Stephen Poliakoff's slow-burning drama had turned into a propulsive whodunnit by this final episode, hurtling towards a resolution with panache and surprise. The five-part mini-series about a black jazz band in early 1930s high society has had the feel of an exploratory score at times. With syncopated beats and riffs decorating its unfolding narrative, the occasional scene and detail has seemed superfluous. But Poliakoff has had his reasons. By episode five,music cds stores, almost every character had a motive for murdering Jessie (Angel Coulby), the lead singer, or at least assisting in a cover-up.

This episode juggled the escape of innocent band leader and murder suspect, Louis (Chiwetel Ejiofor), to safety from the police, alongside the search for the real killer. As Stanley (Matthew Goode), ever the dashing hero, helped Louis to hide, suspicion gathered around other characters. Masterson (, pictured below), the wealthy American, looked increasingly shifty, buying up Stanley's music magazine with Lavinia (Jacqueline Bisset), the part-time recluse, and lavishing positions and gifts on everyone. He had already been implicated in the beating-up of a young girl. But was it him? Sarah (Janet Montgomery), the photographer, suggested he was protecting Julian. But why? It was Lavinia who came up with an answer: Masterson had homoerotic feelings for his young employee. More scandal!

The characters finally revealed their depths and their flaws. Sarah, Louis's loyal lover,movies tv series, gave the police a lead to help find him, while Pamela, the It girl, demonstrated surprising concern and ingenuity as a member of the fugitive party. Prejudices surfaced with alarming speed, with the apparently open-minded Lavinia deciding that tragedy was "the likely outcome" of society accepting "a negro band".

Julian (Tom Hughes) became even more - and quite brilliantly - strange. Rather than mourning Jessie, he thought about shoes: he must get new ones so that people would think he was important. There were telling clues (on more familiar territory) as to why he might be unhinged: he grew up with an anti-Semitic, uncaring mother. When Julian found a gun in his house, it was a clear sign that he was the killer. To unsettle Masterson, Julian took him out for bangers and mash, and shot himself. Hughes's performance was spectacular, revealing glints of turmoil behind a boyish exterior - he's a talent to watch. As for Louis, he and the band eventually caught a train to Dover, and soon Louis was looking as composed as ever, drinking in Marseille on the way to the US.

The final episode boasted cinematic photography and plenty of swishing gowns and three-piece suits (essential wear even if you're going to be spending the day in a damp basement with a runaway), soundtracked by the warming songs of the alternating with a barrage of strings for the tense moments. InDancing on the Edge,Poliakoff has constructed a believable world, spanning turbulent class divides, and has shown how breaking convention (and the march of progress) come at the risk of losing the safety and comfort of the old ways. With so many ideas here, surely no-one could now accuse this writer of being slow to tell a story.

Poliakoff as a director clearly works hard on how his actors deliver their lines, because every one was milked for its ambiguity. Joanna Vanderham’s quivering vamp with a heart, Pamela,online dvd store, was good at this: “I’ll stick very close,” she said to her wicked murderer brother Julian in last night’s episode, “Almost all the time.” That “almost” hung in the air long after she’d said it, the one hint that perhaps she knew of his evil. That her wish to trust him wasn&rsquo,online watching tv shows;t quite the same as her doing so.

But in the end the storyline let us down. How dull that Louis escaped and that Julian confessed and shot himself. How much more real and darkly brilliant would it have been if Louis had been caught and hanged, his friends, like his lover Sarah, too callow to have saved him. Poliakoff it seems didn’t want to make up enough plot to make this drama hit us hard, opting for the weakly pleasing artifice of symmetry by ending the drama in the manner it had begun, or at least nearly begun, with the Louis Lester Band (minus Louis) playing to a room full of bored dowagers in the Imperial Hotel.

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