Tag Archives: 1×1

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What better way to introduce the character of DCS Christopher Foyle than with closeup after closeup of Michael Kitchen’s gorgeously disgruntled face, that of a resolute man seething at having his request for a transfer to the War Office denied yet again.

There is one man whose every expression, gesture, and utterance leaves me wanting more, and then there is another whom I hope never to see or hear from again after the winner of today’s election is determined.

Frying fish indoors. I hope Foyle’s kitchen has good ventilation.

Michael Kitchen and Edward Fox — on-screen adversaries in Foyle’s War, off-screen residents of Dorset and patrons of Poole Hospital Cancer Treatment Trust.

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Summers gets much more than he bargained for in trying to lay down the law with a suspicious Foyle who sees right through him to his ulterior motive.

Excerpts from Jonathan Meades’s rapturous critique (The Times, Nov. 16, 2002) of Michael Kitchen’s acting in Foyle’s War:

Michael Kitchen’s playing of the title role in a show called Foyle’s War … is uplifting because it is an unalloyed display of high art.

His performance is singular, serious, very quiet.  He does something that only the greatest actors are capable of, that is to convince in character while employing consummate professional skills.

Kitchen’s instrument is his face.  He has used it to create a gestural language of the utmost suppleness and complexity… His sheer control is awesome.  His repertoire causes us to rethink the possibilities of facial musculature.

There are occasions when an interpretation can quite overcome the creation it supposedly serves.

Iconic words.

…in the end it turned out that he really could drive, just preferred to let Sam do it. Funny, but I can’t quite work out if that makes him a complete gentleman or an utter cad.The Guardian

A goof noted on IMDB:

Ray calls his late girlfriend Terry. Throughout the rest of the episode and in the titles, she is called Tracey. Michael Kitchen picks up on the mistake, and refers to Tracey as Terry too.

Interesting that the error wasn’t noted at the time of filming and the scene reshot, given the emphasis MK places on “Terry”.

Foyle and the colors of fall.

The first time we see Andrew drop in on Foyle unannounced and hungry. At least this time he didn’t rouse his poor dad from bed.