The Suspicions of Mr Whicher on ITV: Muddiness and the telly will never be wholly friends

Kate Summerscale's book is very good indeed, but the drama only half-worked, the truth being complicated, elusive and, ultimately, a little prosaic.

The Suspicions of Mr Whicher
ITV

People like to say that the truth is stranger than fiction and sometimes this is the case. As events unfolded in Cleveland, Ohio recently, you felt such a sickening narrative to be beyond the realm of most crime writers. But mostly, fiction is stranger than truth, or at least less messy, more planned. It doesn’t peter out – it always has an ending – and for this reason it feels a good deal more satisfying. Isn’t this why we read, after all? Fiction, moreover, supplies answers in a way that the so-called truth often doesn’t. Much of what I know about life, especially about human beings, I picked up from novels – for which reason, I’m wary, not to say disdainful, of people who don’t read them.

I was thinking about this as I watched The Suspicions of Mr Whicher (Sunday 12 May, 8pm). The first film that ITV commissioned about this Victorian detective was based on Kate Summerscale’s prizewinning non-fiction book of the same name. The book is very good indeed but the drama only half-worked, the truth being complicated, elusive and, ultimately, a little prosaic. Muddiness and the telly will never be wholly friends. But ITV must have liked not only the ratings for that first film but the character of Mr Whicher, too, for it decided to bring him back. Only this time the mystery he had to solve was made up for him by Neil McKay, the talented writer of the Bafta Award-winning Appropriate Adult.              

I was all set to be scornful. The brazen cheek of it! Get your own Victorian detective, I thought, don’t gussy up someone else’s. But, of course, as television it was much better than the original. It had a proper plot, complete with red herrings and acts of derring-do (also a creepy lunatic asylum, illegitimate children, cursed families and a convent). It wasn’t quite Wilkie Collins but it was on its way. And when it ended, all was suddenly clear. The murk lifted and it was spring. Viewers could go to bed feeling that something had been resolved, unpicked like an old knot, though perhaps I’d better not say whodunnit (or whydunnit), in case this is loitering on your Sky Plus.

Paddy Considine returned as Jack Whicher, now discharged from the police on the grounds of “mental unfitness”. Opposite him was Olivia Colman as Susan Spencer, a genteel woman in search of her missing niece. Having stumbled on Miss Spencer in a tavern, Whicher offered to begin working for her as a “private inquiry agent”. As ever, they were good together, Considine and Colman (he directed her in the film Tyrannosaur). They’re two of the best criers in the business – the tears pour out of Colman like rainwater from a storm drain – and both of them have wonderful period faces: pouchy and oddly touching. The time will come when Colman makes an excellent Queen Victoria. She looks marvellous in jet.

It’s pretty clear that ITV is planning to commission more Whichers. “I think you will,” said a smiling Miss Spencer to our hero when he informed her in the film’s last moments that he wouldn’t be taking on any more cases in future. According to Hat Trick, which made it, the channel sees it “in a tradition of Cracker and Prime Suspect”. But for all that I enjoyed this second outing, they should leave it now. Cracker and Prime Suspect had an originality – a vitality – that Whicher lacks. There’s something ersatz here. Now it’s all made up, it’s as if Inspector Lestrade has leapt from the pages of Sherlock Holmes into his own stories. Writers as good as McKay have their own ideas and should be encouraged to develop them.

Paddy Considine and Olivia Colman in The Suspicions of Mr Whicher. Photograph: ITV.

Rachel Cooke trained as a reporter on The Sunday Times. She is now a writer at The Observer. In the 2006 British Press Awards, she was named Interviewer of the Year.

This article first appeared in the 20 May 2013 issue of the New Statesman, The Dream Ticket

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Don’t worry, Old Etonian Damian Lewis calls claims of privilege in acting “nonsense!”

The actor says over-representation of the privately educated at the top of acting is nothing to worry about – and his many, many privately educated peers agree.

