“Houdini and Doyle” TV Series

Houdini and Doyle: World of Wonders

Each short episode of this promotional webseries for Houdini and Doyle showcases a different magic trick, escapology feat or exposure of spiritualistic fakery with some connection to either Harry Houdini or Sir Arthur Conan Doyle. Hosted by Rebecca Liddiard, who co-stars in H&D as Constable Adelaide Stratton, the webseries is a co-production between Smokebomb Entertainment, Shaw Media and the Canada Media Fund.

In the interests of education, it’s worth noting that the “demonstration of hypnosis” in Episode 10, involving Miss Liddiard standing upon a “hypnotised” subject’s body while they lie supported by two chairs, is a feat quite easily performed by any reasonably athletic person as long as it is carried out carefully; no hypnosis is required.

Houdini and Doyle, Episode 5: The Curse of Korzha (reviewed)

Edwardian-social-issues-of-the-week: Spiritualism and the deep emotional bond between parents and children

“Supernatural” crime: Spiritualism (?)

H&D has really hit its stride, with another strong story following last week’s lively Spring Heeled Jack caper.

We open by following the mysterious Madame Korzha as she leads a group of police constables and distraught parents through the shadowy streets of London in search of a kidnapped child named Julia. Madame Korzha certainly seems, in this scene, to possess some sort of preternatural powers, as she unerringly guides her followers into the subterranean tunnels, where they discover the girl, clutching a doll and upset but unharmed, along with a note written in blood:

NO INNOCENCE.

Houdini, Doyle and Stratton are naturally intrigued to learn that a psychic appears to have been of actual use in a police investigation. Harry and Adelaide are sceptical of her abilities and suspect that she may have had inside knowledge of the kidnapping, but Doyle is, inevitably, more open to the possibility of spirit guidance. The enigmatic Madame Korzha further ingratiates herself with Doyle by revealing that she is a fan of his Sherlock Holmes stories.

We then meet dock worker Mitchell Pearce, the father of a girl who was kidnapped and murdered under similar circumstances about a year previously. Suspecting some connection between the two cases, the police ask Madame Korzha to investigate alongside Houdini, Doyle and Stratton.

The team learns that the message on the wall was not written in Julia’s blood and that the doll she was found clutching was not hers. After having purportedly consulted with her spirit guides, Madame Korzha then guides them to the kidnapper’s deserted lair in an abandoned doll factory. Houdini is ever more convinced that she must somehow be in cahoots with the kidnapper(s).

The normally phlegmatic Inspector Merring, who seems to be taking these abductions very much to heart, reveals that yet another girl has been kidnapped. Young Julia, fortunately, has now recovered from her ordeal enough to be able to reveal that the masked man who took her was bearded and that she had managed to scratch his face. Houdini notes darkly that Madame Korzha’s assistant has a beard …

Shortly thereafter, Doyle, Houdini and Stratton attend a seance at Madame Korzha’s residence. Despite Harry’s ability to predict some of her pronouncements via his knowledge of cold reading, she also appears to be unaccountably privy to certain details about Doyle’s life and his relationship with his wife. At the dramatic climax of the seance, Madame Korzha and her assistant appear to instantly and impossibly swap places in the room; but Houdini remains unconvinced. Later, Houdini returns to Korzha’s residence, apparently so as to expose her as a fraud, but they end up sleeping together. Houdini steals her passport, then realises that Korzha has stolen his wallet.

It turms out that Madame Korzha’s Romanian passport is a forgery and that she actually hails from Croydon; her real name is Edith Pilkie. Houdini is now almost certain that she has organised the kidnappings so as to cast herself as a heroine by rescuing the children, and so drum up more business as a psychic investigator.

However, re-examining the photographic evidence, Houdini then realises the Hargreaves and Pearce girls were bound differently – and recognises the knots used on Julia as those commonly used on London docks. The team confronts Mitchell Pearce, who has evidently gone mad with grief, and who confesses that he kidnapped Julia and the latest missing girl to draw attention to the failure of the police to solve his own daughter’s abduction and murder. During a struggle with Houdini and Doyle, Pearce accidentally shoots himself and dies.

