There's a mystery buried somewhere: Somewhere between an embittered, hospitalized writer, suffering from a debilitating skin disease, and the overconfident detective of the pulp novel he once wrote. There's mystery surrounding a betrayed father, a suicide, a son having to cope with the contradictions in his young existence, trying to break free. There's also a dame and a body, there always is in a noir scenario. And there are all those memories, fantasies and nightmares of a tortured soul. Unable to move from his bed, our writer becomes the focal point of the story, who sees, hears and struggles with things between reality, fiction and hallucinations, slowly connecting the dots along with us: Down at the docks a foghorn blares, though it sounds like a whistling train... Make sure to bring your imagination to help him solve the puzzle! Dennis Potter's masterpiece "The Singing Detective" is as good as it gets when it comes to creating intelligent television. Not only does he manage to successfully combine film noir, musical, comedy and drama, he also injects existential depth into it that makes one feel deeply for a cynic on the way to his redemption. Suspenseful and entertaining, the multi-layered spectacle draws the viewer in, a viewer, who might feel lost from the very beginning, but will see sympathy grow, despite or maybe because being thrown around between the hospital reality, a constantly changing book plot, flashbacks and escapist adventures of the mind. Potter's wizardry lies in gradually expanding the context, allowing themes to transcend their confines, bleed into threads of seeming parallel worlds, and resonate more and more with each episode. Actors play multiple parts, scenes are repeated in variations - and we are reminded to look for more than just a plot. Thus "The Singing Detective" continues to grow on the inclined watcher with every repeated viewing, for one because of Potter's ingenious screenplay, but also thanks to Jon Amiel's flawless direction and especially Michael Gambon's towering performance. "The Singing Detective" is nothing short of a landmark, controversial for all the wrong reasons at the time of its release, but well deserving to be rediscovered as the pinnacle of Potter's outstanding career.Side note: There's are of course also mysteries buried somewhere between Dennis Potter and Philip E. Marlow (who seems to have misplaced an "e"), between a writer who suffered from psoriatic arthropathy like a certain character he created and his Chandleresque creation. There's mystery surrounding the outright denial that "The Singing Detective" is autobiographical and the dozens of biographical coincidences. Just one more layer to add to a legacy looking for a hobby detective. Feel free to sing along...

A search of the comments on "The Singing Detective" turned up only one mention of Lyndon Davies, who played Philip Marlow aged 10. His performance of this really central character was truly remarkable, and it was essential to establishing the basis for the adult Marlow's problems.It is amazing that a 10-year-old could play the part, which required, among other things, mastering the country dialect, and showing emotional states so convincingly. Probably John Amiel's direction was an important factor in Lyndon's performance -- as well as that of the other children -- but it was really up to Lyndon's talent to bring it off.Thanks, Lyndon Davies!

Dennis Potter's "Singing Detective" in its 1986 TV production, surpasses standard definitions of dramatic entertainment. It amazingly integrates cultural fragments and memories with unequaled acting performance(Michael Gambon), giving full-dimensional life and impact to a form pioneered by Joyce, but with a soul and involvement of the senses far beyond "Ulysses".Although it has a plus 6 hour running time, we are left with a desire to continue sharing the company of this incredibly complex man. No other book, movie, etc. has so completely affected me as a work of art.The visuals of this production perfectly match the "mindworld" of Marlow as he struggles with agonizing disease, childhood memories and the birth pangs of artistic creation.

Spoilers herein.I have been without a TeeVee for thirty years. It is a standing challenge to my friends to show me something that is produced for TeeVee that does less harm than good in working with the viewer's mind.I finally have it here. Lynch's `Twin Peaks' experiment came close, but turned into a comment on the empty soul of TeeVee as the basic material was passed from one director to another, each trapped by different restrictions in the medium. Lynch finally had to `fix' it by making a wrapper film that brilliantly references those bounds.What we have here is something that spreads out and takes time to percolate. It is designed to coherently be delivered in small discrete parts. I saw it on DVD but can imagine it not being destroyed by those pesky interruptions and the delay between broadcasts.The idea is pretty complex for TeeVee: five levels of narrative, three in story, one in reference and one in a particularly strong use of song as narrative. This last is so novel and different from the conventions of artificial reality we've come to expect in musicals that it alone makes it interesting.The nominal base level is Marlow the writer in a hospital. He has a story that was written, is being written and rewritten and adapted. It is also what we see.Above these two levels is the explicit recognition that Potter, the `real' writer is Marlow, the fictional writer. This is wisely not introduced in any meaningful way until the 4th episode, including the notion that the characters at all levels are in control.Below these three levels is the story of his `murder' of his mother, his own `detection' and the ghosts of character.Permeating all is that fifth level, narrative assembled and saturated by popular song. Some characters and actors, even gestures and props (like that one shoe) appear in all five levels. Redheads are used in a particular clever way. (A project with similar tone and aspirations was "Draughtsman's Contract" which inspired Potter and which also features Janet Suzman.)But as time goes on, we can see that each level struggles to be the generator of the others. Particularly sweet is the notion that the singing detective can sing and think at the same time and what we see at all levels is what he thinks. Over time it becomes more viable to see the situation in any one layer as written (or imagined) in any other. Along the way he provides clear tools for doing so.The interesting thing here is that Potter uses the time of the miniseries format wisely. He introduces a new layer or idea or narrative folding in each half hour. Only so fast as we can adapt. He uses the same material over and over, but always in a new context. It is exactly anti-TeeVee in this way as TeeVee depends on a consistency of context as frame. Here, the frame shifts, and the whole point of the context is to provide levers for that shifting.That's what the detective story is all about: starting with events and locating a frame. And why it revolutionized literature. Too bad the appearance of this didn't revolutionize TeeVee.I haven't yet seen the 2003 film version, with the amazing Downey as Marlow. But it seems that this exploration in causal frames needs time to stretch, because one of Potter's tricks is to use the fact that his scope exceeds that we normally swallow in a 90 minute film experience.Ted's Evaluation -- 3 of 3: Worth watching.