Foyle's War

I have never been one for the sort of "crime drama" which is popular in the US. But I am a big fan of mysteries. In the past few years I have really become involved with historical mysteries and this seems to be one of the best. Notice history comes first - mystery second. Solving the crime though central to the plot of the Foyle's War stories it is not the key. The important part revealing how people "back then" felt about and reacted to what was going on. I think Foyle's War does an excellent job. You can feel the tension and weariness about the war. I also liked that though the various characters try to justify their actions because "there's a war on" you can tell that internally they know what they are dong is wrong or right. Though Kitchen and cast do an excellent job bringing out these feelings and ideas without words and without over acting, I think we also have to give credit to the Director and the cinematographers.

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.

This series (to date rented from online rental rentflix company) builds credibility in all characters, intricate though typically British murder mystery confrontations, come-uppances to the antagonists who deign to impugn Foyle in the beginning of episodes (with excellent plot lines throughout) and a believable interplay between complex characters. The only question NOT answered to date is WHY Foyle does not drive. Fortunately because he doesn't, he gets to have Sam as a driver. Maybe that is the reason! Would buy this boxed set when it is available, have not seen it yet. The realism achieved by set design, as well as the opportunity to see a real spitfire flying in many scenes makes it a pilot's movie as well. The series musical theme is also hauntingly beautiful. Foyle's quiet calm and non-reactive traits are especially lovable.

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.

This is a good idea for a mystery series and it is done well. Michael Kitchen gets a lot of acting mileage out of a slight tilt of the head or a raised eyebrow. He's definitely the master of delivering lines in a low key manner. All the episodes I saw were well constructed narratives and the WW II era was recreated very well. I hope this series continues on for it seems like the producers are capable of coming up with more intriguing stories. Credit must be given to the parents of Honeysuckle Weeks for not only producing a talented daughter but giving her such a charming name. It's a nice little touch to have her character drive Foyle around as he does not drive a car.