Near as I can figure, The Ruth Rendell Mysteries ran typically short British seasons/series beginning in 1987. The early shows were all "An Inspector Wexford Mystery" until 1992's "Talking to Strange Men," but by the late-1990s, most Ruth Rendell Mysteries were adaptations of other non-Wexford stories. "Simisola" and "Road Rage" were the penultimate Inspector Wexford shows; 2000's "Harm Done" appears to be the last adaptation and Baker, now almost 78 years old, is probably too old to believably play an active Chief Inspector.

Baker is probably best-known to American viewers for his roles in popular British shows like The Prisoner (as one of the many actors in the role of "Number Two") and for his supporting parts in big-scale British-American movies like The Spy Who Loved Me (1977) and North Sea Hijack/ffolkes (1979). In the James Bond movie On Her Majesty's Secret Service (1969), Baker not only played genealogist Sir Hilary Bray, but also dubbed Bond actor George Lazenby for about a third of the picture, for all the scenes in which James Bond is impersonating Bray. For many, Baker is best remembered as the ruthless Roman Emperor Tiberius, the unhappy son of scheming Livia Drusilla (Siân Phillips), in the great miniseries I, Claudius.

By the time Baker appeared in "Simisola" and "Road Rage" - which Baker himself adapted for television - he was in his late-60s, and the show wisely and interestingly explores the life of a police inspector as an older man close to retirement, and coming to terms with his adult children who themselves are having children for the first time. Baker plays Inspector Reg Wexford in a relaxed, generally easy-going and sensitive manner, and Wexford's scenes with his wife, Dora (Louie Ramsey) have a pleasing verisimilitude.

And there's a very good reason for this: When Baker's actress wife, Sally Home, died in 1992, Baker found comfort grieving with actress Ramsey; the two were married late the following year.

The two "Inspector Wexfords" included in this set are slight but involving. In "Simisola," Wexford's wealthy Nigerian physician asks the chief inspector to investigate the disappearance of his 22-year-old daughter. It's a standard but methodically-paced, intelligent police procedural, and it grapples - without ever being too political in either direction - with race and class issues. Wexford's doctor and his wife are highly educated and intelligent but because they're black immigrants they're forced to work at a level far below their abilities. The mother is racist and highly-opinionated, and like many immigrant mothers from poor countries puts incredible pressure on her children to succeed.

For their part, Wexford's team - notably including Detective Inspector Mike Burden (Christopher Ravenscroft) - make a number of mistakes along the way, some involving misconceptions about race. Baker is excellent throughout; it's interesting to watch a mostly passive character subtly assert his authority and frustration once in a while, putting on his "game face" when addressing his men (and women), or speaking at a public forum, answering anonymous questions from the audience.

In "Road Rage," the complex story involves a clash between militant environmentalist hippie-types living "off the grid" in the woods and construction workers trying to destroy the forest for the sake of a highway bypass. The problem escalates, becoming increasingly violent, and eventually a presumably fringe group among the hippies kidnap and terrorize local residents in order to stop construction of the roadway.

Again, "Road Rage" is at its best when it focuses on Wexford's relationship with Dora, and to a lesser degree his two adult daughters, with whom he has contrasting relationships. A baffling and painful mystery occurs during the show I won't reveal here, but it offers Baker and Ramsey many psychologically-complex scenes together and apart, and they are very good in the show, which really sucks you in. Though told in four 50-minute episodes, the story has too many subplots, including a seemingly disconnected one - or is it? - involving the murder of a German tourist that is disappointingly resolved. Overall, however, it's a satisfying show.

Video & Audio

Both multi-part TV movies are presented in 4:3 full frame. I wonder whether the latter was shot with 16:9 framing in mind; what looks like Telecine flash-pans occur here and there, and some of the 4:3 framing is awkward. Whatever the case, at worst this is a mild distraction and not ruinous like the panning-and-scanning of 2.35:1 CinemaScope and Panavision movies. The series was shot entirely on film and the color, sharpness, and contrast are all adequate, as is the stereo audio, which does not include subtitle options.

Extra Features

Included is a brief text Ruth Rendell biography of minimal value; much more detailed information is easily accessible on the Internet. But Super Sleuths: Inspector Wexford (in 16:9 enhanced widescreen) is a nice overview of the program, and features clips from other episodes and an interview with actor George Baker.

Parting Thoughts

This was a mildly pleasing double-bill of British mysteries, but interesting enough to make me interested in some of the other Wexford shows. At $39.99 retail it's a bit pricey for what amounts to two extended stories, but Baker's ingratiating performance makes it worthwhile. Recommended.

Film historian Stuart Galbraith IV's latest book, The Toho Studios Story, is on sale now.