Customer Reviews

Foyle's War: Set Four

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4 star:		(8)
3 star:		(0)
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1 star:		(1)

 

 

Upon watching the last thrilling episode, in which Foyle confronts the insurmountable stumbling blocks of wartime necessity headlong by tendering his resignation----After all, the Ruhr dams must be busted!----I had to go online to make sure that a new season was coming up. I have become addicted to this low-key but absorbing, instructive, and endlessly entertaining mystery series. And there are still about three years of World War II to go.

As this series continues, the leading characters, Chief Inspector Foyle (Michael Kitchen) and Samantha (Honeysuckle Weeks), become ever more engaging. The settings of Hastings and the Sussex countryside become ever more picturesque. Moreover, as the mysteries become ever more intriguing, the narrative of Britain during the Blitz----the people's hardships, their gallantry, and in many cases their victimization by unscrupulous profiteers----becomes indelibly compelling. The series would make an excellent teaching tool in a history class, since it not only presents a fascinating account of the war but it also gives a realistic depiction of the toll that war takes on the civilian population. This splendid BBC series puts a human face both on casualties and survivors, whom the modern media tend to dismiss with the callous and meaningless catchphrase, "collateral damage."

Whew! I can now rest easy. There will indeed be another season of "Foyle's War" in 2008.

From Michael Kitchen to Honeysuckle Weeks to the plots to the scenes, this is as flawless a series of movies as I can remember. Classy, poignant at times, funny.

Conveys the WWII period in England in depth without detracting from the plot. Despite the quality of backstory and the depth of the primary characters, these episodes remain mysteries. Amidst the background of war in England in the forties, Foyle hunts what some might see as petty murders or "just thieves". It reminds me of Night of the Generals, showing the single-mindedness and bulldog grip a police officer can have even though the world around him seems to be crumbling.

An expensive, quality piece of storytelling and movie making.

I have the series-to-date and eagerly wait for more.

Michael Kitchen triumphs again as detective chief "superintendent Christopher Foyle. He often identifies himself, however, rather more charmingly: "My name is Foyle. I'm a police officer." No badge is shown or papers presented while so introducing himself. Such would be superfluous though as Kitchen's Foyle, in mannerisms, demeanor, as well as the way his carries himself, makes it rather apparent that he is in law enforcement. And to boot, all this takes place in the early days of the 4th decade of the 20th century, "in the beautiful southern English countryside amid the disorder and danger of World War II"(to quote the packaging).

As in all Foyle episodes a murder takes place and Kitchen methodically goes about solving it. He has a sergeant for assistance as well as an actress side-kick (whose most unusual name in real life is Honeysuckle Weeks) who plays an army soldier seconded to drive for Foyle, who is without a license to do so. Like in many detective dramas the who did it is rather less important than the drama getting to that point. Actually, these hour and forty minute long Foyle episodes often go by for me without my giving much serious contemplation toward the solution Foyle seeks. Ever play chess and really focus on 3, 4, 5, 6 possible moves in advance and then play a casual game of chess just for fun? That's how I personally watch Foyle's War. I'm not too interested in guessing then second guessing again & again who I think is the murderer. (I do do that often with David Suchet's Hercule Poirot Agatha Christie mystery dramas, but alas, do too much guessing wrong there, however.


The episodes:
"Invasion"
March 1942: The US Army Corps of Engineers arrives in Hastings to build an aerodrome and Foyle needs to calm a local farmer whose land has been requisitioned by the government. In this episode we also are treated to a guest appearance by Philip Jackson; aka Chief Inspector Jap from Agatha Cristie's Poirot series, although he's but a pub owner herein. And we also get a major development in the Sam Stewart/Andrew Foyle relationship.


"Bad Blood"
A lone aircraft drops a bomb over farmland. Nearby sheep start dying, then a farmers wife, and Sam falls ill.

"Bleak Midwinter"
December 1942: DCS Foyle investigates the death of Grace Phillips who died in what appears to be an accident in a munitions factory.



"Casualties of War"
March 1943: Foyle receives a visit from his goddaughter, who he has not seen for 10 years, and her young son who is shell shocked from when his school was bombed.


