So we've had all the analytical angles, but the big question is which is the best Cracker story? Actually such questions are usually derided as being trivial and inappropriate for a piece of work that transcends mere TV. Doctor Who fans are constantly berating each other for labelling stories as "classics". However, this is really the action of people perpetually intent on convincing themselves (and others) that the object of their affection is something meaningful and substantial and therefore above such crude beauty contesting. To them I say : Bring them on! Surely Fitz can withstand a bit of gratuitous Top 10-ing? After all we did it with practically everything at the end of last century.
So, with much vulgarity, here I go:
1. ONE
DAY A LEMMING WILL FLY (series 1)
McGovern's sharpest and most subversive script. I must confess I
did not discover Cracker until the furore over "To Be A Somebody",
however I recall overhearing strangers commenting on the audacity of the
last five minutes of this story. Best of all, this was not some
structural jiggery pokery on the part of McG, instead Cassidy's unconfession
is the logical consequence of Fitz's attempts to unpeel the man's facade. We believe Cassidy immediately because - in retrospect - his actions throughout
the entire story suddenly make absolute sense. Great downbeat ending,
and as a conclusion to the first series - perfect. Also, Beck is
at the absolute height of his powers.
2. MEN SHOULD WEEP (series 2)
A big, dramatic grotesque monster of a story. Floyd's scene with
his victim in part one is unmatched in its starkness by any other primetime
cop show. McGovern's tub thumping a bit here, but the suspense is
built such that you are swept along. Once again, on the streets
and in the pubs we could be heard discussing the possible motivations
behind such violent crimes as we all tried to beat Fitz to an answer. Another series closer and - in truth - the last great Cracker story.
3. THE MAD WOMAN IN THE ATTIC (series 1)
Funnily enough,
the least sensational story was the first one. I urge you to re-watch
it because it is better then you remember. From Coltrane's first
appearance, McGovern is already forging new territory in the primetime
detective genre. Fitz's treatment of his suspect is intense and
believable, we are made to understand that Fitz will do whatever is required
to solve the puzzle.
4. TO SAY I LOVE YOU (series 1)
TV can never "do" youth convincingly, and Cracker is
no different here. Teenage disaffection is always a poor motive,
and the Natural Born Killers premise here weakens Cracker's
second outing. However, Fitz's domestic shenanigans are starting
to make for an entertaining subplot, his reticence to enter a potentially
booby-trapped house is played very realistically, providing a satisfying
conclusion to a slightly shaky central concept.
5. TO BE A SOMEBODY (series 2)
This may have been the story that brought Cracker into the public's
consciousness, and there is much to commend: the bomb scene (rightfully
identified by Observer readers as one of TV's top 100 moments), the stunning
death of Billsborough (always Cracker's most "normal",
heroic character) and the career launching performance of Carlisle. However Albie's socio-political motivation remains befuddled allowing
us on occasion to hear McGovern's voice coming out of Carlisle's mouth.
6. BROTHERLY LOVE (series 3)
The worst McGovern story. Essentially because the case Fitz is investigating
is basically ordinary. This story reminds us that the Cracker
soap-opera back stories only ever work in conjunction with a strong primary
plot. Thus, this is McGovern's most self-indulgent, maudlin story,
with too much Catholic guilt. Yet at times it still crackles with
his trademark wit. The official end of Cracker. Everything
from here on is Free as a Bird.
7. TRUE ROMANCE (series 3)
Perhaps the best of the non McGovern's. If only for the scene between
Mark and Fitz (always Cracker's most believable relationship) in the burger
bar and the series finale (as Fitz leaves Judith at the hospital). A by-numbers plot which thanks to its nature allows Abbott to reveal plot
points to characters in the most arbitrary of ways. Massively obvious
climax. Abbott attempts to imitate McGovern's operatic finales,
but fails to match either "Men Should Weep" or "To Say
I Love You".
8. WHITE GHOST (1996 special)
By this stage our expectations for Cracker were pretty low. Plus, relocating the character (what was the reason behind this?), ensured
that we weren't expecting anything like Cracker. What we
got was a rather run of the mill, albeit competent, crime drama. Suddenly Cracker is A Touch of Evil.
9. THE BIG CRUNCH (series 2)
Following immediately from a story in which the collected ephemera of
the main suspect allows us to gain an insight in to their criminal motivation,
Ted Whitehead attempts the same trick to allow
us into the mind of a cult leader. Already we are working outside
Fitz's normal hunting ground and this foray into the suburbs appears particularly
twee after Albie. Perhaps football just makes for a more believable
religion. Also, Whitehead is unable to engineer a psychological
battle for Fitz to engage in (always an essential part of Cracker). Therefore, a confession - of sorts - is extracted through the simple tactic
of "outing".
10. BEST BOYS (series 3)
Abbott's first attempt at Cracker fails because its success hinges
upon us finding his two protagonists interesting. The central relationship
is never sketched out in sufficient detail to allow us to believe that
this particular killing couple would literally do anything for each other. Sadly, on this occasion we cannot share Fitz's fascination, and this strangely
diminishes even his fictional stature. This is an unforgivable crime. Probably the worst we have seen on Cracker.
