Story and style
In the pilot episode, "Man from the Dead", the reason for McGill's disgrace is revealed. During an assignment six years earlier, he discovered that a top western scientist called LeFarbe was preparing to defect to the USSR. Though he planned to intercept the defector, he was ordered to stand down by his superior Harry Thyssen. Shortly afterwards, LeFarbe went over to the Soviets. Accused of complicity in the defection, McGill was unable to call on Thyssen to clear his name, as his superior had been drowned in a sailing accident, and he was forced to resign from the service amid much negative publicity. Six years on, McGill discovers that Thyssen is still alive, his death having been faked. He is now working as a sailor on a Russian freighter, in which capacity he acts as a courier of secret information from LeFarbe. The scientist is in fact a double agent, now highly placed in the Soviet scientific community to provide valuable intelligence. As McGill's diligence nearly blew open this important operation, his superiors had no choice but to make him a very public scapegoat, to maintain the illusion of the LeFarbe defection as genuine. On the series' first broadcast on ATV Midlands "Man from the Dead" was screened as the sixth episode; "Brainwash", thought to be a stronger tale, was in fact broadcast first.
Building on this foundation, Man in a Suitcase is a series very much about betrayal, mistrust and deceit. Because of his unofficial, semi-legal status, McGill often finds himself being hired by unscrupulous clients and unwittingly used for criminal ends, or set up as a fall guy. On several occasions, characters from his past with US intelligence draw him into dangerous situations; and he can also be blackmailed or tricked into participating in espionage missions, as he is the perfect deniable operative. A number of the series writers were new to ITC, and this resulted in a show that was markedly different from the usual light-hearted adventure and espionage fantasy of such series. It highlighted character-based drama grounded in a cynical view of the real world, making it more akin to the spy novels of John le Carré and Len Deighton.
As developed by Bradford, the characterisation of McGill is complex. As a man who feels betrayed by life and his country, he can appear outwardly as surly, moody and uncommunicative, but this masks a sensitive interior. McGill feels compassion for those who were the victims in his cases, and would try to help them, often at his own cost.
The level of violence portrayed in the show was unprecedented for an ITC series. This was partly because of Bradford's concerns that the stories and characters should remain real. Unlike most TV action heroes of the time, McGill would not get cleanly knocked unconscious and then recover without effect; Bradford took great pains to depict the character as wounded and concussed. In addition to beatings, McGill is several times shot and stabbed, and ends more than one episode recovering in hospital.
One gimmick of the show is that McGill's first name is never revealed. Some close friends instead know him as "Mac". Note, though, in the episode 'Who's Mad Now?', McGill goes to pick up his mail, and one of the letters is clearly addressed to "R. McGill Esq."
As with the other ITC series of the era, although the plots took McGill far and wide around the world, in reality the majority of filming was done in and around Pinewood Studios. The series was unusual in its use of night-time filming (as opposed to the day-for-night approach common at the time). Actual locations included London's South Bank and White City Stadium in "Man from the Dead", Albert Bridge, London in "The Bridge" and Kingston upon Thames in "Day of Execution", the latter a setting for a remarkable (for its time) night-time car chase.
