Foyle must find out if there was a traitor within the SOE after Hilda Pierce is shot in an attempted assassination.Foyle must find out if there was a traitor within the SOE after Hilda Pierce is shot in an attempted assassination.Foyle must find out if there was a traitor within the SOE after Hilda Pierce is shot in an attempted assassination.
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Firstly not enough Foyle and his great deduction. Too many unecessary flashbacks, in slow motion and soppy sentimental music. Oh and if you hadn't realised that the title had a double meaning - also a title of a Beethoven piece, it was played many, many times just in case you didn't get the connection.
Poor acting, especially from the weedy gangland mastermind, and some of his cronies and those he was blackmailing, and the Miles character
Poor performances all around really - Sam following a suspect and employing a SOE officer to create a diversion - she wouldn't have the common sense to do this. Adam her husband the drippy Labour MP, so naive and seeing good in everyone, even the racketeer selling goods in the market!
Why on earth were Sam and hubby at the funeral??? She hadn't met the person, and he certainly hadn't. She couldn't have been driving Foyle!
It was a long winded, way too long episode, with the story flagging, flashbacks of the terrible actress who was so bravely off to France.
Disappointing, no wonder no more were made.
Both statements are true. The aircraft should have been a Westland Lysander, and it should have been painted black with red markings and subdued insignia. However, as far as I know, there are no Lysanders available in flying condition. The aircraft is an Auster J1N (similar to a Piper Cub) Civil Registration G-AJAJ. It is almost identical to the Auster light aircraft used by the British Army and RAF during WWII for liaison and artillery spotting duties. Although it was not used (as far as I know) for agent insertion and egress missions, and if it were so used, it would not have been in those peacetime markings, I think it is close enough to be plausible.
And the beautiful De Havilland Dragon Rapide. G-AKIF is completely accurate as a post-war regional airliner.
The transformation from war time murder mystery drama to John Le Carre styled thrillers has been incredible. When you watch the early episodes they have a very Agatha Christie/Midsomer Murders feel to them, please don't take that as a criticism, far from it, I love both, but the latter episodes are very different.
Elise deals with the shooting of Hilda, illegal trading, Police corruption, treachery, and of course spies.
Fantastic from start to finish, a fabulous story, superb production values, and incredible acting. Michael Kitchen as great as ever, he's been incredible throughout the show and signs off in style, loved his scenes with Honeysuckle Weeks. If I'm honest, the standout in this episode was Ellie Haddington, Hilda has been an interesting character, and grown in stature, in Elise she was very much centre stage, and performed expertly.
Such a quality episode, I always thought Foyle's War was intended as a replacement for Morse and Poirot. Thank goodness we at least have Endeavour.
Thanks Michael Kitchen and co. 10/10
We look into some of the secrets and realities of the dirty war waged across Europe by SOE during WW2 - and the costs involved.
Hilda Pierce receives a fitting send-off as she "did it her way". Foyle is as magnificent and taciturn as ever, supported by the customary cast members. Even the bus looks right, passing in the background.
Now, on to fanfiction!
Did you know
- TriviaThe piano music being heard under the titles, played on the piano, and on the radio is "Für Elise." Elise was Sophie's code name when she went to France as a British intelligence agent. There's another irony as "Für Elise" was written by Beethoven in 1810 but not published until 1867, forty years after his death. Elise was a pseudonym for the composer's "Immortal Beloved," whose real identity is often speculated on.
- GoofsA letter starts "Dear Ms Pierce".
- Quotes
[final lines of episode and of whole series - Samantha has a quiet word with Foyle after the funeral]
Samantha Wainwright: [diffidently] Sir...
Christopher Foyle: Yes?
Samantha Wainwright: Um...
Christopher Foyle: Problem?
Samantha Wainwright: No, I just wanted to tell you something.
Christopher Foyle: What's that?
Samantha Wainwright: I hate letting you down, but I'm afraid I'm going to have to hand in my notice. The fact is... well, you could say I'm... PWP.
Christopher Foyle: Pregnant without permission?
Samantha Wainwright: 'Fraid so.
Christopher Foyle: Well, you choose your moments!
Samantha Wainwright: I wanted to get it over with.
Christopher Foyle: Good thinking.
Samantha Wainwright: So it means I'm going to be rather... busy for a while.
Christopher Foyle: Well, I do understand.
Samantha Wainwright: I don't like to leave you on your own.
Christopher Foyle: Well I *might* be OK. I don't about the rest of the country, but...
Samantha Wainwright: I'd really like it if you- if you'd be the godfather.
[Foyle stops walking and turns to face Samantha]
Christopher Foyle: Honoured.
Samantha Wainwright: Thank you.
Christopher Foyle: Pleasure.
[Samantha hugs Foyle and kisses him on the cheek, then walks off to her husband; Foyle smiles contentedly to himself]
- SoundtracksFur Elise
Composed by Ludwig van Beethoven (in 1810 but unpublished until 1867, 40 years after his death)
Heard on piano under main titles
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