Watching Foyle is also very much a period drama, as I've said, giving one a feel for wartime England, the country lanes, the occasional military vehicle and soldier(s), authentic clothes, hats, people on missions greater than themselves passing through the lens. My advice thus is not to overly focus on actively trying to solve these tough-to-crack mysteries to better revel in the actual performances herein. Notwithstanding the "Columbo" series being a totally different style of show, Foyle's War shares a number of similarities with Peter Falk's famed detective: the who-did-it is not the most interesting part of the show, but watching the very deliberate and understated detective go about his job. I particularly relish Columbo's speech manners and the way he draws things out as if they were salt water taffy as he hems and haws, pauses, retreats, etc. Michael Kitchen's Foyle, albeit in his own unique way, is entertaining just to watch as well. He is a man of few words, but very communicative with his demeanor, facial expressions, and the like. A hostile possible suspect verbally lambasts Foyle in one episode, for instance, while Foyle looks into this man's eyes watching him vent. When the man finishes, Foyle begins to pass the man on his way out. The man comes after Foyle trying to add a coda to his venting and when doing so attempts to grab hold of Foyle's arm. Foyle simply continues on his way and half over his shoulder, simply says to a uniformed officer behind him, "arrest this man." In another episode a person asks how Foyle knew something that would be hard to know and came to the conclusion that he did. To which Foyle responds, a picture in his hand, and a knowing expression on his expressive face: "I found this in her diary. I found the diary under her pillow." Maybe I'm just a glutton for language precisely employed, language--bereft of unneeded words---delivered with style. Cheers

"Foyle's War" Series 4 takes us once again to see World War II from the homefront, the homefront being the town of Hastings on England's southern coast. Perspicacious and taciturn Detective Chief Superintendent Christopher Foyle (Michael Kitchen) does his best to maintain justice for both civilians and military in a time of war and powerful politics. He is aided by Detective Sergeant Paul Milner (Anthony Howell), whose soldiering was cut short by injury, and by his adventurous young MTC driver Samantha "Sam" Stewart (Honeysuckle Weeks). Again, PBS chose to air shortened 85-minute versions of these episodes. Unfortunate, since the substance of daily life in a nation at war is in the details. You'll find the full 100-minute versions on the DVDs. The "Series 4" DVDs technically comprise Series 4 and 5, for a total of 4 episodes.

These four episodes take place March 1942-March 1943. The mysteries revolve around events or circumstances that were reality for many British at home while their men fought abroad: GIs arrive in England as the US enters the War in Europe, experiments with biological warfare, resentment and lower pay for women doing dangerous jobs at a munitions factory, touchy international politics hamper efforts to contain saboteurs. I rate Series 4 slightly lower than previous series, because these episodes felt more contrived. The stories seem far-fetched, and DCS Foyle exhibits less depth than he used to. There are an awful lot of top secret facilities in Hastings and its environs and too many coincidences. A little carelessness too: Streptomycin was not discovered until 1943, but they're using it in Hastings in 1942. Nevertheless, "Foyle's War" is undeniably entertaining.

In "Invasion", American military aka "Doughboys" arrive to construct an airfield on Hawthorn Cross, a property belonging David Barrett (Keith Barron). The American Captain Kieffer (Jay Benedict) asks DCS Foyle to help quell the hostility between his men and cantankerous Mr. Barrett, whose farm they are paving over, and to give the GIs some guidance on British culture. Sgt. Milner investigates a house fire in which a drunk man died, leading him to wonder where the man could have gotten so much liquor. A pub proprietor and his ambitious barmaid Susan Davies (Zoe Tapper) are running an illegal distillery. Just as the trail leads to her, Susan is found dead, strangled at dance hosted by the Americans, where she had come to see her boyfriend, Private Jimmy Taylor (Peter Youngblood Hills).

"Bad Blood" finds Sam dating a smitten American "GI Joe" and a nearby military installation conducting experiments in biological warfare. An infected sheep falls off a lorry near Foxhall Farm. Edith Ashford (Caroline Martin), former flame of Sgt. Milner's, implores him to help her brother Martin (Tim Delap), a conscientious objector who has been accused of murdering naval hero Tom Jenkins (Anthony Flanagan). Martin refuses to defend himself, but even Tom's friends swear that Martin is innocent. Meanwhile, the widow of the dead man, Elsie (Claire Cox), falls seriously ill with a respiratory ailment and black sores on her skin. Shortly afterward, Sam develops the same symptoms. All trails lead to Foxhall farm, where Elsie and Martin worked, and where Sam recently cut herself.

