Codename Icarus (1981)

Just when you think you have discovered all the miniseries there are to discover, you find a new one. That was the case with Codename Icarus. We thought we had exhausted the field of British children's television programs and then Paul, a wonderful film collector, shared this hard-to-find title. 

Codename Icarus (1981), a quietly unsettling conspiracy thriller, was the brainchild of screenwriter Richard Cooper. It poses the query, "what if an organization used gifted children to develop scientific breakthroughs for their own diabolical means?" If an organization could separate the children with advanced minds from their regular schools and then train them to work on problems for their own use, what could stop them? Well, in the series, one man could stop them. At least, he will try. 

Martin Smith (Barry Angel) is one of the eccentric gifted children who was most recently brought to Falconleigh, a private school in the country run by the shadowy Icarus Foundation. He was told that he could pursue his own studies and that teachers - who act more like servants - will be able to provide him with "challenges" which he can work on to engage his mind. These homework assignments are actually pieces of research projects that other scientists are having difficulty solving. 

At Falconleigh, pupils are addressed with strict formality, social bonds are discouraged, and “The Game” — conducted in a deserted squash court — subjects them to interrogation, hypnosis, and mental conditioning. Martin, who was at first delighted to be going to a school that recognized his talent, soon discovers the real "game" that Falconleigh is playing on the students. He wants to escape but is unable to. 

Parallel to the child-strand is an adult storyline, led by intelligence officer Andy Rutherford (Jack Galloway), investigating why British missiles keep failing in testing — and gradually tracing the threads of sabotage back to Falconleigh and Icarus. 

It’s this structural balance — the youthful and the grown-up plots proceeding in tandem — that makes Icarus feel less like “children’s TV with spies” and more like a compact, morally serious drama. British screenwriters always seem to be pushing the boundaries of what defines children's television and normally a program such as Codename Icarus would have been a treat to watch. However, Richard Cooper's script pushed the boundaries a bit too far. Why would children be anxious to tune into next week's program to watch other children undergo drug treatment or be interrogated? Even this extreme possibility may have happened if Barry Angel made his Martin Smith character a likable chap. 

Codename Icarus could have been a series about two or three highly intelligent children banding together to escape the school and expose its founder to the British secret service. Adults would have enjoyed the trials of Andy Rutherford while children could have related to Martin and his compatriots. Instead, Martin is an uneasy, brittle centre: he’s prickly, defensive, and full of resentment at being misunderstood....in short, a thoroughly unentertaining character to watch. The adult cast, especially Galloway’s Rutherford, offers counterweight, but not enough to save the series from just being a dark and unsettling bit of sci-fi television. 

If you cherish the BBC’s tradition of intelligent children’s serials, then you are better off exploring Timeslip (1970), Escape into Night (1972), Children of the Stones (1977), The Bells of Astercote (1980), or The Witches and the Grinnygog (1983). Not only are these more entertaining, but they spark the imagination far more vividly.

The Onedin Line Re-Imagined

A few days ago, my sister and I were watching The Heiress (1949) and seeing the 1850s period costumes and setting reminded me of that excellent 1970s British series The Onedin Line which was also set during that time, except in England not in Washington Square. Then it occurred to me that The Onedin Line would have made a fantastic film in the 1940s and Olivia de Havilland would have been ideally cast as Captain James Onedin's first wife, Anne. Of course, that led to the question of who would have been cast in all of the other roles if this was indeed a Hollywood production from the 1940s.....

Before I get into my casting picks for this imaginary production, check out Wikipedia's summary of the long-running series if you are not familiar with it. Like Upstairs, Downstairs, it will probably be re-vamped into another popular PBS mini-series in the near future but, for now, let's have fun with doing a backdated casting of The Onedin Line. 

James Onedin, who was so perfectly played by Peter Gilmore, would have been the most difficult character to cast. The role called for a man who is headstrong and aggressive and yet very likeable.... such as James Cagney. He would have been a little old for the part in the late 1940s and Onedin is a tall man, so that led me to choose Burt Lancaster. Thanks to the magic of Midjourney, you can picture this choice in the beautiful rendering below. Olivia de Havilland is ideal as his wife Anne. James married her for her dowry but she proved to be such a good wife and business partner that he fell in love with her later. Her father - who liked to tipple - could have been played by Charles Coburn, and Joseph Cotten would have performed the part of James' brother Robert splendidly. 

