The thrilling sequel to Tinker, Tailor, Soldier, Spy Both had supposedly outlived their usefulness to the Circus, the British Secret Intelligence Service: George Smiley, the retired head of espionage, and General Vladimir, an aging informant who reported to him. When the general walks into a bullet after sending an urgent message to his old handler, the Circus asks Smiley to "tidy things up. " But Smiley hears Vladimir's message as a call to arms against his nemesis, the Soviet super spy Karla, once again tantalizingly within his grasp. Alec Guiness reprises the role of British spymaster George Smiley in this gripping sequel to the television masterpiece Tinker, Tailor, Soldier, Spy. Filmed on location in London, Paris, Hamburg and Berne, Smiley's People also stars Eileen Atkins, Anthony Bate, Bernard Hepton, Michael Lonsdale, Beryl Reid, Patrick Stewart and Bill Patterson.

Anthony Hopkins gives a subtle but searing performance as a lawyer who aspires to a political career but takes dangerous steps. Eager to escape the boredom of his marriage, John Strickland (Hopkins) first just flirts with the daughter of some friends. But when a social worker named Paula Gerard (Lise Hilboldt) approaches him for help with a case, she turns out to be not only young, pretty, and attracted to John, but is also the heiress to a large fortune. As the affair progresses, John discovers that both his wife and his mistress have secret sides-which come forth after a gruesome murder. A Married Man is slow but meticulous, and the breadth of psychological detail possible in a four-hour miniseries creates a vivid picture of marriage and adultery. Hopkins excels at the kind of stark inner conflict that burns with a cold but brilliant flame. -Bret Fetzer.

Life as a private detective begins at 60 for sprightly Lancashire housewife Hetty Wainthropp (Patricia Routledge, Keeping Up Appearances). Her newly retired husband, Robert (Derek Benfield, Rumpole of the Bailey), thinks she ought to be winding down with him, but Hetty takes a job to make ends meet and accidentally discovers her natural gift for sleuthing. Finding an eager sidekick in destitute teenager Geoffrey Shawcross (Dominic Monaghan, The Lord of the Rings trilogy), Hetty sets up her own detective agency, puts her sensible pumps to the pavement, and proves she has what it takes to be a gumshoe of distinction. Includes two episodes not seen on Mystery!.

From the moment the young Kunta Kinte (LeVar Burton) is stolen from his life and ancestral home in 18th-century Africa and brought under inhumane conditions to be auctioned as a slave in America, a line is begun that leads from this most shameful chapter in U. S. history to the 20th-century author Alex Haley, a Kinte descendant. The late Haley's acclaimed book Roots was adapted into this six-volume television miniseries, which was a widely watched phenomenon in 1977. The programs cover several generations in the antebellum South and end with the story of "Chicken" George, a freed slave played by Ben Vereen whose family feels the agony of entrenched racism and learns to fight it. Between the lives of Kunta and George, we meet a number of memorable characters, black and white, and learn much about the emotional and physical torments of slavery, from beatings and rapes to the forced separation of spouses and families. Nothing like this had ever confronted so many mainstream Americans when the series was originally broadcast, and the extent to which the country was nudged a degree or two toward enlightenment was instantly obvious. Roots still has that ability to open one's eyes, and engage an audience in a sweeping, memorable drama at the same time. -Tom Keogh.

What better way to escape from the onslaught of so-called reality television than to sail away with Richard Chamberlain to "the Japans" for a little samurai action and some discreet "pillowing"? From the golden age of the miniseries comes this television benchmark, the 10-hour, Golden Globe-winning saga based on James Clavell's bestselling epic. In his award-winning performance, Chamberlain stars as John Blackthorne, the 17th-century English navigator on a Dutch trading ship. A storm runs the ship aground off the coast of Japan, a "torn and cruelly divided country" locked in a power struggle between Toranaga (the venerable Toshiro Mifune) and Ishido, two warlords who would be Shogun. Blackthorne gets over his initial culture shock ("I piss on you and your country," he defiantly proclaims to his samurai captors, which to his humiliation turns out to be an unfortunate choice of words) to become a trusted ally of Toranaga and the lover of the beautiful interpreter Lady Mariko (Yoko Shimada). Their forbidden, ill-fated romance-and Blackthorne's total assimilation into Japanese culture-is set against political intrigue as Toranaga prepares for the inevitable showdown with Ishido, and Blackthorne's growing influence threatens the local Jesuits who had built up a lucrative trade monopoly. Shogun was a production blessed with good karma, and it remains an awesome achievement from a bygone era when the miniseries was king. -Donald Liebenson Originally broadcast in September of 1980 as a 5-part, 12-hour miniseries, Shogun stood out from the pack of television events at the time with its boldness of action and calculated risks. Based on James Clavell's epic novel, Shogun stars Richard Chamberlain as John Blackthorne, a 17th-century English pilot commanding a Dutch ship that wrecks off the coast of Japan. Viewed suspiciously by local authorities, Blackthorne is at first in some danger of being executed. But with little hope of returning to Britain anytime soon, he begins to assimilate into the feudal society, befriending a powerful warlord (Toshiro Mifune) and wearing the robes of a samurai. [+]