Heading to the London docks, the team finds Pearce’s latest victim bound to a ladder and about to be drowned by the rising tide, but Houdini leaps into the frigid water and is able to release her just in the nick of time. She is revived and reunited with her parents.

Doyle, meanwhile, has deduced how “Madame Korzha” was able to function so well as an investigator – she has been using Sherlock Holmes’s methods of detection! She hands him an enigmatic note (and returns Houdini’s wallet) before disappearing into the night. Following clues in the note leads Houdini and Doyle to the London Public Records Office, and to photographic evidence that Adelaide Stratton has been hiding her real identity from them.

Observations:

The highlight of this tautly-plotted episode is definitely the mysterious Madame Korzha herself. The ultimate reveal that she is actually a genius-level detective and magician, posing as a sophisticated foreign psychic in order to help people because Edwardian Londoners would not take a working-class woman seriously as a detective, is a brilliant premise. If H&D does get a second season, we look forward to this character’s return.
Edith Pilkie’s masquerade as the exotic Madame Korzha is reminiscent of the imposture of Mary Baker as “Princess Caraboo of Javasu” during the early 19th century.
Harry Houdini’s love/hate sparring with Edith/Korzha may be a nod to his real-life crusade to expose the clever and wealthy Boston medium Mina Crandon, a.k.a. “Margery”, during the mid-1920s.
It’s nice to see Inspector Merring do something other than stand gruffly behind his desk. The reveal that he lost his only son during wartime, which has especially sensitized him to missing child cases out of empathy with the parents, offers him some more depth and humanity.
Houdini’s guilty admission that he, himself, once worked as a fraudulent medium is historically true; it was early in his magic career and he stopped doing it when he realised the potential harm he was doing to true believers.

RATING:

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Eight ibangs out of a possible ten for episode five, which introduces an intriguing new character, deepens the mystery of Adelaide Stratton’s real identity and offers a solid blend of mystery and action.

Houdini and Doyle, Episode 4: Spring-Heel’d Jack (reviewed)

Edwardian-social-issue-of-the-week: mass hysteria

“Supernatural” crime: Spring Heeled Jack attacks!

Cards on the table; we here at The Ghost Racket are massive, long-term Spring Heeled Jack fans and we’ve been eagerly anticipating Houdini and Doyle’s take on London’s “leaping ghost” for many months. How does it compare to the frustrating SHJ storyline in the 2015 Jekyll and Hyde series? Read on …

Episode 4 opens, curiously, with a newsboy hawking the latest London buzz; automotive omnibuses are soon to replace the good old horse-drawn variety. Automobile magnate Barrett Underhill should be on top of the world, but instead he’s perturbed by a sinister note quoting Moby Dick, which is slipped under the door of his 7th-floor hotel room:

From Hell’s heart, I stab at thee!

Later that night, Underhill is roused by strange flutterings and scratchings at his window. Investigating, he opens the window and gazes out over the London roofscape – but then, just as he glances upward, a demonic, bat-like figure hurls itself at him from above, sending him plummeting to his death!

The next morning Constable Stratton summons Houdini and Doyle, and they learn that the hotel doorman spotted an uncanny winged figure leaping or flying from the roof moments after Underhill fell. Houdini, scoffing at the suggestion that a demon might have been to blame, leaps to the conclusion that it was simple misadventure; the startled doorman, Houdini suggests, mistakenly associated the coincidental overhead flight of a large bird with the man’s accidental, or perhaps suicidal, death. Stratton and Doyle aren’t so sure – after all, Underhill was just about to make a great deal of money from the automotive omnibus deal, and had also just received an overtly threatening, anonymous note.

Stratton, meanwhile, receives a mysterious telegram and temporarily excuses herself from the case, claiming illness.

Investigating Underhill’s business rivals leads Houdini and Doyle straight into a confrontation with a Mr. Tuttle, the owner of London’s largest horse-drawn bus company. Tuttle is a surly man who seems to have had both motive and method for murder. Doyle, however, pursues the supernatural angle and notes that the hotel doorman’s description, and the circumstances of Underhill’s death, are highly reminiscent of the legend of Spring Heeled Jack. Just then the two amateur detectives encounter Lyman Biggs, a cheerily verbose tabloid newspaper reporter who decides the “leaping demon” angle is far too good to pass up.