Grace Phillips (Kate Ambler) is killed on the job at a munitions factory when she accidentally drops a fuse for a high explosive shell in "Bleak Midwinter". It appears to be a tragic accident, and Foyle is occupied investigating a restaurateur selling contraband turkeys, until Grace's co-worker voices her suspicions that Grace was troubled by something serious and had come to work very ill. Grace's unstable boyfriend Harry (Gavin Brocker) is up to some mischievous enterprise. Sgt. Milner's estranged wife Jane (Mali Harries) is back in town after 2 ½ years and wants to rekindle her relationship with a reluctant Milner, who has found love elsewhere. When Jane is found bludgeoned to death, Paul Milner becomes the prime suspect.

"Casualties of War" refers not to injured persons but to the ideals of justice that are sacrificed to the cause during wartime. Two wayward young men, Frank and Terry Morgan (Gerard Kearns & Harry Eden) are discovered breaking into a palatial home and blackmailed into being saboteurs. Foyle's goddaughter Lydia Nicholson (Kate Fleetwood) shows up on his doorstep, supposedly to give her young son James a change of scenery, as he has not spoken since his school was bombed. The new Assistant Commission Parkins (Michael Jayston) insists that Foyle crack down on an organized gambling ring, but Foyle is busy with the sabotage. When Michael Richards (Kevin Doyle), a man with heavy gambling debts, is murdered, the trail leads to the research facility where his wife Evelyn (Abigail Cruttenden) works on the secret development of spinning bombs intended for German dams.

This is outstanding. This is not to be missed by anyone who appreciates excellent acting, superb writing, perfect period settings and clothes. Michael Kitchen is easily one of the best of the British actors working now - which means one of the best in the world. His subtle, nuanced work is completely believable - never misses a beat. The supporting cast is easily equal. Honeysuckle is adorable - one of the most unique women on the air - and we think she might be the most attractive on either side of the Atlantic. We also like the entire casting set up - people look like PEOPLE - not anorexic 22 year olds who we are supposed to believe are department heads and bosses. The guys in charge are middle aged - this, despite Hollywood's fond delusions - is really how it is.

The Foyle's War series has a more serious intent as well as mystery and entertainment - although it more than fulfills this goal. It also examines different aspects of the war as it was lived by the English. Not glamorized, or shined up, but the way it was. Again, the people look like people look, so you aren't trying to overcome disbelief from the getgo - so you are pulled right into the time and place and situations. Absolutely top notch. I wish I could give it 10 stars out of a possible 5!

I wasn't sure if I'd like this series, but I have all four seasons now and enjoy them very much. They're absolutely stellar.

The ambiance is an important one: the city of Hastings on the SE coast of England. This is the site of the invasion of the Normans in 1066. It is that part of Great Britian settled, first by invitation, by the Angles and Saxons and where they took over by force of arms when they were much less welcome. Here is where the Romano-Britians merged with the Anglo-Saxons and then the Norman French (and therefore Vikings) to create the Britian that has emerged at the present time. For those interested in the history of the island, WWII can be seen as part of the on-going parre and thrust between the European mainland and the British Isles, which makes the war activity and the individual responses to it so vivid.

Also for the historian is the very accurate presentation of British culture, attitudes, and relationships during the 1930s and 1940s. The creators of the series have paid close attention to detail, giving the audience a true experience of what it was like during the time. Clothing, housing, vehicals, the loss of privacy, the loss of common commodoties, the rise of a black market, etc. More importantly it shows the very real effect of secrecy and fear of invasion on justice, truth, education, and relationships. Probably no other series captures the individual human costs of that war--or any war.

The murder mysteries themselves are almost a bonus. Done in a more classic style, or perhaps more properly a transitional style that links the manor house mysteries to the police procedural, the series is at once as fun as the old movies like The Thin Man and the Charlie Chan mysteries, and yet as complex and dramatic as the more modern series like Law and Order or Midsommer Murders. In short the series has a little for each of us, and a lot for all of us.

The inspector, Foyle, is a taciturn individual. Like a good poker player he gives nothing away until he lays down his cards to take the "pot." His associates are delightful characters: An attractive young detective injured in the war and returned to the police force, a pretty driver who has a all the drive and determination one would expect from this generation when they were young.

