Film Review: Adaptation and See No Evil: The Moors Murders

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Directed by Christopher Menaul, See No Evil: The Moors Murders (Menaul, 2006) is a two-part television drama broadcast on ITV in May 2006. It is known as the first non-documentary televised work to adapt the real-life case of the moors murders, a killing spree carried out by Ian Brady and Myra Hindley in 1960s Greater Manchester. The programme, produced to mark the 40th anniversary of their trial, was the outcome of extensive research and set out to faithfully transpose accounts provided by detectives, witnesses and relatives of the victims onto the screen. But the interesting aspect of this adaptation resides not so much in how accurately its script might stick to the actual events than in the way those are intentionally and unintentionally presented; in other terms, how this type of initiative brings out particular means in reshaping the original source and what side-effects can transpire from the dramatization treatment. 

For instance, the basis for See No Evil is of such order that the film could have easily fallen into the exploitation category. Instead, and probably out of sensibility and respect for the victims, the chosen angle is for the most part thoroughly removed from any kind of sensationalism: everything is in fact explored from the perspective of Hindley’s brother-in-law David Smith and her sister Maureen, with occasional insights into police investigations; the plot therefore focuses on Brady and Hindley’s relationship with the two teenagers, as well as what the aftermath of the trials ended up being for latters. In that respect, the TV serial plays heavily on the audience’s knowledge of the source material to fill in the dots and pick up on macabre details chillingly disseminated throughout the film. The viewer, although aware of the infamous deeds, is thus never confronted to the first four infanticides nor let on private conversations between Hindley and Brady. 

This approach however both contributes to the radical mystification and antagonization of the killer couple, especially Brady who, straight off the bat, is given a far from mundane portrayal, leaving next to no doubt about the nature of his tendencies. The film is from time to time more nuanced towards Myra Hindley, as she even is shown to undergo a character arc – firstly rejecting atonement whilst on the moors before seeking her sister’s forgiveness behind bars. During the epilogue, the question of pardon is eventually left open as Maureen and Dave try to make up despite their diverging moral views on Myra.

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Likewise, another directorial decision that affects how the final product can be perceived is the overall ageing of the protagonists compared to how old their real-life counterparts were at the time. Although this might have simply been down to preferences in casting and favour in experienced actors, this change renders the notorious duo truly menacing and domineering, makes more plausible the incriminations according to which 17-years-old David Smith would be the third moors murderer and also silences the double teen pregnancy element. 

In parallel, the reformatting of those events further provides with the opportunity to intensify their dramatic potential. This is of course mainly achieved through pivotal, expressive dialogue scenes, but we can see in the use of more cinema-specific methods additional factors in heightening the drama. Indeed, the insertion of tension-inducing title cards, carefully timed sound effects, the weaving between extra- and intra-diegetic music, jump cuts, cross fades, fades to black, etc. go on to show that the telefilm does not shy away from digging into cinematic possibilities. Similarly, the colour grading is designed in such a manner that the spectator is faced with an enhanced experience of the time period, of working class Manchester and most importantly of the broody, grim quality of the subject. On that note, in the only graphic moment of the film – that of teenager Edward Evans’ murder, told by glimpses in flash backs – the film crew grants itself artistic license to let a stylised red light surrealistically wash over the scene. Though an effective pov depiction of David’s emotional state as he comes to witness manslaughter, this has the consequence of magnifying the brutality of the act in an outright hyper real, out-of-context fashion.

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Lastly, it is interesting to remark that through Menaul’s camera lens, Saddleworth Moor nearly becomes character of its own, seemingly haunting the characters and incidentally the audience. Via a series of heavily atmospheric, theatrical shots of the surroundings, we almost get a sense of ominousness from the rolling hills as an ending tribute to the victims reminds us the land still retains the body of Keith Bennett, third possible victim of the moors murderers. 

All in all, what is potentially the most troubling element about See No Evil: The Moors Murders, and any adaptation that re-inscribes non-fictional criminal cases into a medium usually devoted to entertainment, is the on-screen impressions this sort of translation involves. Although the picture obviously seeks to serve as a memorial to the Smiths and the victims, it settles for a format that often plays the role of cathartic outlet and goes beyond pure information, into a world of characterisation, speculation and divertissement. It sparks off the paradoxical notion that the film is involuntarily blurring the line between your average cop-show/soap opera and real-life mass murders, as if desirous to replace such atrocities inside the realm of fiction, yet simultaneously trivializing violence on the small screen; a phenomenon which highlights how fabricated narratives are feeding off real tragedies and vice versa. In that light, it is rather thought-provoking to observe that there is a need for those ‘stories’ to live on and repeatedly get unpicked, proving that more than 40 years later, events like the moors murders still have Britain in shock. 

Illustrations.

Figure 1. The Smiths exit Chester Assizes Still. (2006) From: See No Evil: The Moors Murders. Directed by: Menaul, C. [Film still] United Kingdom: Granada Television. 

Figure 2. See No Evil: The Moors Murders. (2006) [Film DVD Cover] At: http://covers.box.sk/index.php?pid=cove2&p=v&rid=95443&&por=3&mod=front+back (Accessed on 11/01/16).

Figure 3. Myra Hindley kneeling near a grave Still. (2006) From: See No Evil: The Moors Murders. Directed by: Menaul, C. [Film still] United Kingdom: Granada Television. At: http://explore.bfi.org.uk/4ce2b8b450146 (Accessed on 11/01/16).

Figure 4. Edward Evans' Murder Still. (2006) From: See No Evil: The Moors Murders. Directed by: Menaul, C. [Film still] United Kingdom: Granada Television.