Foyle’s unfinished business. Howard Paige should be scared, very scared.
March 23, 2013
I so wish they had had the budget to film in America and have the new series start with Paige’s comeuppance. I loved this episode and I loved Foyle’s ability to compromise without sacrificing his morals.
Yes, in a perfect world, Foyle’s War would have an unlimited budget.
A mirthless smile for Howard Paige.
Foyle is one of those exquisitely decent, deeply introverted, excruciatingly English chaps whom Michael Kitchen plays so well by playing down. He seems to materialise rather than arrive, like a little cloud in a trilby. Sometimes, in the throes of thought, he may wear a slightly squeezed look as if pressing an inch of inspiration from the end of the tube. It’s a lovely bit of minimalism.
Read the rest of Nancy Banks-Smith’s snappy review (including her opinion on how Foyle wears his trilby) in The Guardian.
Pivoting aside, Foyle is a man of restrained physicality, but on occasion Michael Kitchen does get to take on the role of action hero in the show. Not since Caught on a Train have I seen MK sprint as hard as he does in Eagle Day.
Cute how he removes his hat while he and Sam flee from the assassin.
From the Boston Globe’s review of Fifty Ships (July 18, 2004):
Enter Michael Kitchen, the fine British actor whose minimalist performance here makes Anthony Hopkins’s famously tight performance as a butler in “Remains of the Day” resemble Sean Penn on parade…He’s marvelous as Foyle, a middle-age widower with a son flying for the Royal Air Force. His verbal output is often monosyllabic, yet nuanced with the deft use of his eyes, slight cocks of his head, brief slumps of his shoulders. This lonely, attractive man misses nothing. Would that American detectives presented such restraint.
“Wherever you are, I will find you.”