Endeavour

I deeply love Morse's series, and I deeply love Lewis sequel, each in its own different way. They are two extraordinary detective shows, which I strongly recommend.

So I gave Endeavour a try, both with curiosity and with fear that the experience would ruin my memories of the two shows I liked so much.

Also, Shaun Evans is physically very different from John Thaw, so this made me cringe even before the start.

Having said this, I fell for it from the very first episode.

I was surprised to find out that Shaun Evans is a terrific actor, who plays an entirely credible Morse, if not physically, in a seamless psychological continuity which makes you feel the smooth way in which this young Morse would become the older Morse 20 years later, the incipient causticity, the noticeable anger, the budding low-key self-confidence--- This is very skillfully done in the prequel.

Both Thaw and Evans play the magic of giving a sexy twist to an unsexy character, without flashing the sexy card or even circumventing all attempts to look hot.

Allum plays a marvelous D.C. Thursday and the interaction between them, mentor-pupil, is instrumental to explain how this young Morse ends up being that later Morse.

The 60's atmosphere is a plus in the show, very well portrayed and recreated. I'd say that the linking common trait between Morse, Endeavour and Lewis is, yes, their tremendous atmospheric virtue which sets you right on «in that particular place in that particular time».

If you like detective stories, you will not be disappointed at all, and even if you are not a Morse or Lewis fan, you will find this show entertaining, alluring and deeply satisfactory by its own right.

Considering that detective procedurals populate the British television landscape perhaps more than any other genre, one might lament at the prospect of not only another crime drama, but a prequel to one of the most beloved shows, mystery or otherwise, to ever grace the small screen, Inspector Morse. Those who might dismiss Endeavour as just another generic addition to an already overcrowded marketplace, however, would be making a grievous error.

The year is 1965 and an eccentric young Detective Constable, Endeavour Morse (Shaun Evans), is making waves at the Oxford City Police with not only his unorthodox but brilliant methods of deduction, but for his refusal to tow the line in order to please the upper echelons of both the Force and society. Under the steadfast guidance of the seasoned and similarly incorruptible, Fred Thursday (Roger Allam), Morse finds himself embroiled in a number of complex cases that expose him to the darker side of life and human nature.

Although the series will naturally draw comparisons to its popular predecessor, thanks to the show's gripping narratives, vibrant swinging sixties backdrop and perfect blend of light and dark overtones, Endeavour is easily able to distinguish itself by its own considerable merits.

Much of the show's success can be attributed to the ingenious casting of Evans, who puts his own unique stamp on the iconic role. Of course there are parallels to the world weary DI so expertly embodied by John Thaw, but Evans wisely avoids imitation, as the twenty-year age difference between the two interpretations allows the actor to create something fresh. The addition of the character of Fred Thursday is inspired. The street wise, war veteran is the perfect mentor for the idealistic Morse and their relationship is one of the highlights of the series. Fantastic entertainment on every level!

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Love this drama. Like the whole idea of a young Morse. Endeavour certainly has his detractors which have the scope to needle him because he is so junior. I suppose this is why he is so grumpy when he is older - getting his own back as it were. So plenty here to allow viewers to hark back to the original drama but also a huge amount of good coming from the new actors. From the use of typewriters to seeing lots of letters. A lack of overt violence, sex and swearing plus excellent story lines. What more can we ask?

It's quite possible to marry the indelible Sixties period to that charming music. Roger Allam is excellent at Fred Thursday and Shaun Evans puts a lot of effort into the young Morse. Anton Lesser as chief superintendent Bright is a prig

Not just a more than worthy prequel series to one of my favourite detective dramas of all time and goes very well with it, but it is a great series on its own as well, one that got off to a good start, though some of the pilot and the first episode had a still-finding-its-feet-feel (understandably), and just keeps getting stronger. It maintains everything that makes Inspector Morse so good, while also containing enough to make it its own.

Endeavour looks great, the series throughout is exquisitely photographed and there is something very nostalgic and charming about the atmospherically evoked 1960s period detail. It was also a genius move to keep Barrington Pheloung on board, with his hauntingly beautiful scoring and immortal Inspector Morse theme, while the classical music and operatic excerpts are delightful to hear and fit perfectly (a notable example would be in the Fugue episode, the music having a beautiful and frightfully ominous effect).

The series is also every bit as intelligently written as Inspector Morse, it's every bit as entertaining and also every bit as tense. Not all the story lines are very original, but they are always incredibly gripping with the mysteries not being too complicated or the identities being too improbable or obvious, Morse and Thursday's father/son relationship has a lot of warmth, is so well written within the stories and is a large part of the series' appeal and there is some good suspense (chilling in fact in the case of Fugue). Pacing is restrained, but that allows the atmosphere to come through, and pretty much all the same it excels in that aspect. The characters are interesting, and are evolving more and more with every episode, Morse's familiar characteristics are becoming more obvious as the writing develops and Morse and Thursday's relationship more entertaining and heartfelt.

Shaun Evans does some powerful, charismatic work as younger Morse, and is getting more and more confident with every episode, showing enough loyalty to John Thaw's iconic Morse while making the character his own too. Roger Allam is also superb, his rapport with Evans always compels and entertains but Thursday is quite a sympathetic character, as well as loyal and firm, and Allam does a lot special with a role that could have been less interesting possibly in lesser hands. All the acting is very good, as is the controlled direction, but it's the performances of Evans and Allam that will always be remembered most vividly.

All in all, a more than worthy (if not quite as good, only because I love Inspector Morse with a passion) prequel series and also a great series on its own that keeps getting stronger. 9/10 Bethany Cox

High quality television, with its strength being the re-creation of the 1960s, but with 2010s cinematic advances. The main characters are interesting and well-acted, although if you are a steady mystery viewer, you will figure out the ending very soon, which does take away from the suspense.

Sean Evans presents the shy, taciturn Morse in his younger days as a detective. He is fetching and keeps his own counsel as to personal matters, and we can see him developing into the ascerbic, driven chief detective we've come to love and respect. Colin Dexter's brill writing launches us here in ENDEAVOR into a seamless transformation into the mature Morse with promise of excellent episodes to come. I'd like to see more of the young Morse and hope this is only one segment of what will surely be a superior backstory for the series. Beautifully written and paced, ENDEAVOR presents a cast of appealing faces and splendidly low key criminal pursuits. Highly recommended. I loved it, am clamoring for more.