The mysteries themselves allow the viewer to see the difficulty of finding the purpetrator of a murder--or any serious crime--during a period of secrecy, suspicion, almost paranoia. It also shows some of the frustrations attendant upon bringing individuals to justice who are considered "invaluable to the war effort." It presents the viewer with an important but unspoken question: when is our willingness to suspend the law, to make exceptions, to tolerate crime, to condone the supression of the rights of the individual make us as bad as the enemy and oppression we are fighting against.

A wonderful series. Good mysteries, good characters, good ambiance, good history. Stellar.

The great appeal of Foyle's War is its realism; it often interweaves actual historical events into the plots, which enhances the setting and further illuminates the plight of the characters. This fact sets Foyle's War apart from the myriad of equally enjoyable, but often more colorful, or even a bit comical, mystery series. Unlike the fabulous, and often fanciful, cases of beloved detectives like Hercule Poirot or Miss Jane Marple these stories portray the characters and victims with heart-wrenching reality. Set Four in the series is no different; again we see the ways in which war affects the people at home; the families torn apart, the citizens simply trying to survive no matter the cost, the people who may not go into combat but are no less affected by the violence and chaos of battle.
Featuring impeccable ensemble casts for each episode including subtle, nuanced performances from Michael Kitchen as DCS Foyle, these mysteries transcend mere whodunnits. The characters are developed enough that the viewer can actually feel for them; the crimes are complex enough to engage one's mind until the end. The final episode in this series, "Casualties of War", involving the traumatizing after-effects of the London Blitz on Foyle's nephew is a star in the set. These stories pose real questions about the morality of war; What conduct is acceptable during war? What rules can be bent in the name of victory? It is Foyle's constant struggle with these problems that makes this series so engaging. Series five cannot come too soon!

The fourth series of "Foyle's War," an award-winning British made-for-television historical mystery series, has just made its Public Broadcasting System television debut in this country. It has also been released, in a four DVD set of its four new, feature-length episodes, to coincide with that debut. The popular show, created and written by the remarkably young, talented and prolific Anthony Horowitz, stars Michael Kitchen ("Reckless," "Out of Africa,") as Detective Chief Inspector Foyle. He's ably backed by series regulars Honeysuckle Weeks as Samantha Stewart, his assigned Motor Pool driver; and Anthony Howell, as Sgt. Milner, his second in command. Guest stars in this set include Kenneth Colley, Michael Jayston, and Roy Marsden.

The series is set during World War II: the middle-aged Foyle, who'd prefer to be part of the war effort, must instead fight his lonely battle on the home front, in and around Hastings, on England's south coast; where he has supposedly been sent, from London, to keep the peace. This would be the area most vulnerable to a possible German invasion; conversely, it's also the area where American troops are being massed prior to Dday, when the Allies will invade the continent of Europe. The shows are beautifully filmed on location in London, and on the south coast; each, in addition to a mystery, deals with some of the lesser-known effects of the war: gambling, bootlegging, biological warfare, women in the work force. Horowitz's work has deservedly received top-drawer treatment: there are many speaking parts, all strongly cast, plenty of cars and extras, accurate set dressing.

The first episode in this series, "Invasion," does, in fact, deal with the only invasion this area, and Britain as a whole, actually suffered in this war, that of the American troops being shipped over and stationed in preparation for Dday. At one point, Lord Haw Haw, as the English called one of their better-known turncoats, is heard broadcasting English-language anti-American propaganda on German radio. He's just giving us a variation of what the ordinary Englishman was saying: "they're overfed, oversexed, overpaid, and over here." The satisfyingly complex mystery centers on a provocative bar maid who does a sideline in bootlegging whiskey, and quickly gets too chummy with the Americans.

"Bad Blood," the series' second episode, is also a strong one, dealing as it does with the British Government's secret experiments in biological warfare, particularly anthrax, recently become too familiar to us. The plot's many-layered; as is often the case in Horowitz's work, it gains emotional strength from overlapping family relationships: father/daughter, father/son, uncle/nephew.

"Bleak Midwinter," the third episode, is, to me, the weakest. I'm greatly interested in the subject of women's joining the workforce, in jobs previously considered for men only, in such large numbers. But the mystery's villain sure telegraphs his villainy from the show's opening seconds, and I doubt some of the forensics cited were then available. Furthermore,lighter moments concerned a turkey carcass seized in evidence in a case of rations-cheating, and the fascination the bird exerted on cops starved for meat after years of that rationing. But that fowl sure seemed to hang around long past the point where I'd welcome it on my plate.

