Public Eye

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.

They don't come any better than "Public Eye." It is one of the more realistic kinds of British television with a leading character who most viewers were rooting for. The series made the name of Alfred Burke, who easily made the character of Private Inquiry Agent Frank Marker his own. The tone and the style of the series never changed in the 10 years it was broadcast and that was the correct decision. It is a bit difficult in reviewing the episodes of "Public Eye" that were made from 1965 to 1968 as most of them are missing from the archives. Only about 4 exist. However, the episodes made from 1969 to 1975 all exist in their entirety. Amen to that! The very best of this series, are the episodes from 1969 til 1973. We are treated to some vintage television drama, the writing and the acting being of a high calibre. Frank Marker invariably finds himself on the receiving end of some decidedly dishonest and unlawful people in his line of work. It can be put down to an occupational hazard of a sort as he encounters dishonesty and corruption in almost of all his cases. There are times when Marker fails to be even paid for his troubles when his client is revealed to be less than genuine in many ways. It is a rather harsh and uncompromising world that he inhibits and this is magnified in that most of the police look down upon Marker. The moment he stumbles upon a case which perhaps includes something serious like murder or extortion, the police soon make themselves known to him. Frank Marker was based in different areas across England. To begin with, he set up a practice in Birmingham. Then after being sent to prison for something he hadn't done, he relocated to Brighton. The 1969 series covered his time there. For the 1971 series, Marker moved to Windsor. You would think that being based in such a prosperous area would mean he could make a respectable living. Not so as he is still struggling to make ends meet, financially speaking. For the rest of the series, he operated in the Surrey area. Alfred Burke is certainly playing the character as being downtrodden and someone who is usually lead up the proverbial garden path. For all of this, Marker still manages to maintain his own self-respect, honesty and integrity. Even so, he is quite a guarded person when it comes to trusting anyone and with good reason. The viewers never dispute why he doesn't take many people into his confidence. A rare exception to the rule was when Marker was living at the guest house in Brighton. His landlady was someone decent and honest but someone he could talk to. During the 1971 series, he befriended a local police officer. This character actually tolerated Marker more than most of his colleagues. This is a landmark television series, the kind of quality that is a thing of the past.

This is a quite exceptional, but sadly neglected, British series. There have been many detective series, most located squarely in a world of glamour or serious crime. "Public Eye" was exceptional in breaking this cliche. The programme centred upon private enquiry agent Frank Marker. Marker was a middle-aged man,of modest appearance, operating out of the most modest of offices. His cases were undertaken for minimal fees and usually centred upon mundane matters - missing persons, character checks, divorce, chasing debts. If crime was involved it was usually of a petty, often seedy, nature - no high-profile murder enquiries. The mundane nature of the investigations and the settings might make one think that this would be a very prosaic affair. Quite the opposite. It was refreshing to see stories set in the real world, with realistic people facing realistic problems. Superb acting, characterisation and clever story-telling made this a marvellously engaging series. The best example of this was the role of Marker, brilliantly played by Alfred Burke.

Marker was a thoroughly decent man, struggling to earn a crust, regularly disillusioned by the tales of misery, dirt and deception he engaged in. Like many detectives he was a loner but not in the confrontational sense of many others. He did not allow closeness, but was not aggressive. He was sharp and socially skilled but did not have unblemished success. He could make mistakes. The best example of this was in "The Man Who Said Sorry". In this extraordinary episode, which is almost entirely a two-hander, Marker has a frustrating dialogue with a man (Paul Rogers) who threatens both suicide and the murder of his estranged sons. The man, dogged by self-pity and indecision, does not convince Marker who gives him little sympathy. Later Marker has doubts and hears the sirens that confirm his error - the man has thrown himself under a train. Unlike many other detectives Marker is sometimes the victim, including taking a terrible beating from some gangsters in "Nobody Wants To Know". His painful, self-pitying recovery is superbly documented. Despite this he doesn't shirk a case. The show ended in 1975. As a video series it is unlikely to be repeated, certainly on terrestrial television. However it won new admirers when broadcast on "UK Gold" some years ago and just possibly it may return again.

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.

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).