Whodunnit . . . and Why?

The 'Who-done-it,' (or should it be spelt whodunnit?) is a format of many a television series, stage play film or radio drama. They seem to be a regular fixture in television schedules. What is it about them that makes them so popular, not only with schedulers and producers, but the general viewing public? Generally speaking, they have a familiar element to them, rather like a soap opera (EastEnders, Coronation Street, Emmerdale come to mind, but also the BBC Radio 4 Soap, The Archers, which, amazingly, celebrates it's 70th anniversary in 2020, making it the world's longest-running drama series.) Usually set it a familiar environment, a village, a closed society or environment, such as a railway train, stuck in a snowstorm or on a cruise liner, or most likely, a country house, usually isolated from the rest of the world, or an island. Then we have a relatively small group, many or even all are suspects in a murder and then the crime is solved by an outsider (usually) who has a knack of resolving the crime and will search for clues and interview all the suspects and eventually, at the climax of the show, reveal who the murderer is.

It amazes me that some of the locations in which these shows are set that nobody thinks it's strange, the number of murders which are committed. Just think of 'Midsummer Murders', which has been running for goodness knows how long, that there is a murder in that area of the country every week. Surely there's more than the average number of homicides than the rest of the United Kingdom? Why doesn't someone look it to such things? And would you choose to live in such a village if you knew that the murder statistics were above average? Would you avoid such a place? The same with the village in which the BBC1 daytime drama, 'Father Brown' is set, the almost cliched Cotswold village of Kembleford or the village in which Agatha Raisin lives in? Likewise, St Mary Mead, where Miss Marple resides? And what always gets me with these shows, how the detective just happens to be around not long after the murder occurs or at least, as soon as the body is discovered. How come whenever Poirot or Miss Marple goes on holiday, or visits a certain place, no soon have they turned up THAN THE MURDER TAKES PLACE and they are called upon to investigate. And often the amateur sleuths get in the way of the police, and usually manage to solve the crime before the professionals, who invariably get the culprit wrong! Their investigations are generally a total disaster and the amateur sleuth makes them look totally inept.

Most 'whodunnits' follow the same format, with usually the scene being set, in most cases in an enclosed environment, such as a country house, village, or as in the case of two of Agatha Christie's novels, a railway train (Murder on The Orient Express) or a cruise line on the River Nile (Death On The Nile), with the detective just coincidentally being around somewhere when the murder is discovered, then the bulk of the novel revolves around the suspects being interviewed and the clues gathered. Usually we have a small cast of characters, who we discover have good reasons to possibly be the murderer and at the end the detective reveals who the murderer is.

Some 'Whodunnits,' aren't about murder. Better to actually call them mysteries, because that is really the basic plot, because there is the secret at the heart of the plot, or mystery, of who did the crime. They can be about theft, such as some of the Sherlock Holmes stories, written by Arthur Conan Doyle, such as The Scandal In Bohemia.

In effect a 'Whodunnit' is a bit like a knot. There's something which has to be unravelled, a mystery (usually, but not always, a murder.) and it can only be unravelled when an investigator/detective, either professional or amateur, can piece together all the evidence and then decide who was responsible. This person, either male or female, tends to stand apart from the group of characters who are suspects, has a very keen mind and is able to see all sides and the come up with an answer so that the murderer can be bought to justice. Quite often the amateur sleuth gets to the result quicker than the professionals, who are often seen as bungling and incompetent and probably come up with entirely the wrong solution and suspect the wrong person as the murderer.

The detective, whether they are professional or amateur, is often portrayed as having flaws or at least appears separate from the world of the suspects in a 'whodunnit.' One can mention, as an example, Sherlock Holmes, more like a computing system, who is high-performing, in that he is a single man, who can identify clues which other people cannot. It is almost as if he is O.C.D.  (Obsessive Compulsive Disorder) or he's at least on the autism spectrum, most likely he has Asperger's. He finds it difficult to make friends (apart from his companion, John Watson.) but he uses his compulsive behaviour to assist in his investigations. Also, he has a drug habit, which, no doubt, also aids (or even hinders) his investigations.

