Cynical, dour and world-weary, private eye Frank Marker is frequently the unwitting stooge in bigger criminal wheels in his attempts to make a tenuous living on the outskirts of London.Cynical, dour and world-weary, private eye Frank Marker is frequently the unwitting stooge in bigger criminal wheels in his attempts to make a tenuous living on the outskirts of London.Cynical, dour and world-weary, private eye Frank Marker is frequently the unwitting stooge in bigger criminal wheels in his attempts to make a tenuous living on the outskirts of London.
- Nominated for 1 BAFTA Award
- 1 nomination total
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Public Eye was a fine series and deserves a place in the British TV Hall of Fame. Luckily, it's available on DVD, and the British channel Talking Pictures TV shows it regularly.
It was part of Alfred Burke's brilliance in the part that Frank Marker was a character with no real character traits. We knew nothing about his background, a mystery which was never solved for us by the writers. Originally, the character of Marker was going to be a tough, Lee Marvin figure, but casting Burke was an inspired move on the part of the producers. With his lined, seen-it-all face and his sensitive, laconic manner, Burke rooted the concept firmly in reality. Marker dealt with the dark, petty underbelly of the world, and was only ever a few pounds short of bankruptcy. It seemed only natural that one day he would be arrested (framed for handling stolen goods) and go to prison (ending the original ABC TV series). When he emerged some time later (Thames TV taking over production), Marker has quit Birmingham for seedy Brighton for a masterly 1969 series entirely penned by Roger Marshall. Here, Marker is dealing as much with the repercussions of his own lonely, solitary character as he is with the shadow of prison. Later (with the advent of colour TV), the character moved from there to the more upmarket locale of Windsor, where for a time he became partners with the sharp, ambitious alpha-male Ron Gash.
Marker always eschewed the term "detective" in his dealings with clients, preferring the term that real British private eyes use, "enquiry agent"; at a stroke, this narrative move cut Public Eye off from all other detective series and encouraged a more downbeat approach. In this, it followed its source: Anthony Marriott was a real-life enquiry agent whose techniques and experiences were the basis of the show. A movie made from the material might have been a British classic.
One other point: the haunting bluesy theme for some reason is rarely mentioned, was never released on record, and is not credited on IMDb.com. It is by veteran TV bandleader Bob Sharples (under the pseudonym Robert Earley).
It was part of Alfred Burke's brilliance in the part that Frank Marker was a character with no real character traits. We knew nothing about his background, a mystery which was never solved for us by the writers. Originally, the character of Marker was going to be a tough, Lee Marvin figure, but casting Burke was an inspired move on the part of the producers. With his lined, seen-it-all face and his sensitive, laconic manner, Burke rooted the concept firmly in reality. Marker dealt with the dark, petty underbelly of the world, and was only ever a few pounds short of bankruptcy. It seemed only natural that one day he would be arrested (framed for handling stolen goods) and go to prison (ending the original ABC TV series). When he emerged some time later (Thames TV taking over production), Marker has quit Birmingham for seedy Brighton for a masterly 1969 series entirely penned by Roger Marshall. Here, Marker is dealing as much with the repercussions of his own lonely, solitary character as he is with the shadow of prison. Later (with the advent of colour TV), the character moved from there to the more upmarket locale of Windsor, where for a time he became partners with the sharp, ambitious alpha-male Ron Gash.
Marker always eschewed the term "detective" in his dealings with clients, preferring the term that real British private eyes use, "enquiry agent"; at a stroke, this narrative move cut Public Eye off from all other detective series and encouraged a more downbeat approach. In this, it followed its source: Anthony Marriott was a real-life enquiry agent whose techniques and experiences were the basis of the show. A movie made from the material might have been a British classic.
One other point: the haunting bluesy theme for some reason is rarely mentioned, was never released on record, and is not credited on IMDb.com. It is by veteran TV bandleader Bob Sharples (under the pseudonym Robert Earley).
