Tag Archives: the MK pivot


Michael Kitchen’s pained expression here almost makes me feel sorry for Roman as he eavesdrops on Anna and hears what she really thinks of him.  Later, he spitefully repeats her words back to her.

Roman’s behavior is supposed to be that of a man unhinged, yet here we are now with a POTUS who just like Roman makes women’s flesh creep and viciously lashes out at those who speak the truth about him. Unbelievable to see lying and bullying on a par with Henry Kent coming from the POTUS.




(Spot-on commentary from LB in praise of MK’s brilliance.)

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Two of these actors are currently appearing in the blockbuster film I saw today. Sadly, Michael Kitchen isn’t one of them.

Wonder Woman is seriously good entertainment.




Were those working in the fashion industry in post-war Paris really so foul-mouthed?







More swiveling from Foyle while in interrogation mode.






Foyle pivots and tilts through his first encounter with Barbara Hicks.


Foyle's War: All Clear: Michael Kitchen: Mark Bazeley: voting for a liar

The oily would-be politician Martin Longmate tries to justify lying about his military exemption, but Foyle will have none of it.  I love Foyle’s one-liners and Michael Kitchen’s delivery of them. He’s just as impressive in the final confrontations with the culprits – here even adding a little shimmy before condemning Longmate to his fate.

Foyle's War: All Clear: Michael Kitchen: Mark Bazeley: arresting Longmate 1Foyle's War: All Clear: Michael Kitchen: Mark Bazeley: arresting Longmate 2
Foyle's War: All Clear: Michael Kitchen: Mark Bazeley: arresting Longmate 3Foyle's War: All Clear: Michael Kitchen: Mark Bazeley: arresting Longmate 4

(Just watched Mark Bazeley in an episode of Death in Paradise after having recently spotted him in The Queen, Home Fires, and Second Sight. Suddenly he seems to be everywhere on my TV screen.)



Communicating with Milner via knee dip again after Dr. Campbell’s unwelcome intrusion.






Foyle presents a cold shoulder when Edith visits him seeking comfort and reassurance.

(Thanks for suggesting I rewatch, V.)


The Browning Version: Michael Kitchen: Judi Dench: Why do you hate him so much?The Browning Version: Michael Kitchen: Judi Dench: Because he's not a man at all.
The Browning Version: Michael Kitchen: Judi Dench: He's a human being.The Browning Version: Michael Kitchen: Judi Dench: Twice in six months...
The Browning Version: Michael Kitchen: Judi Dench: slapThe Browning Version: Michael Kitchen: Judi Dench: MK pivot
The Browning Version: Michael Kitchen: Judi Dench: Thank you for that.The Browning Version: Michael Kitchen: Judi Dench: I deserved that.

Wonder who slapped harder, Judi or Francesca? I like how his characters react with the same words in both scenes.



Simon Day and company have begun filming the third series of Brian Pern and were back at Wembley Arena last week. Maybe someone will be nice enough to post some behind-the-scenes photos like this one from S2 posted by the prop company that supplied the Triffid plant. In a recent interview Day and Rhys Thomas discussed how they managed to obtain permission to film at Wembley and how they came by John Farrow’s yacht in A Life in Rock:

Rhys: It’s a cheap programme in a sense, because it’s in a recording studio or talking heads, so that keeps the costs down… but then you prioritise the bits you want to spend your money on. For example, we got a boat…

Simon: Where did you get that boat?

Rhys: Michael Kitchen knew someone. The idea was that his character, John Farrow, is quite wealthy. He’s sort of based loosely on Queen’s manager who lives in Switzerland and is a multi-millionaire. We needed a way to show his wealth. In Episode 3 Brian basically loses all his money in a tax scheme, and it’s quite nice to see Brian losing everything and then his manager in a Sunseeker. He just knew someone at a boat yard and a woman there said ‘oh, yeah, use one of our boats…’!


If I owned a luxury yacht (£12,000 a week to hire), I’d jump at the chance to loan one to Michael Kitchen, too.







William hits on Philippa, but his pivot and pick-up lines fall flat with her.


Mrs. Dalloway: Michael Kitchen: Vanessa Redgrave: Peter visits Clarissa 1Mrs. Dalloway: Michael Kitchen: Vanessa Redgrave: Peter visits Clarissa 2

Now the door opened, and in came — for a single second she could not remember what he was called! so surprised she was to see him, so glad, so shy, so utterly taken aback to have Peter Walsh come to her unexpectedly in the morning!

Mrs. Dalloway: Michael Kitchen: Vanessa Redgrave: Peter visits Clarissa 3
Mrs. Dalloway: Michael Kitchen: Vanessa Redgrave: Peter visits Clarissa 4

Now of course, thought Clarissa, he’s enchanting! perfectly enchanting! Now I remember how impossible it was ever to make up my mind — and why did I make up my mind — not to marry him? she wondered, that awful summer?

Mrs. Dalloway: Michael Kitchen eyes

“I often wish I’d got on better with your father,” he said.

