Dick Barton - Special Agent: The Complete Series [DVD]

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Barton’s enemies have more latitude in their behaviour, but they may not indulge in actually giving an injury or punishment which is basically sadistic. Barton never commits an offence in the criminal code, no matter how desirable the means may be argued to justify the end. No! No! No!" screams Snowy. "Don't! It's from the War Office. Have you forgotten? You're a Z-reservist. They're calling you up" To be honest its not perfect, the film can be a tad static and stiff when things aren't in motion, however its never long before some is getting shot at or chased, so the flaws are really minor annoyances and quibbles. Twelve days after the launch, the first review appeared in the Communist Daily Worker: ‘It is so bad as to be almost beyond belief.’ It branded Barton a ‘crypto-fascist’.

Barton and his friends do not wittingly involve innocent members of the public in situations which would cause them to be distressed. For example, a motor car cannot be requisitioned for the purpose of chasing bandits, without the owner’s permission. Swearing and bad language generally may not be used by any character. This ban ranges from ‘bloody’ through ‘God,’ ‘damn’, and ‘hell’ to ugly expressions currently heard in certain conversations but not considered admissible for child usage in middle-class homes. Like the original, it ran in 15-minute segments and was again accompanied by the familiar theme tune, the titles playing against an animated dagger and target motif. The production was blighted by financial troubles, though, and some critics said it was a mistake to try to resurrect the character. In January 1948 the BBC bowed to pressure and published a code of conduct which the characters had to abide by. Fearless, dependable Barton, demobbed after six years in the army, found civilian life a touch too mundane for his liking. So, when he received a call from an old friend, Sir Richard Marley (John Gantrel), asking him to find his missing son and daughter, he willingly dashed once more into the fray.

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Horrific effects in general must be closely watched. Supernatural or pseudo-supernatural sequences are to be avoided – ghosts, night-prowling, gorillas or vampires. (Ed: What’s wrong with gorillas?) Originally running on the BBC Light Programme between 1946 and 1951, few of the BBC’s original recordings still survive. However, in 1949 a number of early Barton tales were re-recorded for transmission overseas starring Douglas Kelly. This collection contains 12 of the most recognisable dramas, as well as live performances, a profile of the character and interviews with the stars. This was a bit rich since Gielgud was a prolific writer of detective novels and thrillers, including one called Death at Broadcasting House featuring a murder.

The nanny state killed the show off after five years in the belief that it was damaging to the dear young children. By this time, however, the show was a nationwide phenomenon, spawning a behind-the-scenes book, another volume of short stories and three films from Hammer Studios (at the time, best known for making thrillers, not horrors). The BBC then replaced it with a rustic drama named The Archers, the theme tune of which must have made every red-blooded adventurer used to Barton's buccaneering wish for another war. The radio serial was abruptly ended in 1951 amid rumours that the BBC’s hierarchy thought it a bad influence on the nation’s youth. Political themes are unpopular as well as being occasionally embarrassing. The man-who-wants-to-control-the-Earth creates little impact and is best left out of the Barton world.

Broadcasts

Barton has now given up drink altogether. No reference should be made to its existence in the Barton circle. The villains may drink but never to excess. Drunken scenes are barred. Within a month the BBC was receiving 200 fan letters a week. Within six months it was 2,000. At its peak, the programme averaged 15million listeners per episode. It was meant for an adult audience, and the unworldly BBC executives were taken by surprise when it caught on with children. In those days children played outside but at 6.44pm every weekday the streets would empty, filling up again at 7.01 as young listeners met to discuss the latest episode. This popularity caused problems. In a later interview Johnson commented: ‘Barton was a proper character at first. He drank, he smoked and had a girlfriend. As soon as the producers cottoned on to the fact we had a youth audience, they felt they had to become moral guardians.’ And in this 1948 interview he makes the point that Barton is not a crook – he always beats the crook: ‘He should be an inspiration.’ (This clip is third in a short compilation and follows a priceless ‘interview’ with Field Marshal Montgomery.)

Barton and his friends do not wittingly involve innocent members of the public in situations that would cause them to be distressed.Heralded by an iconic signature tune - Devil's Galop by Charles Williams - each gripping episode left listeners with a torrid cliff-hanger. The programme also reveals Barton's various reincarnations on film, television and most recently a stage musical.

Adventure One written by Clive Exton, in ten parts. Demobbed after six years in the army, old friend Sir Richard Marley asks Barton to look into the disappearance of his daughter Virginia ( Fiona Fullerton) and son Rex (Kevan Sheehan). They come up against master criminal, Melganik played by John G. Heller. Unfortunately, this twice-weekly 15-minute serial from Southern Television failed to capture the public’s imagination in the same way as the original radio series.Barton’s enemies have more latitude in their behaviour but they may not indulge in actually giving any injury or punishment that is basically sadistic. Nevertheless, Norman Collins had to admit that even he had underestimated the series’ appeal and the audience that would follow it. The BBC never had a young audience in mind, but Collins was philosophical about it and said, ‘that is what we’ve got and we must act accordingly.’ With this in mind, on 27 August 1947, Collins circulated a twelve-point code of conduct for writers of the series. The BBC made a pretty faithful revival of the first series for its 1972 Golden Jubilee in which many of the original cast, including Johnson, Mann and McCrindle, reprised their roles. You can hear it here.)