Ripper Street British Import With Sex and Sleuths By MIKE HALE (NEW YORK TIMES)

Setting a cop show in the slums of East London in 1889 gives you several advantages. Violence, for one: Among the first things we see in “Ripper Street,” a new British drama beginning on Saturday night on BBC America, is an undercover policeman pausing during a bare-knuckle fight to pull an opponent’s tooth out of his hand.


Sex, for another: the two most prominent female characters in the show are prostitutes, or tarts (“taaarts”), in the language of the time. The first episode predictably joins these elements by making a tart the target of violence.

This is not to condemn “Ripper Street,” which has its satisfactions, but to indicate the mind-set at work. As a period police procedural, it’s more successful than “Copper,” set in 1860s New York and also shown on BBC America. But it’s not that much more imaginative; someone wanted a late-Victorian “Law & Order,” and that’s what was delivered.

“Ripper Street” is, however, reasonably clever and sometimes even witty in its depictions of forward-thinking detectives pioneering the forensic methods and investigative procedures that will eventually become the grist for a thousand television shows. And in Jerome Flynn, Adam Rothenberg and particularly Matthew Macfadyen, it has a sharp and appealing group of actors to play its central cop triangle.

The undisputed star of the show is Mr. Macfadyen as Edmund Reid, a detective inspector with crusading instincts who wants both to modernize and to humanize the police force. But he’s not the all-seeing, Holmesian genius so prevalent in current shows, who acts out for 45 minutes before single-handedly solving the mystery.

In a moderately interesting twist, “Ripper Street” splits the glory between Reid and Homer Jackson (Mr. Rothenberg), an American and former Pinkerton agent who has come to London, fleeing some dark secret in his past. Deputized by Reid, Jackson supplies most of the close analysis of fibers, skin and gaping wounds (typically on the bodies of young women, of course) while tweaking the more old-fashioned sensibilities of Reid’s stalwart sergeant, Drake (Mr. Flynn, known here for playing the warrior Bronn in “Game of Thrones”).

The fun of the show comes partly from the interplay among these actors, and partly from the way it juxtaposes the muck and murderousness of the East End shortly after the days of Jack the Ripper (hence the title) with the onset of the modern world.


READ MORE: http://tv.nytimes.com/2013/01/19/arts/television/ripper-street-with-matthew-macfadyen-on-bbc-america.html

TV review: Ripper Street; Neil Armstrong – First Man on the Moon; The Hotel It throws in everything from CSI to Sherlock, but Ripper Street is proper crime drama (GUARDIAN)

Sam Wollaston
The Guardian, Sunday 30 December 2012 17.00 EST

Methodical ... Matthew Macfadyen as DI Edmund Reid in Ripper Street. Photograph: Amanda Searle/BBC/Tiger Aspect

Cor blimey. East London, 1889, ain't no place for no shrinking violet. Well, not according to Ripper Street (BBC1, Sunday). The men are all at the fight (bare–knuckle, naturally) and the women are all on the game, even though it's only a few months since the horribly mutilated body of Jack the Ripper's last victim was found. Suspicion, rumour and terror run in the gutters, along with all the usual Victorian filth.

Then there's blood in the gutters, too. Another body, another young woman, with the Ripper's calling card slices. Is it him – is Jack back?

Sensible, handsome Detective Inspector Edmund Reid (Matthew Macfadyen) isn't so sure. He's not jumping to any conclusions, nor ruling anything out, just going about the investigation in the methodical, pragmatic way he would any other, pinning photos and stuff up on the blackboard (that's what the police used is it, before they got those transparent screens modern TV detectives have?). Reid calls on a seedy American pal, a former Pinkerton detective who has the combined talents of Grissom and Holmes, for a bit of help with the forensics and the logical reasoning.

It would be easy to be negative about Ripper Street. Do we really need more on a story that's been not just done to death, but then carved up, and had its insides torn out? Why this obsession? You could also be cynical about it more specifically as television. It's manufactured, a hybrid, televisual eugenics: take beautiful period drama, then sex up, literally, with sex; and darken, with nasty dark sex; add CSI, Waking the Dead, Sherlock, a touch of Life on Mars, Garrow's Law … anything that's been done well recently. Perhaps in the next episode there will be a phone vote to decide who goes to the gallows.


But, on the first point, this isn't really about Jack the Ripper – not so far, anyway. It's about the aftermath, it's about a time and a place and a feeling, it's about the police, and the press, and the people, and it's actually about that obsession. And on the other: well, maybe it is a cocktail – but it's a bloody good cocktail. Warlow's/Leveson's script is real, alive and human. It's beautifully performed, and beautiful to look at – stylish, and stylised. The bare-knuckle fight scenes are brutal and memorable. It's proper, character-based crime drama, gripping, and yes – I'm afraid – ripping as well.

READ MORE:http://www.guardian.co.uk/tv-and-radio/2012/dec/30/ripper-street-tv-review