Now Jame's sister Elizabeth, who was both beautiful and impetuous, could have been played by Lana Turner, and Zachary Scott could have tackled the role of the debonair Mr. Frazer. Lastly, there was Daniel Fogarty, the handsome seaman who loved Elizabeth.... ideally played by Alan Marshall. 

After doing these imaginary castings, I wondered what choices ChatGPT would have made. Every once in a while I like to throw it a question to test its capabilities, so this seemed like a fun question to pose.... and it responded with some surprisingly good picks! 

This is the answer to the question, "If The Onedin Line was a feature film made in 1948, who would you have cast in that film? It could be a British production or a Hollywood production."

That’s a marvelous what-if! The Onedin Line — with its blend of maritime adventure, class struggle, and passionate ambition — would have made a magnificent 1948 feature film, whether produced by Ealing Studios or a Hollywood studio like MGM or Warner Bros.

Let’s imagine two versions — one British (authentic, gritty, and character-driven), and one Hollywood (lavish, romantic, with a stronger focus on spectacle and glamour).

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⚓ British Production (Ealing Studios or Rank Organisation, 1948)

Director: Charles Frend (Scott of the Antarctic) or David Lean (Great Expectations, Oliver Twist)

James Onedin – Trevor Howard
→ Rugged, determined, with that flinty intelligence and undercurrent of pride. Perfect as a man clawing his way up from poverty to respectability.

Anne Webster/Onedin – Jean Simmons
→ Fresh-faced, tender yet strong-willed. She’d bring the quiet emotional backbone that tempers James’s ambition.

Elizabeth Frazer – Valerie Hobson
→ Elegant and high-born, with that refined coolness that makes her both sympathetic and formidable.

Robert Onedin – Michael Redgrave
→ Polished and respectable, in contrast to James’s rougher edge; his moral conflicts would play beautifully in Redgrave’s hands.

Captain Webster (Anne’s father) – Cecil Parker
→ A kindly but stubborn sea captain with a moral compass and a soft spot for his daughter.

Daniel Fogarty – Stewart Granger
→ Handsome, brash, and charming — a perfect rival for James both in love and ambition.

Mrs. Sarah Onedin (James and Robert’s mother) – Flora Robson
→ Warm, weary, and wise — the moral heart of the family.

Music by: Alan Rawsthorne or Ralph Vaughan Williams
→ For sweeping maritime grandeur and emotional resonance.

Cinematography: Guy Green (beautiful North Sea light and dramatic shipboard scenes)

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🌊 Hollywood Production (Warner Bros or MGM, 1948)

Director: Michael Curtiz (Captain Blood, The Sea Hawk) or Victor Saville (Green Dolphin Street)

James Onedin – Gregory Peck
→ Strong, stoic, with moral gravity and a romantic streak. Perfectly suited to a man rising from sailor to shipowner.

Anne Webster/Onedin – Deborah Kerr
→ Graceful, compassionate, with quiet strength — the ideal moral and emotional counterweight to Peck’s intensity.

Elizabeth Frazer – Greer Garson
→ Elegant and poised, but with hidden vulnerability — she’d elevate Elizabeth’s role into one of quiet tragedy and dignity.

Robert Onedin – David Niven
→ Urbane and slightly superior, but ultimately loyal; a perfect foil to Peck’s intensity.

Captain Webster – Charles Laughton
→ Gruff but warmhearted, with a deep love for the sea. His scenes would be unforgettable.

Daniel Fogarty – Tyrone Power
→ Dashing, ambitious, and romantic — an ideal rival for both Anne’s heart and James’s business.

Mrs. Onedin – Gladys Cooper
→ Regal and reserved, representing the family’s dignity amidst turmoil.

Music by: Erich Wolfgang Korngold
→ Lush, heroic, and sweeping — full of salt air and stormy romance.

Technicolor cinematography by Sol Polito or Jack Cardiff
→ Tall ships in the Mersey glinting under golden sunlight, with lavish seascapes and tempestuous skies.

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Optional Alternate Visions

• Powell & Pressburger version (1948) – beautifully surreal, with Roger Livesey as James, Wendy Hiller as Anne, and Anton Walbrook as Robert — a more allegorical, poetic take on ambition and love.