Currently enjoying a well deserved rerun on UK tv; how refreshing it is to see a drama that doesn't need to resort to rape, murder, histrionics or sex every five minutes, and contains clear & audible dialogue without any mumbling or constant background music.
Public Eye works brilliantly, despite an often minimal plot, because the writing and acting are first class, certainly a good deal better than anything i've seen of late. Proof that less is more.
I really wish the first 3 seasons of this were available today as the rest are an understated, measured joy, especially season 4.
Really, it is all down to Alfred Burke (well, and Pauline Delaney in season 4) who puts in an understated, measured performance that is a joy to watch. Frankly, at the moment, I can't think of a better low rent police/crime TV star. OK, there are dud episodes. OK, the foils after Pauline Delaney are never as good But Burke just keeps on giving.
I think a lot of credit must go as well to the creators/writers who set a just so mood. Even down to perfectly matched theme music.
Thoroughly deserves t better known than it is.
Really, it is all down to Alfred Burke (well, and Pauline Delaney in season 4) who puts in an understated, measured performance that is a joy to watch. Frankly, at the moment, I can't think of a better low rent police/crime TV star. OK, there are dud episodes. OK, the foils after Pauline Delaney are never as good But Burke just keeps on giving.
I think a lot of credit must go as well to the creators/writers who set a just so mood. Even down to perfectly matched theme music.
Thoroughly deserves t better known than it is.
10mdepre
These series in my opinion are British television at its very finest, centred around a marvellous sustained performance by Alfred Burke which stands comparison with anything to be seen anywhere in film, TV or theatre; and scripts of high intelligence, firmly grounded in the downbeat experiences of everyday English life, yet psychologically profound.
The support acting rises to the occasion too, in all the episodes I have seen - Pauline Delaney's performance in Series 4 for example.
By all accounts the show was widely popular when originally broadcast, and it is a mystery to this viewer why repeat broadcasts are so very seldom seen.
The support acting rises to the occasion too, in all the episodes I have seen - Pauline Delaney's performance in Series 4 for example.
By all accounts the show was widely popular when originally broadcast, and it is a mystery to this viewer why repeat broadcasts are so very seldom seen.
10dmcslack
Alfred Burke deserves to be ranked with Sean Connery, Edward Woodward and Roger Moore for his portrayal of Frank Marker in Public Eye. This was the detective story from the council estate, and at the time in the UK, there were no better writers nor better actors. Burke plays the poor man's private eye, operating in an environment where there is neither money not glamour. He needs his fee to pay the rent and light, but often does not collect anything other than a beating. His cases are not the stuff of Sam Spade, but Marker is the right stuff nonetheless.
I missed the UK Gold reruns, but will not miss them again. If you watch no other '60s specials, watch this.
I missed the UK Gold reruns, but will not miss them again. If you watch no other '60s specials, watch this.
Did you know
- TriviaMost of the ABC Television episodes (seasons one through three) are lost, while the Thames Television episodes survive intact. The only ABC episodes to survive are Nobody Kills Santa Claus (1965), The Morning Wasn't So Hot (1965), Don't Forget You're Mine (1966), Works with Chess, Not with Life (1966), and The Bromsgrove Venus (1968)
- GoofsThe Golden Flower Chinese restaurant is visible through the kitchen window of Frank's Eton High Street office - but as seen in location work for editions such as Come Into the Garden, Rose (1971), the eaterie is actually found two doors down from Marker's premises on the same side of the street. The Thames production team designed the studio backdrop like this as they felt what actually faced the office was visually uninteresting.
- ConnectionsReferenced in Remembering Douglas Camfield (2013)
- How many seasons does Public Eye have?Powered by Alexa
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- Release date
- Country of origin
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- Also known as
- Detective público
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- See more company credits at IMDbPro
- Runtime
- 1h(60 min)
- Color
- Sound mix
- Aspect ratio
- 1.33 : 1
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