Shortly thereafter, a slumlord is pursued through the back alleys by an agile, shadowy, blue-fire-breathing phantom. The landlord’s body is found the next morning, gruesomely impaled on the railings of a high fence. Then Jack strikes again, smashing through the window of a wealthy Russian woman’s apartment and slashing at her with his claws before leaping off into the night.

Within days, London is paralysed by the fear that Spring Heeled Jack has returned. Doyle notes darkly that his reappearance has always betokened some great disaster, while Houdini takes the opportunity to demonstrate how easily mass hysteria can be conjured by briefly convincing a roomful of people that they’re endangered by an invisible gas.

Arthur Conan Doyle’s family is swept up in the general Spring Heeled Jack panic, as his young son Kingsley becomes tearfully convinced that Jack is stalking him; Doyle seems unable to comfort the boy beyond telling him to keep a stiff upper lip.

Houdini, Doyle and Stratton are eventually able to eliminate Mr. Tuttle as a suspect – he did write the threatening note, but cannot have committed the Spring Heeled Jack attacks. Pursuing a lead offered by the Russian woman, the trail then leads to a circus acrobat, Vladimir Palinov, who was both a jilted suitor of the woman’s and a recently evicted tenant of the landlord’s, but who seems to have had no connection to Underhill the automobile magnate.

That night, Lyman Biggs, the journalist, is confronted by Spring Heeled Jack, who drops from the shadows above; but Biggs quickly recovers his composure and berates the costumed figure before him for “nearly giving the game away”. “Jack” then pulls off his mask to reveal the face of Harry Houdini; as it turns out, Palinov the acrobat confessed that Biggs had hired him to impersonate Spring Heeled Jack in order to “goose the story” and sell more papers. Biggs himself, therefore, has accidentally just admitted to orchestrating the plot to the disguised Houdini.

Later, however, while being interviewed in prison, Biggs claims that the slumlord’s death was a tragic accident. Palinov had only been trying to scare him, and the panicked victim had slipped and impaled himself on the railings while trying to escape. Biggs also insists that he had nothing to do with the attack on Barrett Underhill, and, in fact, that he had never even heard of Spring Heeled Jack until he overheard Doyle describing the demon to Houdini. At that point, he conceived the plan to bring the legend to life, so as to profit by fear-mongering through his newspaper stories.

In the final shot, a mysterious, dark figure is watching Houdini and Doyle from the rooftops …

Observations:

This is the first episode in which we start to get a real feel for Houdini, Doyle and Stratton as characters of significant depth. Doyle’s “stiff upper lip” reserve, which has sometimes registered as rather wooden, is now starting to make more sense; he’s terrified that he’s going to lose his comatose wife Touie forever, and doesn’t know how to deal with that fear (or with his children’s fears).

There’s a very strong scene in which Houdini and Doyle debate the nature of fear and the best way to deal with it; Houdini, fulfilling his role as the brasher, more outwardly emotional of the two, urges Arthur to admit his terror, telling him that this is the only way it will lose its power over him. Arthur is then, in a rather touching interlude, able to tell his son that it’s all right to be afraid.

The Adelaide Stratton character is still a bit of an enigma; she’s often almost as reserved as Doyle, but in this episode we at least learn that she is (or has been) married. The mysteries of her past relationship(s) seem to be being set up as a major through-line for the series. Despite excusing herself from the investigation early on, she does have a bit more to do in this episode than previously.
The pattern develops apace; Houdini consistently jumps to the wrong conclusion straight off the bat, but he’s also consistently right about the ultimate solution being non-supernatural. Doyle’s more cautious approach – as befits a trained physician and the creator of Sherlock Holmes – admits more possibilities, though he’s very apt to get side-tracked looking for paranormal explanations where none actually exist. Stratton can see both sides and basically serves as the referee, though again, it would be nice to see her display more of an independent set of personality traits and motivations.
After the disappointment of the Jekyll and Hyde treatment, in which Spring Heeled Jack was presented as a rather hapless, ineffectual character, it’s wonderful to see justice done to Jack in a fairly major TV series. His appearances are all suitably mysterious and dramatic and the writer obviously did his homework regarding the actual folklore. Some of the “historical sketches” Doyle produces to explain the legend to Houdini are closely inspired by actual 19th century SHJ-related art, although one sketch is, rather cheekily, based on the monster from the 1957 movie Curse of the Demon!

