I’m always on the lookout for good mysteries on film, so I decided to try my library’s copy of “The Mrs. Bradley Mysteries,” even though it was on VHS. Luckily I still have a VCR that works!

Diana Rigg stars as Mrs. Adela Bradley, a 1920s divorcee whose risque humor and amazing hats do not detract from her ability as a psychoanalyst and sleuth. She’s accompanied by her chauffeur, George, who seems to get into the most awkward situations much to the delight of Adela — and us (in the first one, he poses nude for an all-female art class in order to give Adela more time to search a room). The series is based on a book series by Gladys Mitchell; I’d never read them or even heard of them, so I really can’t compare except to say that one of my Twitter friends believes the TV Adela is too wealthy and glamorous. Not surprising for television!

I watched “Death at the Opera,” which takes place at the finishing school Mrs. Bradley once attended, and “The Rising of the Moon,” in which a traveling circus comes to a small town, bringing murder with it. In both of these episodes, Mrs. Bradley was an outsider who comes into a closed community and manages to solve the mystery by observing people, sneaking around where she shouldn’t be, and getting witnesses to tell her more than they really want to say.

I liked but didn’t love the series, and according to Wikipedia there are only a couple of other episodes, so I probably won’t bother to track them down. However, if you like Diana Rigg, ’20s fashion or BBC mysteries, give it a try. Preferably not on VHS.

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Although watching Harriet Vane and Lord Peter Wimsey in “Gaudy Night” didn’t prod me to start reading for the Vintage Mystery Reading Challenge, it did convince me to watch another episode of the BBC’s Dorothy Sayers Mysteries.

In “Have His Carcase” (1987) (and if you speak American English by “carcase” they mean “carcass”), Harriet has gone to the ocean to regroup following her acquital in a murder trial. She settles down on the beach to begin working on her next mystery novel, drifts off to sleep, and wakes up as the tide begins to come in. The carcase/carcass in question is lying on Flatiron Rock, and when Harriet tries to get him to move before the tide cuts him off from dry land, she instead gets an unwelcome view of his slashed throat.

Knowing that she’d be under suspicion, given her recent acquital, Harriet immediately alerts the London press — and the crime editor immediately calls Lord Peter Wimsey, who heads to the beach to help Harriet solve the mystery, which everyone else seems to insist was a suicide. Harriet and Peter squabble about his intermittant marriage proposals, but they have such fun solving the mystery together that the tension isn’t too awkward.

As in “Gaudy Night,” Edward Petherbridge and Harriet Walter strike all the right notes as Lord Peter and Harriet Vane, and I do recommend this series if you like watching as well as reading your mysteries.

And — good news! — this one did prod me to read Sayers’ Murder Must Advertise. Review coming soon.

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I promised I’d be reviewing an episode of “Midsomer Murders” after I found out the series was based on Caroline Graham’s enchanting Inspector Barnaby series. So I checked out “Dance with the Dead” (from Series 10) from the local library and found it to be… well, boring. The scene is an abandoned World War II airfield, where an elderly woman still awaits the return of her brother, and where a young man apparently commits suicide. Inspector Barnaby figures out that it’s murder, not suicide, and searches for the guy’s missing girlfriend. To be honest, I didn’t really care who did it or why.

I thought maybe I wasn’t engaged because I picked a weak episode, or because it was from Series 10 and I didn’t know the characters well enough. Then I did a quick search and found a post that mentioned criticism of the “Midsomer Murders” series for being racist, so I decided to try an earlier episode with a non-English, nonwhite victim and came up with “Strangler’s Wood” (Series 2), in which the body of a Brazilian woman is found strangled with a tie, in the same woods where three young women were killed years before. I was a bit more intrigued with this storyline, but it still lacked the charm of The Killings at Badger’s Drift.

I’d watch this series again if I didn’t have anything else to do, but I won’t seek it out. It’s just… okay.

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I happened upon a couple more episodes of the Inspector Lynley Mysteries series at my local library, this time from series 5, and I liked it so much that I’m going to stop looking for them.