"Casualties of War," the fourth episode, was interesting too. Journalists say truth is the first casualty of war: in this episode, the playwright cites that saying, but then goes on to give us several more casualties. People gamble past the point of no return. Education is also in trouble;on top of the bombings, the forced transport of London schoolchildren to the country, and the general dislocation, 20,000 teachers are in the military, and many schools are closed. In addition, we also see the well-known program in which scientists -- boffins, as the English call them -- are trying to develop a bomb that will destroy German dams. "The Dambusters--" these specific scientists and their product, were the subject of several World War II-era movies. We also see the German efforts to spy upon, and sabotage, this scientific undertaking. All in all, it's quite a satisfactory show.

Well, the American troops are already over there, being held in readiness for Dday, June 6, 1944. There's not much European war left, and there doesn't seem to be much appetite for "Foyle's Peace." We'll just have to see. So meanwhile, you ought to get your hands on this.

Set 4 of Foyle's War is made up of the two episodes that comprised the fourth season in Britain and the two that comprised the fifth. The time ranges from 1942 through early 1943. Detective Chief Superintendent Christopher Foyle (Michael Kitchen) continues to track down criminals, yet is deeply bothered by some of the compromises he is expected to make in the name of winning the war. Foyle is a taciturn man, even sad. He has lost his wife and his son is a fighter pilot. In 1939 Foyle desperately wanted to join up, too, but was told by his superiors that his talents are far better utilized where he is. Foyle is a dedicated, no-nonsense cop. He's respectful to authority and the rich, but he isn't intimidated. If a person has committed a crime, especially one which could damage Britain's war effort, Foyle will never let up until the crime is solved and justice -- by the book -- is done.

This series is effective for several reasons. The production values are high. A great deal of effort has been made to establish the look and style of England during WWII. The cast which backs up Kitchen is first rate. These include the ongoing characters of Samantha Stewart played by Honeysuckle Weeks (a great name) as Foyle's driver. Stewart is an energetic, curious young woman, brave when she needs to be, who has earned Foyle's respect. Paul Milner is played by Anthony Howell. Milner lost a leg in the Norway campaign and was assigned to Foyle as his detective sergeant. He had to build back his confidence. Milner now is a full member of the team, one who can work independently if needed.

Most of all, the series works so well because of Michael Kitchen and the mysteries themselves. Kitchen is an excellent, subtle, versatile actor whose long career includes the amusing and reprehensibly egoistic doctor in Reckless, the well-intentioned but naive king utterly outmaneuvered by Francis Urquhart in To Play the King and the unprincipled charlatan who finds himself facing Inspector Morse. Inspector Foyle is a serious, thoughtful man of high principles, who keeps most of his feelings to himself but who is not without a sense of wry humor. Kitchen captures the man perfectly. In these four episodes, Foyle must deal with murder and resentments toward GIs, the cover-up of biological weapons research gone wrong, death in a munitions factory, and a calculated crime of passion linked with top secret research for a new kind of bomb. This one, Casualties of War, will severely test Foyle's belief that crime must be punished regardless...and will lead to his resignation.

What's in store for Foyle next? Well, we know there are four more episodes which have been filmed in Britain and which will undoubtedly be shown sometime in the U. S. Let's hope it's soon. Foyle's War is a satisfying and at times morally complex set of mysteries for adults, and Michael Kitchen does Inspector Foyle proud. Each story is approximately 1' 40" long. The four DVDs in the set have excellent pictures and audio.

I hadn't seen any of the episodes in the fourth boxed set before I purchased it here. I found myself watching daily until they arrived.

These episodes are as engrossing as the prior boxed sets, providing us with the further adventures of Foyle, Samantha and Sgt Milner. Of course, like Christie's Miss Marple mysteries, a whole lot appears to go on in this little coastal town of Hastings!

Compared to the wisecracking, tough-guy American cops we tend to see on our television, DCS Foyle is understated to the point of anonymity. That understatement, an almost-avoidance of melodrama, makes him twice as surprising when he confronts villains with a manner that could be chilling on the other side.

I am looking forward to the fifth set of these mysteries when they become available. These four boxed sets have been amazingly popular with friends who were only accustomed to some of the silly American crime series.