Liverpool Sound and Vision Rating 8.5/10
Cast: Shaun Evans, Roger Allam, Sean Rigby, Anton Lesser, Dakota Blue Richards, Lewis Peek, James Bradshaw, Abigail Thaw, Sara Vickers, Caroline O’ Neil, Jack Bannon, Lee Armstrong, Greg Austin, Dominic Carter, Steven Elder, Claire Ganaye, Caroline GoodaLL, Marcus Griffiths, Leo Hatton, Sam Marks, Ian Pirie, Robert Portal, Jules Robertson, Rebecca Saire, William Scott-Masson, Ray Sesay, Bert Seymour, Dominic Thorburn.
The British, it could be argued, have always been split when it comes to the idea of progression, of inclusion, of sharing the land or hearing the voices of those they deem not part of the so called established fabric of the islands. A them and us situation runs deep, one that thankfully in many quarters has been slowly eradicated, erased away, and yet the persistent voice still sings, like Mosley or one of his vile brigade, the echo of the past still haunts the present and the hope of being united in Colours of all shapes, shades and sizes.
If we look at today’s world and feel alienated by the certain vocal dogma, the absurdity of saying the country is too full, then we are once again caught in what seems a verbal loop, one repeated with a seemingly disgraceful ferocity; it is a stance that is highlighted by one of the characters in the Endeavour episode of Colours which leaves a severe taste in the mouth, a relishing of recalling when someone could just click their fingers and another person would lose their life.
It is a throwback in attitude to which still seems strange to consider, but when shops up and down the country, when bed and breakfast houses, had in their window signs that today would be illegal, then it is a wonder that full scale rebellion, revolution, didn’t take place in the late sixties and early 70s when the people realised the dream of freedom promised was not going to materialise.
The social upheaval of the period has been incredibly well presented, what makes it shocking perhaps is that in idealistic Oxford, the dreaming spires of old have been seen as a breeding ground for change that doesn’t fit with the radical ideals of the student led body. When a model’s dead body is found on an army base, that sense of confrontation between the establishment and society, of rules and freedom is on course for a tense and possible war footing.
Colours mixes with great care the twin threats to the society of the time, mergers and amalgamations and the bile of the extreme in your face racism and it is one that has been handled with the usual sensitivity that is becoming of the stature of the programme. It is also one that is unafraid to hold the mirror up to the ability of the police to look after their own when the chips are down; a concept that perhaps is at odds with how moral law makers ask the public to behave in the same circumstances.
A gritty series in which the after effects of modern day policing are still being felt, one that has been darker in presentation than the previous series but one that has benefitted greatly; Endeavour has really come of age in this latest set of dramatic story-lines.
Ian D. Hall