Jack’s acrobatics are also very pleasingly handled – it’s a good bet that a parkour-trained stuntman executed his street gymnastics of vaulting and side-flipping over walls, etc. Dynamic stuff and, again, just what we were hoping for in watching Spring Heeled Jack in action.

It’s implied that the “great disaster” foreshadowed by Spring Heeled Jack’s appareance in early Edwardian London is the pollution that will follow once automobiles fully replace horse-drawn vehicles. It’s also implied, though, that virtually any two events can be tied together via the confusion of correlation with causation …

RATING:

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Nine ibangs out of ten for our favourite episode so far! Plenty of action and mystery, some welcome character development and the whole thing moves along at a cracking pace.

Houdini and Doyle, Episode 3: In Manus Dei (reviewed)

Edwardian-social-issue-of-the-week: faith healing

“Supernatural” crime: faith … killing (?)

We open inside a traveling tent-show where faith healer Elias Downey is explaining the origin of his miraculous powers to an enraptured audience. God, we are told, used Elias as a conduit in healing his desperately ill younger sister, Jane, when the Downeys were both children. A skeptic scoffingly interrupts and, shortly thereafter, falls to the floor, coughing blood and insensible. His wife desperately pleads with Elias to save him, but it’s too late – the man is dead.

Houdini, Doyle and Stratton attend the dead man’s funeral, hoping to gather enough evidence to prove that a crime has actually been committed, in order to be able to order an autopsy. Elias Downey arrives to pay his respects and Houdini (sacrificing all decorum for expedience) baits him into a loud science vs. faith confrontation, distracting the mourners while his colleagues examine the corpse. Doyle deduces that the man may have been suffering from dengue fever, and may therefore have died of natural causes after all.

Constable Stratton, however, discovers that several other people have died shortly after disparaging Reverend Downey and the team then attends another of his faith healing services. Houdini performs an impromptu demonstration of “psychic surgery” on a member of Downey’s audience, to illustrate the power of the placebo effect; the man is deceived by the trick and believes himself to be cured, and so he feels better. Ironically, Houdini himself then falls violently ill; meanwhile, Doyle is convinced of Reverend Downey’s powers and asks him to try to heal his comatose wife, Touie, who does, in fact, rally shortly after Downey prays over her.

Doyle, doubting his earlier diagnosis of dengue fever, conducts an illicit autopsy on the dead skeptic and is overcome by a toxic miasma rising from the man’s incised abdomen; coming to, he realises that the man was poisoned, suggesting foul play in the other deaths that have befallen people who scoffed at Downey. While Doyle and Stratton interview the wife of the dead skeptic, Houdini performs his matinee magic show, but is again overcome by illness and fails to escape the Water Torture Cell, requiring a dramatic glass-smashing rescue.

Eventually it transpires that the Reverend’s sister, Jane, has been bumping off “disbelievers” in order to bolster her innocent brother’s reputation, and thus his ability to do some actual good, even if only via the placebo effect.

The main emotional through-line in this episode lies in Arthur’s relationship with his newly-revived wife Touie. As the story began, he was losing hope that she would recover and was packing her clothes away in storage. After she regains consciousness (as it turns out, she was actually healed by an experimental medical treatment rather than by the Reverend’s prayers), the two of them share some tender moments … but tragically, by episode’s end she has relapsed into the coma. The distraught Doyle is comforted by his young daughter, and then, together, they unpack Touie’s clothing and re-hang it in her closet.