By now the revisionist Western chronicling the horrors suffered by the American Indian has become a genre as codified as the old Westerns ever were. And, regrettably, the new genre is just as susceptible to oversimplification and facile audience manipulation. This Canadian miniseries, based on a true story, manages to avoid all pitfalls, however, filling out its three-hour running time not with tirades faced toward the choir or half-baked mysticism, but with generous and sympathetic portraits of people caught up in the waves of history-inevitably to their peril. When Canadian officials insist that Cree chief Big Bear (Gordon Tootoosis, in a performance of nobility but also with enough of an old man's confusion about a changing world to avoid cardboard saintliness) sign a treaty and lead his people off the buffalo-rich land where they have lived, he refuses to sacrifice his tribe's independence. But the coming of the soldiers is a fait accompli-in a nice touch the whites' halting attempts at Cree are identical to the ungrammatical "Injun" speech of movies past-and the arrogance and casual cruelty of the reservation agents spur younger members of the tribe to declare war. Big Bear is philosophical about what he sees as an unwise move, while his wife Running Second (the formidable Tantoo Cardinal) spitefully mocks the "brave young men" whose actions have forced them on the run. Only one of many scenes testifying to the expansive humanity director Gil Cardinal brings to this film. -Bruce Reid.

Tin Men, the second in Barry Levinson's ongoing film series about his native Baltimore in the 1950s and '60s, focuses on a pair of competing aluminum-siding salesman at a point when the industry was loaded with scam artists. Richard Dreyfuss and Danny DeVito play rivals who get involved in a fender-bender that quickly escalates from a minor argument into an all-out war, as they begin pulling practical jokes on each other. Dreyfuss takes it too far, however, when he sets out to seduce DeVito's unhappy wife (Barbara Hershey) and winds up falling in love with her. Much of the humor here comes from writer-director Levinson's keen ear for the way these people talk-and what they talk about (like the discussion of why four men are living together without women on the Ponderosa in Bonanza). Beside the leads, the cast includes a great host of character actors, including Jackie Gayle, Bruno Kirby, John Mahoney, and J. T. Walsh. Others in Levinson's body of Baltimore films are Diner, Avalon, and the most recent, Liberty Heights. - Marshall Fine.

Granada Television's adaptation of The Forsyte Saga achieved the seemingly impossible in spring 2002, matching the BBC's 35-year-old black-and-white classic version with a richly cast and superbly directed take on John Galsworthy's first two novels. The success of these six 90-minute episodes proved that despite the current emphasis on miniseries and dramas developed around the hot actor of the moment, our appetite-and attention span-still craves ensemble pieces that are given space and time to develop. It also demonstrates that nothing generates television gold like a compelling family drama crammed with lust, rape, class conflict, and the insuperable power of money. The Forsyte Saga is nothing if not superior soap opera. It could all have gone horribly wrong, haunted by the specter of its BBC predecessor-a television legend for anyone over 40. Instead, it succeeds entirely on its own merits with scarcely a weak link-from Stephen Mallatratt's taut and fluid script to David Moore's carefully measured, seamless direction. Risks were taken to banish the old ghosts, particularly in the casting. Damian Lewis's repressed Soames and Gina McKee as his ill-matched bride, the enigmatic Irene, are inspired choices delivering complex portraits of unhappy, damaged human beings who deserve our sympathy. In a sea of marvelous cameos and splendid acting, the top honors go to Corin Redgrave and Rupert Graves for their hauntingly sensitive interpretations of old and young Jolyon, as well as to Amanda Root for her increasingly exasperated Winifred and Gillian Kearney for her sharply intelligent and worldly June. -Piers Ford.