskell, Susan Sullivan, John Anderson and Kay Lenz. However, it is the portrayal of the psychotic 'Falconetti' by William Smith that illuminates the on- screen chills in his ongoing vendetta with anything connected with the name 'Jordache'. The young guns of the cast also shine with notable turns from Gregg Henry, James Carroll-Jordan, Penny Peyser and Kimberly Beck. The series received two Emmy-Award nominations and upon viewing the cliff-hanging courtroom scenes in Washington it's not difficult to understand why, as Rudy attempts to bring to justice the corrupt billionaire, Charles Estep; the dramatics are wonderfully executed. 'Rich Man, Poor Man - Book II' was never going to hit the heights of the classic status of the preceding mini-series, but it has achieved popular worldwide recognition as a welcome, and most enjoyable, sequel of a great story.

This is a wonderfully unique experience to watch 'The King' in this western-story setting as an ex-outlaw turned good. Elvis plays it straight equipped with a beard to fight his former gang of 'friends' - the leader of which is Victor French in a tour-de-force performance. A fine supporting cast which includes Ina Balin and Solomon Sturges turning in two admirable screen performances, helps to give Elvis' movie career a boost at this point in the 'Comeback' era of his musical oddyssey. "Charro!" is a fresh and uplifting western and is a welcome change to hear EP only sing one song in a movie, and this one is over the opening credits. Elvis delivers a good character portrayal of Jess Wade, and isn't as stereotyped as some of the previous characters from the other films from his mid-60's celluloid repertoire. I think any western/Elvis fan would view this as more than just a 'curiosity piece' because it does turn out to be quite an engaging 94 minutes. You almost forget that it's the man himself on screen who we are so used to watching being surrounded by Girls, Bikini's, Cotton Candy, and racing cars. The movie also features some beautiful Arizona cinematography. Recommended.