Observations:

We’re asked to accept a lot of coincidences in this episode, especially regarding the timing of various illnesses and recoveries, which fit so neatly and dramatically into the storyline as to severely strain credibility.
Episode 3 is basically an examination of both the limited and erratic benefits and significant dangers of faith healing – here identified as nothing, more nor less, then the placebo effect, bolstered by the above-mentioned heavy dose of dramatic license. The ever-skeptical Houdini offers some trenchant and accurate observations along these lines, and while the more credulous Doyle is always ready to accept a supernatural explanation, his practical skills as a physician are crucial to solving the case.
Constable Stratton doesn’t have a great deal to do this time, other than to glance sternly at the two “boys” while they banter; hopefully she’ll have more of an active role in the rest of the season, aside from being Houdini’s burgeoning love interest.

RATING:

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Only six ibangs this week, but we’re looking forward to Episode 4, when Houdini and Doyle take on the legendary “leaping ghost”, Spring Heeled Jack!

Houdini and Doyle, Episode 2: A Dish of Adharma (reviewed)

A pattern is emerging; just as episode 1 of Houdini and Doyle drew together a circa 1900 social issue (the treatment of inmates in a Magdalene laundry) and a seemingly supernatural mystery (a ghostly murderer), A Dish of Adharma weaves the radical women’s suffrage movement together with a case of attempted assassination via (apparent) reincarnation.

During the dramatic opening sequence, a young boy holding a bouquet of flowers approaches Lydia Bellworth, a suffragette who has chained herself to a set of railings as a political protest. Lowering the bouquet to reveal a pistol, he then shoots her in the arm, saying “You murdered me!”

Houdini, Doyle and Stratton are quickly on the case. It transpires that the boy – a runaway adoptee – has been plagued by dreams and visions of a life that he has not lived and believes himself to be the reincarnation of a bohemian artist named Martin Upton, who died some twelve years earlier. Upton is revealed to have been the secret lover of Lydia Bellworth.

The investigators discover that the boy – whose real name is Peter – has actually become fixated upon the life and death of Martin Upton via obsessively studying Upton’s secret journal, to the point that Peter’s own identity has become submerged. Eventually the truth comes out – Lydia Bellworth really did kill Marton Upton, because he refused responsibility when she became pregnant with his child, who was then adopted out immediately after birth. In a truly Dickensian turn of events, that child turns out to be none other than young Peter.

The boy is reunited with his loving adoptive parents and (one hopes) recovers his own identity, independent of that of his murdered father.

A Dish of Adharma offers us a suitably twisty gothic mystery and some further insights into the lives and psyches of our protagonists. Doyle struggles to be a good father to his young daughter Mary, who is beginning to question her own role and future in a society that systematically devalues girls and women. Meanwhile, Houdini’s fascination with the still-enigmatic Adelaide Stratton leads them into a “truth-trade” game that may betoken a deeper future relationship between them.

Random observations:

Although the mystery is again revealed to have a strictly non-supernatural (if only just plausible) solution, the question remains as to how Peter was able to lead Houdini, Doyle and Stratton to the exact site of his father’s secret, unmarked grave. Obviously, that information could not possibly have been contained in Martin Upton’s journal. Doyle suggests that it might be evidence of “spirit guides” and Houdini doesn’t have a ready retort. Logically, the implication is that Peter had, in fact, learned or deduced where Martin was buried, though how he might have done that is never addressed.
One of Houdini and Stratton’s “truth trades” involves each of them writing their greatest fear upon a scrap of paper, swapping papers and then reading each other’s answers (as it turns out, both of them fear “being unloved”). It’s later implied that this coincidence of written answers was a sleight-of-hand illusion on Houdini’s behalf; when Adelaide asks him whether it was a trick, he shows her a number of identical scraps of paper bearing different answers such as “losing family” and “spiders”. The suggestion is that he somehow matched his own answer to hers, out of a collection of likely responses (a cold reading-style application of the Barnum/Forer effect).

The “trick” as actually shown, however, would have relied entirely on luck or very shrewd guesswork; there was no possibility of a sleight-of-hand substitution of one scrap of paper for another. Perhaps the implication is that Houdini did not want to reveal the depth of his interest in Adelaide, and so sought to camouflage it (and give himself an “out”) by pretending that it actually was just a trick.

RATING:

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Seven out of ten ibangs for Episode 2 of this intriguing series.