In the last few years, fears have grown over the lack of working class British actors. “People like me wouldn’t have been able to go to college today,” said Dame Julie Walters. “I could because I got a full grant. I don’t know how you get into it now.”

Last year, a report revealed that half of Britain’s most successful actors were privately educated. The Sutton Trust found that 42 per cent of Bafta winners over all time were educated independently. 67 per cent of British winners in the best leading actor, actress and director categories at the Oscars attended fee-paying schools – and just seven per cent of British Oscar winners were state educated.

“That’s a frightening world to live in,” said James McAvoy, “because as soon as you get one tiny pocket of society creating all the arts, or culture starts to become representative not of everybody but of one tiny part. That’s not fair to begin with, but it’s also damaging for society.”

But have no fear! Old Etonian Damian Lewis is here to reassure us. Comfortingly, the privately-educated successful actor sees no problem with the proliferation of privately-educated successful actors. Speaking to the Evening Standard in February, he said that one thing that really makes him angry is “the flaring up recently of this idea that it was unfair that people from private schools were getting acting jobs.” Such concerns are, simply, “a nonsense!”

He elaborated in April, during a Guardian web chat. "As an actor educated at Eton, I'm still always in a minority," he wrote. "What is true and always rewarding about the acting profession is that everyone has a similar story about them being in a minority."

Lewis’s fellow alumni actors include Hugh Laurie, Tom Hiddleston, Eddie Redmayne – a happy coincidence, then, and nothing to do with the fact that Etonians have drama facilities including a designer, carpenter, manager, and wardrobe mistress. It is equally serendipitous that Laurie, Hiddleston and Tom Hollander – all stars of last year’s The Night Manager – attended the same posh prep school, The Dragon School in Oxford, alongside Emma Watson, Jack Davenport, Hugh Dancy, Dom Joly and Jack Whitehall. “Old Dragons (ODs) are absolutely everywhere,” said one former pupil, “and there’s a great sense of ‘looking after our own’." Tom Hollander said the Dragon School, which has a focus on creativity, is the reason for his love of acting, but that’s neither here nor there.

Damian Lewis’s wife, fellow actor Helen McCrory, first studied at her local state school before switching to the independent boarding school Queenswood Girls’ School in Hertfordshire (“I’m just as happy to eat foie gras as a baked potato,” the Telegraph quote her as saying on the subject). But she says she didn’t develop an interest in acting until she moved schools, thanks to her drama teacher, former actor Thane Bettany (father of Paul). Of course, private school has had literally no impact on her career either.

In fact, it could have had an adverse affect – as Benedict Cumberbatch’s old drama teacher at Harrow, Martin Tyrell, has explained: “I feel that [Cumberbatch and co] are being limited [from playing certain parts] by critics and audiences as a result of what their parents did for them at the age of 13. And that seems to me very unfair.”

He added: “I don’t think anyone ever bought an education at Harrow in order for their son to become an actor. Going to a major independent school is of no importance or value or help at all.” That clears that up.

The words of Michael Gambon should also put fears to rest. “The more Old Etonians the better, I think!” he said. “The two or three who are playing at the moment are geniuses, aren’t they? The more geniuses you get, the better. It’s to do with being actors and wanting to do it; it’s nothing to do with where they come from.”

So we should rejoice, and not feel worried when we read a list of privately educated Bafta and Oscar winners as long as this: Chiwetel Ejiofor (Dulwich College), Emilia Clarke (St Edward’s), Carey Mulligan (Woldingham School), Kate Winslet (Redroofs Theatre School), Daniel Day-Lewis (Sevenoaks School, Bedales), Jeremy Irons (Sherborne School), Rosamund Pike (Badminton), Tom Hardy (Reed), Kate Beckinsale (Godolphin and Latymer), Matthew Goode (Exeter), Rebecca Hall (Roedean), Emily Blunt (Hurtwood House) and Dan Stevens (Tonbridge).

Life is a meritocracy, and these guys were simply always the best. I guess the working classes just aren’t as talented.

Anna Leszkiewicz is a pop culture writer at the New Statesman.

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