Other detectives, such as Morse, in the Colin Dexter novels (which were made into a highly successful television series which starred John Thaw.) is a divorcee, is grumpy and has a love of classical music and drives around in a Jaguar, have 'fatal flaws,' (or hamarthia,) which helps develop them as characters and explains their nature.

Working on 'Hale and Pace'

In the early 1990s I managed to sign up with an agency in London run by Ray Knight. I had heard that he was taking on new people to go on his books and I wrote to him. Long before email, you had to actually put pen to paper and I enclosed headshots, because if you're going to do walk-on work in television they always need to have recent photographs to go on their books. Nowadays they would be uploaded onto a website. His office was somewhere in north London, and I visited for an interview and I was accepted. As a result I got no end of work, and was doing jobs on such programmes as 'House of Cards' (the original B.B.C. production with Ian Richardson.) and did several days on that, some at the B.B.C. Elstree studios and various locations in and around London. This is described in far more detail in an earlier blog post on here.

Over one weekend I had jobs on two shows for London Weekend Television (LWT). On the Saturday I did work on 'Hale and Pace'. I was to go to a location somewhere in the East End of London. I can't say I remember where it was exactly. Some sketches were filmed in and around the area, but the interiors were done in what looked like a disused office block and they made various rooms within the building to be such places as a dentist's surgery and a sitting room.  I have never ever seen any of the shows when they were originally transmitted back in the early '90's, but having done some research on the internet, particularly I.M.D.B and YouTube, I have at last managed to track the episodes I was in. Hale and Pace had  several continuing characters, particularly Bobby and Billy, who were sort of kids television characters, the sort of characters you'd have in such shows as 'Play School' or 'Play Away' with the two boys dressed in bright coloured bib and braces. In this sketch I was in they were supposed to be policemen and I am a mugger! I must say it's odd seeing it now, some 25 years later! It's all in series 3 of the Hale and Pace show, which was originally broadcast on a Sunday at 10 p.m. and some of the material is what you would call adult, although probably considered somewhat tame by today's standards. I was a man living in a box, a sort of tramp or something. To this day I have no idea what that sketch was about. I hope I manage to find it in one of the episodes on YouTube. Another I was supposed to be a patient in a dentist's surgery and one of the boys sat on my legs on the dentist's chair. I'm not sure whether it was Hale or Pace and I can't remember what else happened in that sketch. They were done in such quick succession, there was very little time in between set-ups and they didn't do a lot of takes. I do remember that one of the production crew, a cameraman or lighting assistant, I'm not sure which, took a liking for the pins I wore on the hat I was wearing. I used to collect pin badges, the sort which are metal enamel with a separate pin which you put inside your clothes and the pin sticks through the fabric and the other main part pins to it. Well, he was determined he was going to have them all, but I insisted they weren't for sale or even barter. Strange what you remember and it wasn't clear whether he was being serious or merely trying to annoy me. Some people are difficult to decipher.

On the Sunday I went back into central London.  I was working on location at Smithfield Market and St Bart's Hospital on an episode of 'Poirot,' the episode which was done for the centenary of the publication of the first Poirot story by Agatha Christie,' The Mysterious Affair at Style's.' It was an extremely hot day I seem to remember, but we were dressed in extremely thick and heavy Edwardian suits and there was no way you could keep cool on the set. It was so warm the tarmac on the road we were working on began to melt in the heat. It was the opening sequence, done with the titles. They used a crane to do a wide shot. As it was a Sunday it meant they could close the streets to traffic. We were supposed to be the walking wounded, back from 'The Front' in France. Some people had plaster casts on their legs and were wheeled in wheel chairs, others had their arms in bandages and I think I had my head bandaged. We were walking in through the entrance to St Bart's Hospital. They did no end of takes, and we had to go back to original positions several times for fresh takes. There was a particularly bossy unit manager (or production assistant or assistant director, I'm not sure which he was.) who kept hasstleing us to get it right. On another set-up they had traffic in the street, all vintage vehicles, cars, busses and bicycles. I was supposed to be on a bicycle, but at the last minute I was taken out from the scene. Perhaps because I was going to be used as walking wounded as it would be odd to have me in two places more or less at once, one minute on a bicycle and able-bodied and the next as a wounded soldier. I don't in all honesty think it would have mattered because you are usually in the background in a scene, although  there is always somebody who will point such things out.