Foyle's War

These shows do a great job of creating an image of the British Home Front that is very different from the one romanticized in the history books. We get a very real feeling that the British public "knew" the war was lost in the darkest hour, yet still kept a stiff upper lip. This tension, combined with wartime secrecy, energizes the drama. The war is like the weather is in other mysteries; criminals often use it as cover for their activities (blackmarket petrol, draft dodging, burglary, blackmail, and the like hidden by blackouts, bombing raids, and official secrets) and it's the job of the police to uncover all of the layers. In doing so, Chief Inspector Foyle asks hard moral questions - even in wartime, when thousands are being killed every day, is murder murder? The "bigger picture" is often cited as justification by the criminals, and, through association, this paints the leaders of the war with the same brush. A great show for children - this can spark interest in the period while also teaching moral lessons. Unlike some nihilistic modern fare, Foyle's War strives to show moral clarity through the confusion.

Foyle's War follows the life of a detective and his team based in Hastings in the south of England during the Second World War.

Although he is obviously called on to investigate crimes, the programme deals with so much more - there is a real feel for what it must have been like to be in Britain when it stood alone against Hitler, when the outcome was not just uncertain, but may well have meant invasion and persecution. The period is therefore much more than a "backdrop". For instance, Foyle's son is in the RAF, and his sergeant was seriously wounded in Norway.

The scripts are intelligent, the plots engrossing and, with casts drawn from the cream of British actors, the performances are impeccable.

What a great series {so far}. Well done to the cast & all the many others associated/involved with this series. Both my parents were caught up in the war: My Dad was in the RAF, & my mum being nine years younger was evacuated from Portsmouth to an Aunt who lived in the 'country'. I never knew what a 'funk hole' was until watching this series, & when I mentioned it to my Mum, she quite calmly said 'oh yes we all knew about them'. I'm sure others may think that some things are not accurate, but books don't always tell the truth: if ever in doubt ask someone who lived through this time period. Let's hope series three lives up to the other two.

This is a compelling and oddly comforting drama. There is the setting and the time -- Hastings, on the southern coast of England during World War II. Hastings of course was the site of the last successful invasion of England, in 1066, and that threat seems real in the early days of the war. In the series, it is a provincial town where Deputy Chief Superintendent Foyle tries to solve local crimes of theft and murder, while dealing with wartime problems of black markets, sabotage and espionage. In addition to meddling from police superiors with their own agendas, Foyle must contend with bureaucratic and military interference from London as the war creates situations that lets criminals go free.

Then there are the scripts and the actors, not to mention the overall quality of the production -- lucid photography, theme music with echoes of Brideshead Revisited, period clothing, vehicles, etc. The writing is measured, intelligent, no wasted words. Honeysuckle Weeks and Anthony Howell in the supporting roles of Samantha Stewart and Paul Milner are excellent and play off each other well.

But the show belongs to Michael Kitchen and you wonder why you've never seen this actor before and when you will see him again. He conveys the competence and integrity you want in your hero, but the real attraction, I think, is that he is the ultimate father figure. He is concerned about people without wearing it on his sleeve; gruff, even curt, but letting us glimpse the tenderness behind it; and he is wise, not only a clever detective but wise in the ways of the human heart. He is a father not only to his son, Andrew, an RAF pilot, but also to Sam and Milner and to any number of characters in the various episodes, including his goddaughter in the last (final?) episode. Invariably, this father knows best. While he conveys a sense of vulnerability, you never have the feeling Foyle has really made a mistake. This is why I think the films are comforting. With all the chaos of war, and darkness of human behavior, Foyle moves through it all, self-possessed, caring, and ultimately, even when circumstances beyond his control keep him from actually incarcerating the wrongdoer, successful in protecting his charges from evil.

The most derogatory remark I've ever heard an intelligent people make about this program is that it drags on a bit, but quite frankly that's only because ITV go and stick 25 minutes of adverts into a otherwise perfect fluid 95minute program. I suppose you could argue that the sheer lack of offended and dishearten viewers is testament to its boring nature, but that quite frankly is nonsense as well. You see the thing about this program is that it soothes you, it's relaxing to watch but doesn't insult your intelligence. I could go on for pages and pages about the acting, writing and attention to period detail but I won't bother because by the looks of it many before me have done so already. The two simple and only facts you really need to know about this program are that Kitchen is an underrated genius and that as detective/murder mysteries go this is, and will remain, a timeless masterpiece.