The Sins of the Fathers

An intriguing and interesting episode of Morse. Considering Morse's love for beer it was inevitable that we'd have a beer-themed episode and here it is - a murder in a brewery. Lewis even remarks to Morse at the beginning that he should be in his element.

In addition to the murder mystery there's a few interesting sub-plots going on. Similar to S3 E1 - Ghost in the Machine - Morse has a run-in with some posh types who think even the police are at their beck and call. This time it's Old Money, rather than the aristocracy.

Some good banter between Morse and Lewis too. Lewis gets in some good jibes.

On the subject of the fun side, Dr Russell and, going back further, Max are sorely missed. They still haven't been replaced with anyone interesting. The pathology side was always a wonderfully engaging aspect of Morse and that has now fallen by the wayside.

This is a good episode with a jolly decent mystery.

Above all, it's a wonderful exhibition of how to act from the legendary, but criminally underrated, Lionel Jeffries. He was primarily seen as a comedian. But he was so much more than this.

The story finally comes together in the usual inimitable Morse manner.

It's also got the telltale analysis of upper class snobbery and hypocrisy that only exists in England. This prevails to this day where the Lord of the Manor looks down on his and hers slaves and minions.

Mutton dressed as lamb, as Morse points out with such gleeful alacrity.

It's hardly a subtle episode, but elitism is rarely subtle or pleasant.

Morse always makes brilliant societal observations.

Morse is an acquired taste.

It's a taste I acquired long ago.

This may be the single most dreadful piece of direction I've seen in an otherwise good television series. Agree with the other reviews regarding mirrors and glass. Add to that artificial, amateurish angle shots and facial closeups. But the worst offender in my opinion was the stilted direction of the actors, especially in the early scenes when the action was "posed", people standing around like mannequins. An otherwise good plot, ruined by horrible direction.

At least Peter Hammond won't ever direct again, given his demise.

Just to second the motion raised by other commenters: This episode is notable for its weird, distracting camera angles; lots of shots in mirrors, through windows, on polished metal signs, etc.; confusing focus on hands, ears, lips, armpits (yes, literally), or other body parts; stiff, stagey, unnatural placement of actors, as if they're posing for a photographer; and many unnecessary, jarringly sudden close-ups.

The result is that you're pulled out of the story by a director who clearly doesn't think the plot is enough to hold your attention on its own, and who, in scene after scene, is practically screaming, "Look at me! I'm so clever! I'm much more interesting than Morse!"

One crucial boardroom scene lacks a standard establishing shot, so that -- except for, briefly, their hands and a bit of the back of their heads -- we never see three of the people sitting around a long table till the end of the scene, as if the director shot just one side of the table and forgot to include the other characters.

I do like the fact that Lewis keeps smiling and continues to hold up well under Morse's perpetual grouchiness, and that he actually gets in a few impish comebacks of his own.

I have said a lot of times, that Inspector Morse is just a gem of a drama series, with superb performances, not only from the leads John Thaw and Kevin Whately but also from the supporting actors, wonderful music and excellent scripting. As I have already said, I really like Sins of the Fathers, but it is my least favourite out of the episodes from the 4th series. While not as haunting as Driven To Distraction, as exciting as Masonic Mysteries or as outstanding as the Infernal Serpent, there is so much that redeems it. The performances are wonderful, particularly Thaw and Whately who never disappoint, and some standout performances from the likes of Lionel Jeffries, Alex Jennings, Isabel Dean and of course Lisa Harrow. The music is excellent as always, and the plot while sometimes unexciting is still very clever and well explained. The dialogue is also inspired, especially the line "Don't worry sir, by the time he's out you'll be long gone." The camera-work as usual is beautiful, so overall, a very good episode, not the best, but well worth the watch. 9/10 Bethany Cox.