Liverpool Sound and Vision Rating 9/10
Cast: John Simm, Craig Parkinson, James D’Arcy, Zoë Tapper, Richie Campbell, Laura Elphinstone, Brad Morrison, Rakie Ayola, Dave Lynn, Katie Clarkson-Hill, Caolina Valdés, Margot Leicester, Michael Bertenshaw, Jake Fairbrother, Alexander Cobb, Clare Calbraith, Steven Hartley, Elizabeth Rider, Brian Pettifer, Amy Conachan, Nick Warnford.
The long con is an art most can only sit back and admire. The execution, the staying power, the sheer audacity of the plan, and as long no one is killed, or even physically hurt by the operator of the grand scheme, then we sit crowded wound our televisions cheering them on; for the belief that someone has bucked the system, that the underdog has pulled off, if not the crime of the century, then at least the fruitful felony of the decade, is to witness them stride in glory and away from Dead Man’s Footsteps.
Whilst Grace fits in neatly within the boundaries of police deduction and crime beloved by all armchair detectives, its acceptance in screen of other forces, the world unseen by many, the psychic, the clairvoyant, the medium divining for truth and vague recommendations, that is the essence of covering all corners available as the ever-daunting job of prevailing justice is seen through the Brighton-based policeman’s eyes.
Mystery meets intuitiveness in Dead Man’s Footsteps, and it is with the benefit of Katy Clarkson-Hill as the shadowy but enigmatic Abby Morton that captures the art of the con, and one that is fought for with the very best of intentions.
The world of philately has always been one that carries the art of the con with high regard, why rob a bank and have the trouble of disposing of gold and jewels taken from the secure box, when stamps have prestige, they show a keenness for detail, the knowledge and luxury of more than mere trinkets…why steal that which is coveted, when you can appropriate that which is advantageous.
DSI Roy Grace, played with charm and poise by the graciously understated John Simm, is given his moment of released anger when finally, the deep underscoring of professional hatred rears its ugly head in the form of DSI Cassian Pewe arrives from London and digs into Grace’s own personal hell. It is in the seething rage that wonderfully does not descend into anything as absurd as fist fights in the station canteen, that John Simm truly captures the fear, the shadow of his character’s essence, and his need to believe in the unorthodox approach.
Dead Man’s Footsteps is written with great calm assurance by the adaptor Russell Lewis, a long con superbly played out for television set against the backdrop of murder and professional resentment; entertaining and thoughtful drama wrapped up in a well thought out episode.
Ian D. Hall