Huh?

I saw “Chinese Walls,” which involves the investigation into the murder of a young woman with ties to an important attorney, and “Natural Causes,” in which (this time) Tommy’s in trouble so Havers is investigating with DI Fiona Knight (played by Liza Tarbuck)– although, like Barbara when she gets in trouble, Tommy can’t keep his nose out of the investigation, here involving Internet vice, no matter how much trouble he’s in.

Perhaps the only thing I didn’t like was that the “Chinese Walls” episode kept flashing back to the murder of Emily Proctor as the investigators began to piece together what happened. Really, it was dreadful enough the first time, can’t we just leave it at that?

At this point, the series has pretty much nothing to do with Elizabeth George’s books, except for the main characters. But I really enjoyed watching it anyway. Therefore, I’ve decided not to watch any other episodes so that I can put the entire series on my Christmas list ($150 for 23 episodes on pbs.org). I can absolutely picture myself whiling the winter away with all of this great TV to keep me entertained.

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I picked up a copy of Set 1 of the BBC’s “The Agatha Christie Hour,” (it aired on PBS Mystery in the United States) in which “lesser-known Christie heroes and heroines solve crimes of the heart as well as puzzling cases of larceny and  murder,” according to the cover. It contains five episodes, but I watched just the one, “The Fourth Man.”

The episode involves three men — a doctor, a clergyman, and an attorney — who are discussing the strange case of a young woman with two personalities. The eponymous fourth man gets into the carriage with them, and not by accident. He actually knew the young woman in question.

The short struck me as much more “Twilight Zone” than Agatha Christie; it was vastly more mysterious than an actual mystery, as the fourth man tries to convince the others what he believes actually happened. Toward the end I was just waiting for the swirl effect and the do-do-do-do music (“you’ve just stepped into…”).

My verdict: interesting, but not good enough for me to want to watch any of the other episodes. Though I’m willing to admit that perhaps I just picked a weak one.

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I blogged about the Charlie’s Angels movie not long ago, and that’s made me an industry insider with access to the trailer for the forthcoming U.S. television series.

So, I’m underwhelmed. The original Angels became private investigators because no one took them seriously because they were women, and they allowed their beauty (or rather, people’s expectations of them based on their beauty) to dazzle but solved mysteries with their brains. Sorry, ABC, but replacing them with morally corrupt “I’m no Angel”s doesn’t really appeal.

On the other hand, I didn’t expect to like the movie, but it kind of grew on me, and one of its stars, Drew Barrymore, is one of the producers of this series, so maybe there’s more hope than the trailer would suggest.

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I’ve read a number of reviews of the BBC mystery series “Wallander,” (2008) based on the books by Henning Mankell, but I didn’t realize I could actually watch them until I saw a set at my local library. You can bet I snatched it up, prepared to body block anybody who tried to reach for it. Luckily, that wasn’t necessary.

Actually, you have to take that defensive stance if you’re going to watch these movies. They’re tough.

Kurt Wallander is a Swedish detective whose personal life is as barren as his work life is busy. The crimes he tackles are violent — the episode based on the book Sidetracked (1999 in English) begins with a teenage girl committing suicide by self-immolation in a gorgeous field of rapeseed — and fast-paced, particularly the second episode, which was based on Firewall (2002 in English).

Wallander is played by Kenneth Branagh, so you know it’s well acted (although sometimes the British accents, especially the teenage girls in the early part of “Firewall,” were distracting). I’ve never read the books, but from all I’ve read the movies appear to be true to the style and feel of Henning Mankell’s books.

I guess the best adjective here is “intense,” because Wallander is so wrapped up in his job that there’s little to relieve the stories from the grim crime scenes, victims and criminals that overwhelm the often stunning landscapes. Perhaps it says something that I decided not to watch the third episode during the week I was allowed to take the DVD home. I’ll definitely watch it sometime — along with the second series from 2010 — but four hours of “Wallander” was enough.

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