Jeff Randall and Marty Hopkirk are private detectives who specialize in divorce cases. Their long-running partnership seems to come to an abrupt end when Marty is killed by a hit-and-run, but Marty is soon back–as a ghost–to help solve his own murder. While he's doing it, he misses his chance to go to heaven, thanks to an ancient curse that states: "Before the sun shall rise, each ghost unto his grave must go. Cursed be the ghost who dares to stay and face the awful light of day." So Marty is stuck on Earth, as a white-suited spirit whom only Jeff can see, continuing their partnership and keeping (jealous) tabs on his wife/widow, Jean.
The 1960s produced a consistent number of imaginative UK television shows that, from science fiction and the supernatural, to crime dramas with international sleuths and adventurers, and Randall and Hopkirk (Deceased) fused the supernatural with the hardboiled detective genre in an engaging style. Thus, the adventures of Jeff Randall and his ghostly partner, Marty Hopkirk (who only Jeff can see) makes for a great team, a factor helped by the obviously onscreen charisma of Mike Pratt and Kenneth Cope (and not forgetting the contribution of Annette Andre as Jeannie, whose widowed life gives the series a sense of poignancy as Marty helplessly and invisibily looks on). As such, our private investigator gets into all kinds of scrapes, only to be helped (and frequently saved) by his spectral friend. Ok, the effects are dated and were not exactly sophisticated in the first place (obvious strings on flying vases, jerky edits, Marty always casting a shadow and tripping over some foliage in one scene), but who cares when the writing and acting is so engaging? Not me, that's for sure. However, while many reviewers lament the fact that not that many episodes were made, it was probably a good thing. This is because each episode pretty much follows a standard formula, with Jeff ignoring Marty's warnings about a case and ending up being overpowered and captured by an assortment of gansters and heavies, duped by duplicitous women, tied to various items of furniture, or locked in a myriad of rooms. All of this results in Marty having to contact a conveniently large number of local mediums, people in a hypnotic trance (who can hear Marty's voice within their mesmerised state), or swinging party goers mucking about with Ouija boards to get the police a-rushing to Jeff's rescue (and they always do, without asking any questions). Indeed, you could play an enjoyable drinking game based on how many times Jeff is knocked unconscious per episode (not forgetting a secondary game based on how many times Jeff is accused of committing the crimes he is investigating by the police). Consequently, given the number of beatings, concussions and near-death scrapes Jeff gets into (and the fact that he is always broke), you wonder why he sticks with the PI game at all (especially when he cleans up at a poker game, aided by Marty's ability to see all of the other players' cards - he could be rich on the pro-poker circuit!). Consequently, the narrative deja vu does become a little wearisome and so it is difficult to see where the show could have gone in any further series (lacking the almost endless inventive possibilities of alternative shows such as The Avengers, for instance). However, Randall and Hopkirk (Deceased) remains a delightful and original series, and you just go with formula due to the charisma of Jeff and Marty, and it is a shame that we did not get a concluding episode as the series was cut short.
The positive reviews for this show were nearly all written by people who had memories of having seen this series as a child. I too can wax poetic about Gilligan&#39;s Island but that doesn&#39;t make it Chekov – The fact is this series is dreadful. The concept is good and should provide lots of fodder for episodes, but the writing, acting and production is too amateurish and simplistic.<br/><br/>The cheap production values almost make it a candidate for cult status but the cheesiness isn&#39;t quite enough to work: visible wires, the movement of actors between stop takes for the ghost to disappear, the same extras used over and over (in one scene an old lady appears in two different hats and a fur coat exiting a theatre), and obvious two dimensional pictures outside windows of street scenes and buildings.<br/><br/>The no-name actors are so stiff and unfunny I was unaware this series was supposed to be a comedy until the 3rd episode. Not that I feel lead actors should always be young and handsome, but the lead actor who plays the living detective is also in shockingly bad shape for a 38 year old - he looks 50! <br/><br/>The far fetched story lines echo some of the great sci-fi Brit series of the period, from The Prisoner to The Avengers, but there is no originality or thought put into the episodes by the writers to try to make the stories credible. The episodes always rely on some far fetched scheme by some master criminal that uses some inexplicable technology or parapsychology to steal a secret formula, from body doubles and hypnosis to cross dressing and machines that make things fly around the room. The problem is in this case the writers were in way over their head and had no idea how to maintain that kind of creative writing. They should have stuck to simple murders and robberies.<br/><br/>Probably the best episode I saw (I could only manage 6 episodes before I had to turn it off) involved a murder of a mind reader in a music hall. The story is given away at the very beginning when a &#39;lady&#39; from the audience is asked to load a bullet into a gun. The lady is 6 foot 3 inches tall and has 5 o&#39;clock shadow…


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