“But he never liked any one who — our friends,” said Clarissa; and could have bitten her tongue for thus reminding Peter that he had wanted to marry her.

Of course I did, thought Peter; it almost broke my heart too, he thought; and was overcome with his own grief, which rose like a moon looked at from a terrace, ghastly beautiful with light from the sunken day. I was more unhappy than I’ve ever been since, he thought.

Mrs. Dalloway: Michael Kitchen: smile

“In love,” he repeated, now speaking rather dryly to Clarissa Dalloway; “in love with a girl in India.”

Mrs. Dalloway: Michael Kitchen: Vanessa Redgrave: Leave that knife alone.Mrs. Dalloway: Michael Kitchen: Vanessa Redgrave: I know what I'm up against.
Mrs. Dalloway: Michael Kitchen: Vanessa Redgrave: Peter weeps.Mrs. Dalloway: Michael Kitchen: Vanessa Redgrave: Clarissa tries to comfort Peter.

— and then to his utter surprise, suddenly thrown by those uncontrollable forces thrown through the air, he burst into tears; wept; wept without the least shame, sitting on the sofa, the tears running down his cheeks.

Mrs. Dalloway: Michael Kitchen: Vanessa Redgrave: Peter at window 1Mrs. Dalloway: Michael Kitchen: Vanessa Redgrave: Peter at window 2
Mrs. Dalloway: Michael Kitchen: Vanessa Redgrave: Peter at window 3Mrs. Dalloway: Michael Kitchen: Vanessa Redgrave: Peter at window 4

…all in a clap it came over her, If I had married him, this gaiety would have been mine all day!

Excerpted passages from Virginia Woolf’s Mrs. Dalloway corresponding to this scene in which Peter Walsh returns from India and visits the woman who broke his heart three decades earlier. 

“Peter Walsh is one of the most self-aware failures in world literature.” – observer.com





In Love Song as in Dykket, an empty fuel tank is a major plot device, but for William and Philippa the consequences of being stranded lead to romance rather than tragedy.


Foyle's War: Trespass: Michael Kitchen: Hermione Gulliford: a room for Foyle from Elizabeth Addis 1
Foyle's War: Trespass: Michael Kitchen: Hermione Gulliford: a room for Foyle from Elizabeth Addis 2
Foyle's War: Trespass: Michael Kitchen: Hermione Gulliford: a room for Foyle from Elizabeth Addis 3
Foyle's War: Trespass: Michael Kitchen: Hermione Gulliford: a room for Foyle from Elizabeth Addis 4
Foyle's War: Trespass: Michael Kitchen: Hermione Gulliford: a room for Foyle from Elizabeth Addis 5


From my weekend reading.  First it’s “awkward”, now it’s “not the easiest”. Don’t know how much of the above is exaggeration, but it sure grabbed my attention.  Michael Kitchen (playing another jealous kidnapper) on the verge of storming off a set?  This is a rather more irreverent take than what I’ve come to expect from those who have worked with MK.  The excerpt is from the book, Him & Me, an amusing collection of anecdotes coauthored by comedian Jack Whitehall and his father, Michael Whitehall, who produced LWT’s comedy drama series, The Good Guys, in the early 90’s.  MK appeared in the episode, Old School Ties, and apparently didn’t appreciate having to deal with his young costar’s lack of professionalism.  Perhaps he was annoyed because it was preventing him from returning home sooner to his own own four-year-old Jack.

If Mr. Whitehall’s suspicion is correct, it’s certainly not evident on screen, as some of MK’s most affecting scenes have been with children, and horse riding aside, he’s shared a few pretty memorable albeit brief moments with live animals — the Longhorns in Love Song, the geese in Dandelion Dead:

and, of course, the adorable Westie that his character didn’t find adorable at all in Mobile:

(Is it acting or is it real?)

As for Foyle’s War, there were the couple of dairy cows.  Didn’t cramp MK’s style at all as far as I can tell:

Given MK’s experience with Jack Whitehall, though, I do wonder now whether Foyle’s little chat with Jimmie was another one of MK’s brilliant ideas:

(Interesting that Anthony Horowitz is included in the book’s acknowledgements.)


Foyle's War: The White Feather: Michael Kitchen: seated pivot

The Michael Kitchen pivot – seated and kneeling versions.

Foyle's War: The Cage: Michael Kitchen: kneeling pivot


Michael Kitchen in delightful counter clockwise motion.

And one instance of a double pivot:


Foyle's War: Sunflower: Michael Kitchen: pivot, hat, and coat

Pivot with a shimmy.


Foyle's War: A War of Nerves: Michael Kitchen: pivot smile combo 1
Foyle's War: A War of Nerves: Michael Kitchen: pivot smile combo 2

Michael Kitchen’s pivot-smile combo. Swoon.


Foyle's War: A War of Nerves: Michael Kitchen: hard-landing pivot

Hard-landing pivot.