Glad to see Kitchen, Weeks, and Haddington back on screen, The writing on this episode was terrible. The opening was confusing - couldn't figure out what these boys were up to. Didn't find out until close to the end. All the other seasons were so perfect - what happened? I can only hope the next two will be better.
I've thoroughly enjoyed all the previous series of Foyle's War, and was really looking forward to this new one. It was only the thought of it that got me and my husband through this latest terminally miserable bout of wintery weather . . . . And what do we find? They've ruined another goods series. Dark, miserable lighting, matching the miserable weather we're all trying to forget, all colour has been drained out (to match our depression?) and eerie music added in! The programme makers who are of the opinion that shooting programmes a la Wallander and Sheltland is the way forward have completely misunderstood the British public. Foyle's War has been a runaway success in previous years because it was uplifting. We do NOT need any help to feel miserable while this 2 and a half year Winter still continues.
Thanks for depriving us of our last hope of being cheered up!
Such a pity that this high quality series should have such poor research into the props. The Routemaster London bus, that drove through at least 2 scenes, didn't enter service until the 1960's! Do the researchers know how to use Google!
Apart from that I thoroughly enjoyed it, an excellent way of progressing the character, given his history.
When something is this good it will of course simply come down to a bit of nit picking. I missed the Routemaster bus as I suspect did 99.99% of the audience but there were a couple of things I picked up on. Correct me someone please, if I'm wrong.
A common fault of British series that have an eye on American sales, and who can blame them for that, is the introduction of American words and phrases that might have passed into common use in 2013 but hadn't over 60 years ago when these stories are set. Compared to many this production is an Americanism free zone.
However, as far as I can remember, the table used by the night staff on a Nightingale style hospital ward of the time would not have a plaque on it saying 'Nurses Station' and British military establishments did not have any areas described as 'Off Limits'.
Just little things but they show how closely we're watching and I for one can't wait for the next episode.
As for the excessive number of commercial breaks, you can reduce any 2 hour programme on ITV to about 95 minutes by recording it on your PVR, for instance a Sky + box, and fast forwarding through the breaks. Keeps you sane and gives you back 25 minutes to do something else with. Simples. (Oops, its those adverts again)
Glad to see a return of this series,but very, very disappointed with whoever sourced the prams.Milners pram was not made until the 1960s.The wicker one is passable but not wholely probable and the one in a background shot was also later.
I have always loved this series but felt this one was a bit under parr.More care as to detail was certainly needed.Especially where the dates of pram manufacture were concerned.The same goes for the cartridge that was loaded into the shotgun.It is no good thinking no-one will notice,because,by jove,they do,especially when something is way out of era.If in doubt ask the experts before filming.The background scenery of `bombed London` left a lot to be desired.It just looked like what it was,a pile of `fly tipped` builders rubble.Characters were great though,I certainly felt I could hate the Russian in the `safe house`.He had the right face for the role.
I did not hear about Foyle's War when it was originally running. I discovered it on Netflix. I have watched the whole series (through set 7) and think it is a wonderful show. It is much more cerebral than crime dramas in the US that are all blood and gore shootem ups. The characters were very good as were the actors who played them. I also like seeing how the British lived during the war. The countryside was beautiful and the old cars were really something. I looking forward to seeing the three new episodes. I caught a couple of errors: Fort Benning is in Georgia, not Virginia. What happened to Andrew? It looked like he and Sam were going to get together and then he disappeared and the next show she meets Adam. I liked Andrew's character better.
The latest series was ruined by the lack of continuity from the previous one. At the end of the war, Sam got engaged to Foyle's dashing pilot son Andrew. Yet here she is, married to the worthy but desperately dull Adam Wainwright.
So glad they brought back another season! Without question, the best thing on Canadian TV (The series s aired on TVO here). My only criticism is Sam's choice of husband - somehow, he just doesn't seem like the type Sam would marry - definitely thought Andrew would have been perfect. Agree with the last comment "desperately dull".