• British Lion Studios version (grittier) – Richard Burton as a younger, more volatile James; perhaps made in black and white with a social realist tone, emphasizing class conflict.

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I like the casting for the Powell and Pressburger and British Lion productions, too. Spot on! Look at the director choices, too. How did it know I was thinking about Green Dolphin Street? Eerie. I then ran this same question in Microsoft's CoPilot to see what it generated and it has some excellent choices, too. Again, it placed the British production first and its Hollywood version second. 

🎬 Hypothetical 1948 Casting for The Onedin Line

🧭 James Onedin – The ambitious, brooding shipping magnate

• Trevor Howard – Known for his intensity and gravitas (Brief Encounter, The Third Man), he'd bring a steely resolve to James.

• Michael Redgrave – A commanding presence with emotional depth, perfect for portraying James’s inner conflicts.

• Stewart Granger – Handsome and charismatic, with a flair for adventure (Scaramouche, King Solomon’s Mines), ideal for the romantic and ruthless aspects of James.

💼 Robert Onedin – The pragmatic, business-minded brother

• Nigel Patrick – Slick and sharp, often cast as urbane professionals, he’d suit Robert’s calculating nature.

• Cecil Parker – For a slightly older take, his dry wit and businesslike demeanor would fit Robert’s role well.

• Jack Hawkins – Solid and dependable, with a commanding voice and presence, he could portray Robert’s more grounded side.

💃 Elizabeth Onedin – The strong-willed sister navigating a patriarchal world

• Deborah Kerr – Elegant and intelligent, with a quiet strength (Black Narcissus, The Life and Death of Colonel Blimp).

• Jean Simmons – Youthful but fiery, she could capture Elizabeth’s ambition and emotional complexity.

• Margaret Lockwood – Known for her spirited roles and dramatic flair (The Wicked Lady, The Man in Grey), she’d bring edge and charisma.

🎬 Hypothetical 1948 Hollywood Casting for The Onedin Line

🧭 James Onedin – The ambitious, brooding shipping magnate

• Gregory Peck – Tall, commanding, and morally complex (Captain Horatio Hornblower, Gentleman's Agreement), perfect for a man torn between love and ambition.

• Tyrone Power – Dashing and intense, with a flair for adventure (The Black Swan, Nightmare Alley), ideal for James’s romantic and ruthless sides.

• Humphrey Bogart – For a grittier take, Bogart’s edge and charisma (The Treasure of the Sierra Madre) could make James a darker antihero.

💼 Robert Onedin – The pragmatic, business-minded brother

• Fred MacMurray – Often cast as the affable businessman (Double Indemnity, The Apartment), he’d bring a smooth, calculating charm.

• Edward G. Robinson – Sharp, shrewd, and intense (Key Largo, The Woman in the Window), perfect for a more hard-nosed Robert.

• Joseph Cotten – Thoughtful and understated (Shadow of a Doubt, The Third Man), ideal for a quieter but strategic sibling.

💃 Elizabeth Onedin – The strong-willed sister navigating a patriarchal world

• Olivia de Havilland – Graceful and resilient (The Heiress, To Each His Own), she’d bring depth and dignity to Elizabeth.

• Barbara Stanwyck – Fierce, independent, and emotionally complex (Sorry, Wrong Number, Double Indemnity), perfect for a woman fighting for agency.

• Gene Tierney – Elegant and enigmatic (Laura, Leave Her to Heaven), she’d add mystery and allure to Elizabeth’s arc.

Interestingly, both selected Trevor Howard in the lead, which as you can see in the rendering at the top of the post, does indeed seem to be a good choice. Now we just have to wait five years and by that time I can probably prompt these AI chats to create the whole film. Exciting! 

If you are familiar with The Onedin Line, share your top casting picks in the comment box below. Who would you have cast?

The Impossibly Difficult Name that Movie Game

If this game was called Guess the Occupation, it would take no stretch of the imagination to guess what this fellow does for a living, but our game is a little trickier - you have to guess the film this screenshot came from. We'll give you a hint: it is from a black-and-white movie. 

As always, if you are not familiar with the rules to the Impossibly Difficult Name that Movie game or the prize, click here!