The Cater Street Hangman

Ah, British period piece murder mysteries. ITV or BBC, the station hardly matters, for such fare bears a common look and feel from one to the next. The production design, art direction, costume design, and hair and makeup work are all splendid in summoning forth the Victorian setting. The direction, cinematography, lighting, and effects likewise all carry similar airs about them, and similar high quality. In that same spirit, we're also given information on characters' backgrounds, relationships, and social and business dealings that feel superfluous to the central plot, as though the film were intended to be a part of a series that would feature the same characters over time. (In fairness, this was adapted from the first of a series of novels, so there we are.) To this add a considerable demonstration of antiquated values and norms that are deeply unseemly as they further cement the period and present as major themes: sexism coursing through every level of culture; haughty upper class boorishness, including refusal to aid investigations of murder; rampant patriarchy, relegating women to direly low positions all around; tawdry gawking and othering at the notion that some people might not be Christians, and specifically the pretentious "tea and moral smugness" variety thereof. Yes, before we even consider the particular narrative on hand, 'The Cater Street Hangman' is as broadly recognizable as any such genre piece could be.

Once we get past these facets (and subjective hurdles), there's much to appreciate here. The story is engrossing and compelling as the mystery grows and in one way or another envelops all the characters we're introduced to. The scene writing is increasingly fraught with delicious tension as thick as London fog, not least as Charlotte is the only character who's specifically likable and sympathetic for quite a bit of the runtime. To that point, though I think we're given more information about the characters than is truly necessary (padding out the length, one might say), as written they are all defined by substantial, varied personality and complications, enriching the tale all the more. I also quite admire the dialogue - no doubt present in Anne Perry's novel, screenwriter T. R. Bowen weaves together words of a grandness and grace that lets them all roll off the tongue with pleasant mellifluousness. (Some lines are especially choice, such as a barbed retort in a charged conversation with the vicar.) And to the credit of the cast, they embrace all these complexities with a natural ease portending their skill as actors. Of course Keeley Hawes stands out most, given the prominence and determined, stubborn temperament of Charlotte, with Eoin McCarthy a close second as investigator Thomas Pitt. Yet all others present are just as exemplary in bringing their roles to life, not least those that are so seedy there's no possibility of liking them.

I'm a bit divided on the ending, for the identity and reveal of the killer is written well, I think; on the other hand, the suddenness with which Pitt pieces together that identity and has his realization is rather oversimplified and inelegant. Still, for that climax and ending to be win-lose is better than many other mysteries have achieved, so I can't entirely hold it against this instance. When all is said and done I must say I rather like 'The Cater Street Hangman.' It falls short of perfect, in my opinion, yet while it starts kind of slow and catches our attention in curious ways, there's much sharper intelligence here than I was first inclined to assume. All that which first makes an impression turns out to be the right elements, attracting our eye in the wrong way - and maybe deliberately so, a sort of movie-making red herring to further distract us as the mystery swirls about. In any event, it's a strong production, a good cast, and the writing is really excellent, all told. I'm pleased to have stumbled onto this, and for it to have so successfully won me over. Viewers who aren't inclined to enjoy British murder mysteries won't find anything here to change their minds, but if you're open to the style, at length 'The Cater Street Hangman' is an absorbing, satisfying film that's well deserving of one's time if you have the chance to watch.

While liberties were taken with the original story by Anne Perry, the Cater Street Hangman was very true to the overall feeling of the novel. Eoin McCarthy did an outstanding job as Inspector Pitt - very believable. Keeley Hawes also did wonderful work as the much-oppressed, liberal-minded woman of Victorian times. I wasn't interested in Anne Perry's work until after I had watched this movie, and I hope to see more adaptations of this series in the near future.

Produced by June Wyndham-Davies, who also made the Jeremy Brett Sherlock Holmes series. This adaptation of the Anne Perry novels was titled as The Inspector Pitt Mysteries.

Heavily suggesting that it would form a part of a series. Only The Cater Street Hangman is a one off film.

With the recent deaths of several young women in Victorian London. Inspector Thomas Pitt (Eoin McCarthy) is under intense pressure to solve the murders.

He gets assistance from the feisty Charlotte Ellison (Keeley Hawes) who always seems to be defying her stern aristocratic and well connected father.

Suspects include her father who seems to have secrets to hide. As well as Reverend Prebble with his overzealous sermons.

Very atmospheric but I found it rather plodding. Some two dimensional shouty characters. I doubt Charlotte would had been constantly allowed to go out unaccompanied at night with a killer on the loose.

I enjoyed this movie. I thought it was very well done and I cannot wait to see more shows. The acting was great. Mr McCarthy and Ms Hawes did an excellent job of bring the lead characters to life.

While the Victorian social and moral notions are roasted as thoroughly as a movie can without losing sight of the murder mystery plot, I especially welcome the degree of detailed accuracy enforced in the wardrobe, the accessories and hair. The stiffness of the fabrics, the bustles, the cropped fringes and the minimal makeup reinforced the feel and look of the rising middle classes in 1880s Victorian London. Kudos to the staff and departments ruling those decisions. Thankfully that very realism makes this production very tricky to date so little of the movie's contemporary make-up and hair styling filtered through.That is too rare these days...that I had to look the date up.