It’s another true-crime story adaptation.
The seemingly inexorable flow of these dramas continues unabated with this four-part series from the BBC. And on paper it looked really good. Written by Ed Whitmore (who has previous with the likes of Manhunt and Rillington Place, two of the better examples from this genre), it’s produced by the masterful Ed Talfan and Hannah Thomas from Severn Screen, purveyors of superb Welsh crime dramas like Y Gwyll/Hinterland and Craith/Hidden. And that’s just behind the camera.
In front of it, there’s a rollcall of some of Wales’s finest acting talent (and familiar faces to crime drama fans) – Steffan Rhodri, Siôn Alun Davies, and Nia Roberts, as well as Philip Glenister in the lead role (with Keith Allen to come).
So, so far so good in terms of credentials and pedigree. But is it any good?
Well, yes. Yes, it is.
In the very first scene, we get Richard Harrington (Tom Mathias himself!), here as a forensics technician, taking a closer look at a cold case in his lab. He, of course, finds something. DCI Paul Bethell (Glenister) hears about the development and immediately wants in on the action – he worked the original Port Talbot-based case 30 years before in 1973, it still gnaws away at him and he’s desperate to work on it again.
Bethel instinctively puts his name forward for the inevitable reopening of the case, and recruits previous partner Phil ‘Bach’ Rees (Rhodri). From that moment on we’re on a bit of a rollercoaster ride, which seamlessly and rather expertly tells two stories in two timelines – what actually happened back in ’73 and what is developing in the present day.
So what is happening here? In 1973, Sandra Newton disappeared after a night out. As Bethell and Rees begin to investigate, Sandra’s body has not been found. Very soon, two more young women – Geraldine Hughes and Pauline Floyd – are found strangled in a clearing in some woods, seven miles from where Sandra disappeared, in Llandarcy.
In the present day, Bethell and Rees are indeed given the case and set up shop in the near-derelict former police station where they investigated the cases previously.
It’s a neat idea, and perfect for mirroring and switching between timelines.
As the 1973 timeline continues, Bethell is convinced that the disappearance of Sandra and the murders of Geraldine and Pauline are linked, and works through some suspects.
This processing of potential leads is fairly standard procedural stuff, but what makes this first episode exciting – the reveals more impactful – is the switching back between timelines to see how developments in both worlds impact the other.
And, I have to say, 1973 Port Talbot is realised fantastically well, so a huge shout out to the production design team. There are moustaches, flares, smoky working men’s clubs, belching pits, beige living rooms and Austin Allegros. Nothing flash, nothing forced, just brilliantly observed and realised everyday life in the 1970s.
Like Hinterland and Craith before it, Steeltown Murders does take its time (and the switching between timelines takes a while to get used to), but this is good drama; and good well-structured, atmospheric and intriguing drama.
Strong start, then. Let’s see how it progresses.
Paul Hirons
The Killing Times 
We’ve just watched this. Good series, and, as you say, good acting, great characters.
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