Tag Archives: 1×2

Bizarre and dismaying to be hearing about my home turf in Irish news reports.

Grateful to have been taking in the views from Mount Brandon instead of sidestepping violent, murderous neo-Nazis invading my town with their sick and twisted reasoning.

Only one correct answer to this question:

Milner gets it right, unlike the craven, despicable man occupying the White House right now.

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Dunkirk was spectacular and kept me on the edge of my seat throughout, but at a fraction of the budget and scale, the treatment of the momentous event in Foyle’s War was no less affecting, if not more…


Michael Kitchen as Christopher Foyle by Robert Pereira Hind



Iconic words.


From a review by tendays komyathy posted on swapadvd.com:

“My name is Foyle. I’m a police officer.” No badge is shown or papers presented while so introducing himself. Such would be superfluous though as Kitchen’s Foyle, in mannerisms, demeanor, as well as the way his carries himself, makes it rather apparent that he is in law enforcement.


Just casually sidling up to a key piece of evidence…


One of the many extreme closeups of Michael Kitchen in The White Feather.









Wish something just as incriminating would surface, and soon, to turn the tide of support for Tr*mp. Bring on the disillusionment.


Some chewing from Series 1:

anonymous said:
June 24, 2013

All your images are most welcome. and I particularly like today’s offering – that expressive mouth speaks volumes without uttering a single word.

Thank you for your note. One of my favorite gifs, too.









Foyle’s controlled yet palpable seething anger. He’ll find a way to wipe the smugness off of Guy Spencer’s face.




An offensive question from the odious Guy Spencer, leader of the pro-Nazi Friday Club, receives the response it deserves from Foyle — the silent treatment, Michael Kitchen’s specialty.

Thanks, pdx144, for the link to Hollywood Journal’s excellent review of Foyle’s War and Michael Kitchen’s acting:

In 1940, with England braced for a Nazi invasion, Foyle tangles with a charismatic Nazi sympathizer… When Foyle investigates a murder which he may be involved with, the Nazi sympathizer asks Foyle if by chance, he is Jewish. The look Foyle gives him is what defines Michael Kitchen as an actor. No dialogue, just the look. Disgust, anger, outrage — written on Mr. Kitchen’s face. But something else as well — a refusal to allow the Nazi to unnerve him, and a confidence that eventually Foyle will nail him.


The Michael Kitchen pivot – seated and kneeling versions.


Sam and Foyle in Norman Rockwellesque profile as they solemnly observe the Day of National Prayer for the British army at Dunkirk 74 years ago from this Memorial Day.






Foyle can’t quite keep a straight face as he takes in the preposterous idea of Sam becoming a nun.

Reminds me of this scene from Fatherland when MK was the driver listening in on his boss rather than the other way around: