Liverpool Sound and Vision Rating * * *

Cast: Roger Allam, Nancy Carroll, Keala Settle, Patricia Hodge, Kirsty Bushell, Geff Francis, Samuel Barnett, Ashley Russell, Janet Amsden, Jonathan Aris, Christophe R. Tek, Jeremy Clyde, Damola Adelaja, Scott Chambers, Paul Bazely, Holi Dempsey, Benedict Clarke, Alex Felton, Cara Horgan, Shadrach Agozino, Yasmin Taheri, Crispin Redman, Jasmine Hyde, Robbie Gee, Thomas Vernal, Sara Powell, Leila Mimmack, Flora Montgomery, Melanie Gutteridge, Nico Rao Pimparé, John Light, Richard Sargent, Ben Jones, Mark Adams, Louise Delamere, Lizzy McInnerny, Oliver Alvin-Wilson, Max Gold, Liran Nathan, Rachel Mariam, Asheq Akhtar.

The armchair detective has their favourites, and those favourites have their own personalities and foibles, from Sherlock’s almost single minded pursuit for the restoration of justice and perhaps arguably in modern terms a leaning on the autistic spectrum, Poirot’s insistence of order outside of the case, his pomposity even for the neat and tidy, Alex Cross’ softly spoken psychology, or even Modesty Blaize’s past where she was on the wrong side of the law, every detective has their eccentricity and imperfections

It is the aspect of the detective we must find in which to identify with, that which separates the two sides of the law, for else we immerse ourselves in the palms and embrace of the charm provided by the criminal.

For Antoine Verlaque, the issue comes from not having anything that can be perceived as a weakness, he is unflawed and honourable as they come, just without the sense of the Achilles heel that would endear him to the public, and one if held in any other hand than that of the ever concise and polished Roger Allam, would be hard on the viewer to find any sympathy for; even if he is on the side of the angels, and possibly brushes their wings down with frequent care.

It is to the decency of the actor, the sumptuous setting of Southwestern France, the sense of the idyllic, and a cast that includes the dominating figure of the superb Keala Settle, the grace and biting wit of Patricia Hodge, and the steady of hand and reassuring hand of Nancy Carroll that three tales that make up the first season are as interesting as they are, despite the lack of realism of the criminal act underpinning the action.

It could be argued that the charm of the setting, the peaceful calm and serene approach is a disadvantage, that aside from Bergerac, British viewers find the tranquil unruffled look an uncertainty, the lack of darkness, the edge of the gruff exterior and the shortage of history of the area except for its grape and wine industry a disservice that does not suit the image of crime having its own adversary.

Murder In Provence is nice, a summer’s evening repast without finding a splinter in the bone of life; it is that niceness that unfortunately would mean it would find it difficult to ever be taken too seriously by the armchair detective.Ian D. Hall