This is by far the best series that ITV have screened in the past few years, This new twist MI5 is inspired, the story lines are great, this is so Le Carre, the good old commie spy hunting game. I love it. More power to your elbows.
Michael Kitchen is brilliant in the role of Foyle, the casting is great.
Ignore the public transport anoraks and their little note books and pencils, overall the period work is great.
I watch many BBC detective series and Foyles' War is the best I have ever seen.The characters are: intelligent,creative,wonderfully scripted,and brilliantly acted. Selecting World War II for the back drop of the series was ingenious. Honeysuckle Weeks is great as "Sam", the Detective Chief Superintendent's driver, which is played magnificently by Michael Kitchen and we cannot forget Anthony Howell as Detective Sergeant Paul Milner whose performance is also outstanding.I hope they will continue making the series. I love every episode and can watch each one over and over again.Anthony Horowitz who created the series is to be commended and the website is awesome too.
"Foyle's War" is one of the few shows I look forward to.
This mystery is a skillful mix of history, mystery, English culture, and American culture. The World War II setting gives a rich pallet of choices to set the mysteries for detective Foyle. Places, people, and incidents of the time become intertwined in the series. Fans who like history will relish most depictions.
The characters are well developed a portrayed by the actors. Foyle appears stoic and banal, but as stories develop his character comes out subtle ways. The mysteries are of the classic style. No gadgets and gratuitous action sequences find their way into these episodes. The analysis is logical and cerebral.
The series is well done and well worth a look by both mystery and non-mystery fans.
Foyle's War is a drama set in the time leading up until WWII. Each season takes the viewer to another year. The series ends with VE Day.
The show was exquisitely researched and written to reflect the period. In every show, there was some sort of true historical event and some real consequences of war. For instance, Dunkirk was in one episode and stealing fuel was in another.
The series revolved around Detective Chief Superintendent Christopher Foyle in the city of Hastings. Foyle was a WWI vet who kept pressing to be allowed back into military service. He was denied, being told his services were needed to keep the peace in town.
Assisting him were his driver, an Army woman named Sam Shepard and Sgt. Paul Milner. Paul resigned from the force to join the service, only to lose his leg during the ill fated operation in Trondheim Norway.
The scripts always had me guessing until the very end, when the very moral Christopher Foyle had rooted out the criminals in a very fascinating 90 minute show.
It is 1940, and Britain stands alone against the might of Nazi Germany across the continent. Denied a transfer to the war effort, Chief Inspector Christopher Foyle, of the Hastings Police on South Coast of England, is nonetheless forced to confront the da
Foyle's War makes profoundly resonant use of British society in 1940, a terrifying time in which the threat of an Axis assault on England disrupted ordinary life in often horrible ways, from the resettlement of city children (into the care of rural strangers) to a spike in xenophobia to a loss of personal freedoms.
Chief Inspector Christopher Foyle's son is a flying officer with the RAF. The two other series regulars are Samantha "Sam" Stewart (Honeysuckle Weeks), the Women's Royal Army Corps enlistee assigned as his driver, and Paul Milner (Anthony Howell), Foyle's assistant inspector recently returned to home front duty after being wounded with the Army during the disastrous British invasion of Norway.
FOYLE'S WAR is an uncommonly intelligent detective drama. The murders occur in contexts that include sexual harassment, anti-semitism, police brutality, local jingoism, sabotage, and conscientious objection - all set against a backdrop of Luftwaffe bombing raids and the fear of imminent amphibious invasion by the German Wehrmacht.
The character of Foyle - intelligent, perceptive, reserved, compassionate, wounded by his wife's recent death, worried for his son's safety - epitomizes the phrase "still waters run deep." The viewer embarks into each episode wondering what new layer of Foyle's persona will be revealed.
Kitchen's magnificently measured performance and Horowitz's masterful grasp of the moral and dramatic issues of his battle-scarred milieu make Foyle's War a must.
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