The Field of Blood

I read the Denise Mina source novel a couple of years ago and was pleased that this adaptation seemed to stay true to its good source. As a Glaswegian, myself, I always get a kick out of spotting known locations, especially as I'm an Eastender where much of the location work was done.

The story here of course recalls the awful Jamie Bulger case, although being set in the early 80's it actually predates that horrific crime, the association can't help but provoke a certain amount of discomfort (almost certainly evincing the prominent "Any similarity..." legend over the end titles) but there is a good deal more to the narrative than this, with a related almost identical murder some 10 years previously and a good twist at the end as the true murderer is revealed.

The back stories centre on young, ambitious Catholic copy-girl Paddy Meehan trying to get on in the male-dominated newspaper world and her relationship to her strictly R.C. family, rightly dispensing with the original book's insertion of the dichotomy between this Paddy Meehan and the famous miscarriage of justice victim of the same name from years ago (although the original Paddy Meehan was a male). That said, viewers unfamiliar with the real-life Paddy Meehan story might scratch their heads over these references at all and to be truthful adds nothing to this dramatisation. I also wasn't taken with the mother-daughter relationship conveyed between Paddy and her strictly Irish mother, even as I appreciate it too was in the original writing.

The acting was mostly good, Jayd Johnson making a good central character, although she could have done, I think with being fatter and less attractive as befits her description in the book, the better support acting coming from those south of the border (David Morrissey & an almost unrecognisable Jonas "Robin Hood" Armstrong). It was however strange and off-putting for me at any case to see well known Scottish comedy actors from the likes of "Still Game" in prominent roles which lessened realism for me, Ford Kiernan in particular seeming both miscast and out of his depth. Outshining them all though was Peter Capaldi as the newspaper's doomed, veteran reporter, Dr Pete, declaiming Dylan Thomas' and dying where many a Glaswegian would like to, in a pub, with whom Meehan strikes up a mutual respect and the paternal relationship lacking in her own life.

The depiction of Thatcher-era Glasgow was well done, from fashion to language with a decent post punk soundtrack (Gang of Four, Elvis Costello etc) to boot. There are one or two scenes of extreme violence, although thankfully none involving minors. More of Mina's mordant humour could perhaps have been employed but on the whole this was an above-average production which will hopefully beget more adaptations of this writer's work.

The second series of The Field of Blood returns to Glasgow and again blends politics, intrigue and the changing newspaper industry.

Once again we follow novice female reporter Paddy Meehan as she tries to make a career for herself. She is working the night shift on the call car with a tough reporter and she is soon following up a murder mystery.

The main backdrop is the Miners strike and the dirty tricks campaign against it.

However, we are also looking at new, tougher executives entering the newspaper industry, less principled and happy to do the dirty work for the government in a propaganda war.

There is no doubt the story takes place with the benefit of hindsight. With or without media help, the Miners strike was very unpopular in some quarters and most media outlets were very happy to be negative against the Miners Union with very little persuasion.

There is an element of looking back with rose tinted spectacles. It is a decent enough second series, we see Paddy's ongoing difficult relationship with her parents but nothing too special.

Arghhh! I only just discovered this by trawling through BBC Scotland and was intrigued as I love crime drama. This was absolutely brilliant over four episodes and finishes to give us ample plot lines to continue. Why oh why oh why do we have no more as relationships are just building? The main characters are superbly profiled and the tension and subversive battles during the miners strike of the 80's and beyond is brilliantly portrayed. Shock of the new overlaps with the old tradition and like two juggernauts collide. It's fantastic stuff but so, so brief. I suppose the argument could be that it's fitting as it exploded with so much verve and power that it needed no more. I'd not read any of the books this is based on but will search them out as I'm completely hooked. Just sorry this was all done on TV eight years ago and I missed it. Well done to all involved and to BBC Scotland for reshooting. Pure class!

In the first series (2 episodes), as an entertainment I found the offensive language and misogynous attitude towards the lead character gratuitous and unnecessary.

Realising the error of their ways there was a complete change in David Morrisey's character for the second series of 2, but the damage was done.

Overall it was largely uninteresting and the female lead's character wish of being a proper journalist, not like "them" in in the press room (the males, that is), did not come to fruition as she was as bad as them in the end. Nothing gets in the way of a story and the lengths one will go to to get it.

This millennium has seen a big blooming of solid (mini-)series, often at the expense of films focusing on topics and audiences not to my taste any more. New angles and approaches have been developed or deepened, and distinct performers employed. Being a vast country with numerous distinct folks and regions, the UK has an endless potential to "fit in" crimes into dozens of places where local and tourists can have their joy of recognition.

The Field of Blooda takes us into the 1980ies Glasgow, when the biggest technical facilitators for both the police and journalism were pagers and then unconnected PCs... On the other hand, you could smoke and drink almost everywhere and a lot :) The crimes were still severe, and journalists have always had to "be creative" for obtaining information, but the world in those days was rather reserved than open.

Apparently the atmosphere is well created and the characters realistic, but the leading performance (Jayd Johnson as Paddy Meehan) fell down on two smaller performances - David Morrissey as Murray Devlin and Peter Capaldi as Dr. Pete Walker, particularly in dialogues. Thus "only" 7 points from me, as I have recently seen UK crime series more versatile and interesting, e.g. Shetland, What Remains, Luther, and others.