Foster tragedy to feature on TV

The huge police probe into failed Shropshire businessman Christopher Foster's suicide and the murder of his wife and daughter last August will be screened in a documentary this week.

The investigation, which was launched after the £1.15m Osbaston House in Maesbrook was turned into an inferno by Foster, will be featured in the Channel 4 Cutting Edge programme at 9pm on Thursday.

Coroner Mr John Ellery ruled that Foster had unlawfully killed his wife, Jill, and their 15-year-old daughter Kirstie by shooting them to the head with his .22 rifle after a two-day inquest last week.

The 50-year-old businessman then killed himself by going into their burning luxury home where he died from smoke inhalation.

West Mercia police chiefs gave Film of Record exclusive permission to make the film, The Millionaire and the Murder Mansion, as the investigation attracted worldwide interest.

It will feature senior investigating officer Detective Superintendent Jon Groves and his team as they worked on one of the most complex and high profile cases West Mercia has seen.

Producers from the film company visited Osbaston House and also spoke to family and friends of the Fosters.

Foster's mother, Enid, and brother, Andrew, both took part in the film, as well as Jill's sister Ann Giddings.

Paul West, chief constable of West Mercia police, said: "We had massive media interest both locally and nationally and almost immediately it was clear that several companies were keen on making a film about the fire and its aftermath.

"After a process of selection and having sought legal advice, we decided to give Films of Record wide ranging access to our officers and staff to try and show the extent of the painstaking work that is required in an inquiry such as this.

"Relatives and friends of the Foster family also agreed to take part in the documentary. The resultant film is as much a broad commentary on life and family relationships as it is on police work and forensic science.

"I found it to be hugely impactive and very moving when I was shown the almost final version last month."

By Kirsty Smallman