Who Killed Harry Field?

This is the first - and only - episode of the Morse series I'll comment upon, as it is easily my favorite. I rarely watched them when they first appeared here, and only after enjoying for years the Inspector Lewis corpus first, and then Endeavor through seven seasons so far, did I ever go back, find the old dvd's, and re-watch all the Morses, more than once now, too.

In this episode, the murders themselves are secondary - in fact the second one almost ignored - as it is the wonderfully bittersweet mood of this most observant and life-wearily intelligent episode that matters, often filmed late in the day in setting sun and fading light. I think this kind of sad sagacity and introspection is only reached, and perhaps only appreciated, later in life, as I am reaching now. I doubt I'd have been as profoundly struck by the melancholy feel of this episode had I watched it on its first appearance years ago.

Harry Field, the original victim, is barely seen alive in this, yet his rather raffish life is revealed in retrospect, peeled away in layers, as an art restorer such as he had been would do, revealing flaws as well as attributes. He slowly appears as a man who, failing professionally but beloved by many, we wish we could have known, just as we wish we could have had a pint in those peaceful country pubs shown here (and we get a rare inside view of Brocket Hall, a country house owned by two Victorian prime ministers, Lords Melbourne and Palmerston, a nice little bonus). There is a massive sense of loss in this episode, hanging over everything.

The acting is always impeccable, and Morse actually laughs at something funny, the delightful faux family crest mottoes for gullible Americans that Harry Field had cooked up, like the one when translated goes: "At Night, Put the Cat Out". Guest performers are memorable, with Geraldine James's angry grief quite profound, and Freddie Jones, the deceased's father, giving a spectacular diatribe on fraud and fakery in Art while standing in the Ashmolean Museum. So intense was this that I'd not noticed at first, had a previous reviewer not alerted us, that in the background the show's director delightfully rotates five different works of art hung behind him between takes while he never moves - the vagaries and shifting reality of Art and forgery going on right behind, and before us, even as it's being explained... what is real, and what is not? We only see what we are meant to see.

It is not even explicitly explained to us who the second murderer is, although it's fairly clear to me. As Harry's father says himself about his son's suspected murderer - "he MUST have done it." Or did he? The vagaries of art, and life. A supremely impressive, and memorable episode, one that in its own thoughtful way celebrates past lives both real and imagined, and by far my favorite of the lot.

I have quoted below my favourite scene from this episode. It is beautifully acted and very emotional.

If you didn't pay attention to it, go back, watch it. This is all you need, to understand Morse's and Lewis' relationship.

"Do you think l'm good enough to be recommended for promotion?

I'm sorry to tell you, Lewis, that the answer to that.. is yes.

Thank you, sir."

This is for me one of the best Morse episodes.Freddie Jones is excellent as the father of the murder victim and he shows what a good actor he is. His scenes with John Thaw especially at the end are brilliant. Overall the story keeps you guessing until the end, with various twists in the plot. It also gives a good insight into the world of art.The scenery is fine and the whole episode has a "feel" about it, i've seen it several times and never tier of it. For Morse fans this episode has it all; Oxfordshire countryside, real ale, sophisticated suspects, stately home, an eccentric victim and lots of red herrings to keep you guessing.

Morse investigates the death of free Spirit and artist Harry Field, and in doing so gets dragged into Harry's world.

I very much enjoy this episode, not just for the story, which is excellent, but for the character play between Morse and Lewis, we get more from the relationship between the duo then ever before, the moment where the two discuss Lewis's promotion for example is a brilliant moment, shows how the pair developed over time.

Fair to say it starts off possibly a little on the slow side, but as it develops it really does turn into something special, the ending is first rate, very poignant.

Geraldine James and John Castle, two actors I adore watching do a fantastic job respectively, but it's the sheer class of Freddie Jones who steals the show as the wayward artist's father. An actor that is drowning in charisma, true quality.

Slightly different in format, Morse doesn't as such get a Female interest, but he has a friendship with Ian Matthews, who shares Morse's interest in Whisky and Art.

The 90's don't seem like that long ago, but when you check the decor out you realise it really was some time back.

Excellent, 9/10

As this show progressed, we get to see a sophistication that is marvelous. An unbalanced painter is found dead. We have been made privy to his drinking and dalliance; we are also treated to his talent. The problem for him and eventually for Morse is that he is, Kris Kristofferson would say, a "walking contradiction." His excesses and questionable virtues, led to a great deal of anger. His talents also led to reprisals from some very powerful people. His wife has a heavy burden but is damaged herself. We get an education in what is in the artist's soul and also into the commercial world of art. Excellent.