"Poor loves. Trained to empire. Trained to rule the waves."
The pace is certainly as slow as ever and, in fact, the structure of this series is completely unlike what we’d normally expect even back in ‘79. (Incidentally the offices of the Circus, with all the brown, the grey and the paper files, are a splendid artefact of Seventiesness). After last episode being pretty much an extended flashback, here we get Peter trying to burgle the Circus and ascertaining that the file on Irina has been deliberately ripped out, while George visits Connie and we get an extended flashback showing us all the suspects. That’s it.
Connie, though... she’s a fascinating and multilayered character, and not only by virtue of being a rare female presence in the Circus and, indeed, the episode’s only female speaking part. Sacked as Head of Research for, it seems, getting too close to fingering Polyakov as Karla’s local underling, she’s very bitter behind the sunny surface, and now struggling to find meaning in her life. Beryl Reid is superb but so is Alec Guinness; he says little, but somehow avoids coming across as cold.
We learn, mainly through flashbacks, that Control, and by extension George, always found the “Witchcraft” material a little too convenient, and Alleline’s arrogant pride a little annoying- and Alleline, indeed, comes across like a proper twonk. Then we have the cynical Roy, the enigmatic Bill, the ambitious Toby, suspects all. And it’s all a splendid opportunity to see a bunch of character actors at work.
It’s gripping. And, still, pretty much nothing has happened.
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