GBH was a seven-part British television drama written by Alan Bleasdale shown in the summer of 1991 on Channel 4. The protagonists were Michael Murray, the Militant tendency-supporting Labour leader of a city council in the North of England and Jim Nelson, the headmaster of a school for disturbed children. The series was controversial partly because Murray appeared to be based on Derek Hatton, former Deputy Leader of Liverpool City Council — in an interview in the G.B.H. DVD Bleasdale recounts an accidental meeting with Hatton before the series, who indicates that he has caught wind of Bleasdale's intentions but does not mind as long as the actor playing him is "handsome". In normal parlance, the initials "GBH" refer to the criminal charge of grievous bodily harm - however, the actual intent of the letters is that it is supposed to stand for Great British Holiday.
DirectorRobert Young
WriterAlan Bleasdale
It Couldn't Happen Here
Jun 6, 1991
Firebrand Labour leader Michael Murray is swept into office on a tide of rhetoric. His first act is to "reform education", but it looks suspiciously like a personal vendetta against Mr. Weller, the headmaster who had once sent him, as a boy, to a special school for disturbed children. When Murray is summoned by the renowned political theorist, Mervyn Sloan, he is told that great things are expected of him. But Sloan also firmly insists that a general strike be called in Murray's city to challenge the Conservative Government. When one of Murray's council members, who has a weakness for the bottle, fails to ensure pickets are sent to one particular school, a disastrous conflict ensues between Murray and Jim Nelson, who is unfortunately headmaster of a school for special needs children.
Only Here on a Message
Jun 13, 1991
Michael Murray is beginning to realise that his new-found political "friends" are not being entirely above-board with him. Jim Nelson, meanwhile, gains some respite from Murray's persecution when he becomes a local hero in a tragic accident. Though his attempt to save his pupil, Robbie Burns, is not successful, his efforts earn him the undying loyalty of Robbie's father, Norman, and his formidable brothers. After a time, however, Murray resumes the pressure and Jim begins to come unravelled, manifesting as a new phobia for bridges. His doctor refers him to a psychiatrist, Dr. Goldup. At the hotel where Murray is carrying out most of his plotting, his eye is caught by a new arrival, a beautiful and poised woman called Barbara Douglas.
Send a Message to Michael
Jun 20, 1991
Sloane and Barnes announce matter-of-factly that explosive racial violence shall be provoked in the city. When Murray denounces them and begins to storm out of the room, Barnes asks if the name Eileen Critchley means anything to him. Murray freezes on the spot and starts twitching. Jim Nelson decides he needs a holiday at term break, to get away from the pressure of Murray's pickets, and plans an itinerary that avoids crossing any bridges. Murray is falling under the spell of Barbara Douglas, who keeps him at arm's length. Meanwhile, she visits Michael's mother, pretending to be a social worker, and leaves a note for Michael--signed "Eileen Critchley". Franky has finally had enough. He abandons Michael and drives off with the council car, in order to take his wife and children, as well as his mother, on an impromptu holiday to the seaside.
Message Sent
Jun 27, 1991
Michael Murray has reached panic level, and sends the researcher, Philip, on a mission to find three people: his missing brother Franky (along with the council car), his mother, and Eileen Critchley. Frank Twist catches up with Jim Nelson to tell him that an important local party meeting has been called. The meeting is to be packed with "new members" consisting of the trouble-makers under Peter's direction. Barbara's attempt to obtain Mr. Weller's old school records for Michael Murray and Eileen Critchley fail, and Weller deposits the incriminating evidence with Jim Nelson, on the night before he leaves on holiday. Lou Barnes tells Barbara that they now have Murray at breaking point, but because they do not yet have Weller's documents, Murray must be "relaxed" a bit, and Barbara will have to do the job. It looks like it's Michael's lucky night.
Message Received
Jul 4, 1991
The Nelsons finally arrive in North Wales, thinking they have escaped their tormentors. Trouble is pursuing them, however, and mein Host at the holiday camp isn't without his problematic side, either.
Message Understood
Jul 11, 1991
It starts to dawn on Michael and Jim that they are pawns in a much bigger game. Barbara questions who her real allies are.
Over and Out
Jul 18, 1991
Friday is the day designated for the showdown. Michael has had the local Labour Party meeting called to have Jim Nelson removed from membership; Lou Barnes has decreed this same day for Michael Murray's destruction.
CinemaSerf
@Geronimo1967
This is a terrific piece of political drama from Channel 4 and Alan Bleasdale that shines a light on a myriad of topics whilst set amidst the polarisation of Mrs. Thatcher’s 1980s Britain. Despite her fairly comprehensive election win in 1983, most of the urban population remained unconvinced by her policies and it’s in one such city that the fictional character of “Michael Murray” (Robert Lindsay) rules the roost. He is determined to thwart the government at every step, and calls a general strike throughout his un-named city. There’s a pretty rock solid turn out, except for one teacher - “Jim” (Michael Palin) who teaches young kids with learning difficulties and who decides that they are more important. His black-leggary attracts the attention of the charismatic “Murray” and over seven episodes we follow the battle between these two men. Both are on the political left, but they do not agree on the extent to which the former would radicalise the people. Of course, as the story develops we explore some fairly complex demons and nuances in their characters and these are presented with a potent thwack of dark humour that both men simply excel at. As their stand-off intensifies, the story takes a definite twist and strings start getting pulled from an altogether unexpected direction thanks to the intervention of “Barbara” (Lindsay Duncan) and the internecine scheming really takes off. Aside from Julie Walters’s strong effort as the mother of the increasingly wayward politician, there is also a really effective supporting cast featuring the likes of Philip Whitchurch, Paul Daneman, the frequently scene-stealing John Shrapnel and an whole host of familiar faces that offer us an observational critique of the sublime and the ridiculous. I wasn’t ever sure how I did want it to conclude, and that’s maybe my only real criticism of the series as it sort of fizzles out disappointingly, rather exposing the political convictions of the author, but with Lindsay and Palin both imbuing their roles with characteristics that can simultaneously evoke sympathy, loathing, anger and affection this just goes to show what can be done what talented people both in front and behind a camera can do with a solid story, creative acting talent and the bare minimum of distractions. Elvis Costello and Richard Harvey’s closing title music rather sums the whole thing up - a musical rollercoaster that includes the heavy, the light and even a little bit of the waltzer. Great television that in many ways symbolises a UK generation.
