Cracker: Mad Woman in the Attic Reviews

In the course of unraveling complex murder cases, the CRACKER mysteries allow viewers time to dissect the personal crises of their sleuths. Although THE MADWOMAN IN THE ATTIC isn't the most chilling of these imports (made for British TV), it's a confidently directed and sleekly scripted study of complicated crime-solvers. Although Detective Chief Inspector Bilborough (Christopher Eccleston) can't quickly crack a series of railway attacks on young women, he resents the interference of police psychologist Fitz (Robbie Coltrane), a gambling addict who doesn't suffer fools gladly. Flanked by ambitious Detective Sergeant Penhaligon (Geraldine Somerville) and sexist Detective Sergeant Jimmy Beck (Lorcan Cranitch), Bilborough arrests an amnesiac, Kelly (Adrian Dunbar), who apparently jumped from the train on which the most recent victim, Jacqui Appleby (Louise Downie), was killed. While the cops mercilessly badger Kelly, Fitz uncovers Kelly's Catholic background. As Fitz's personal life deteriorates in debt and drinking, he takes custody of the accused, who turns out to have been a priest. Kelly wanders off at the racetrack when he spots a familiar face. That face belongs not to the murderer but to a petty thief who rolled Kelly after he'd been pushed from the speeding train by the real murderer. Police get phone calls from the sex maniac who claims to be a priest to whom Kelly confessed his crimes. Although axed from the investigation, Fitz refuses to abandon Kelly's cause. Fitz narrows the possible murder candidates to those with Catholic backgrounds. After prodding Kelly's memory in his jail cell, Fitz scans the railway manifests for likely suspects. With sympathetic Penhaligon's unofficial cooperation, Fitz narrows the field to one suspect, a traveling health inspector, Hennessey (Nicholas Woodeson), whose schedule coincided with all of the killings. Backed up by Penhaligon, Fitz boards a train bound for Leeds and stops Hennessey from killing another woman. Cleared of charges and having recovered his memory, Kelly contentedly returns to his cloistered life in a monastery. Despite their adherence to a formula (police psychologist messes up his private life while miscalculating crucial evidence, finally correcting his theory), the CRACKER mysteries are superior examples of their genre. Without stinting on the deductive aspects, these character studies also penetrate protagonist Fitz's Achilles' heel, highlight interdepartmental rivalries at the precinct, and examine social issues raised by the case. It's remarkable how much cogent psychological insight and astute sociological commentary can be squeezed into these crackerjack mysteries without sacrificing suspense or focus. In addition to atmospheric direction and gutsy screenwriting, THE MADWOMAN IN THE ATTIC features superb acting. Coltrane is painfully good at conveying the ruins of his flawed character, and he is matched by a dazzling supporting cast. Prickly and paranoid, the British detectives here are scared professionals who mask uncertainty with arrogance. The stressed-out criminologists are as intensely motivated as the fastidious killer going about his bloody business. In THE MADWOMAN IN THE ATTIC, proving who-dun-it reveals as much about the psychologically battered crime-busters as it does about the psychotic killer. (Graphic violence, profanity, adult situations, substance abuse.)