Tag Archives: The Russian House

Sentimental Saturday.

Replying to a Data Lounge query on cozy British murder mysteries, one forum member wrote:

…an interesting lesson on writing and showrunning. Foyle’s War should work outside of the premise. Michael Kitchen and Honeysuckle Weeks are both good actors and their characters were interesting. Yet once WW2 was taken out of the equation, the story wasn’t interesting anymore. I think part of it was that having Weeks’ character marry put a wedge in the boss/employee relationship and the show just fell to pieces after that. Thank goodness they always kept the relationship as father/daughter. If they had Weeks have romantic feelings for Foyle, it would have ruined the entire show including the episodes already broadcast.


Foyle and Sam experience firsthand the danger posed by domestic government officials conducting shady deals with Russia.

Looking back at 2017 in the rearview mirror and agreeing with Paul Krugman that although “Donald Trump has been every bit as horrible as one might have expected”, America Is Not Yet Lost.  So… to better days — and more from Michael Kitchen — in the new year ahead despite the formidable odds.

It’s a sad state of affairs when fan fiction is created not around dramatic shots like this, but around projections for an egregious tax bill.

Latest study finds that several cups of coffee
each day is good for one’s health.

michael kitchen drinking coffee the russia house

michael kitchen drinking coffee foyle's war high castle

The letter Annie Lennox received reminds me of Michael Kitchen’s infamous coffee shop encounter that was so amusingly recounted by Honeysuckle Weeks for the Daily Mail:

Michael Kitchen running on screen over the years.

Good to know that “An Hour of Running May Add 7 Hours to Your Life“.

Just learned in this NY Times interview with Tim Pigott-Smith that the actor is starring in the hit play, “King Charles III”, coming to Broadway next month and to PBS Masterpiece in 2017. He and Michael Kitchen could compare notes on mimicking The Prince of Wales, playing villains, narrating audiobooks, and sustaining a successful acting career while rejecting the spotlight.

The officer in charge of finding a replacement DCS has yet to learn that flattery will get him nowhere with Foyle, as Michael Kitchen so eloquently indicates with a roll of his eyes followed by an exasperated sigh.

Foyle post-war, pre-MI5 in The Russian House.

Back in 2008 The Orlando Sentinel reported from the Television Critics Association summer tour on the possibility of a seventh series of Foyle’s War:

In especially good news, “Masterpiece” series executive producer Rebecca Eaton said that Michael Kitchen could decide to do more “Foyle’s War.”
“The producers and the writer are working hard to convince him to do it,” Eaton said.

Ever the reluctant star.

Behind-the-scenes photos from filming of The Russian House (March, 2009) and Trespass (January, 2014).

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.

Threats have a way of bouncing off Foyle.

DCS Foyle is so sassy.

Superior officer #1: Detective Chief Superintendent Foyle, I think we all owe you a vote of gratitude.
Foyle: Well, that’s uncommonly decent of you, but I didn’t come here to be thanked.
Superior officer #1: How is the new station?
Foyle: The new station is delightful, apart from the fact that I don’t want to be in it. I resigned.
Superior officer #1: I am aware of that.
Superior officer #2: Yes, it was very good of you to come back after your predecessor…
Foyle: Died.
Superior officer #2: In very unfortunate circumstances.
Foyle: Well, it’s my experience that most deaths are unfortunate, but all that was some considerable time ago. I’d like to know why I’m still there and where my replacement is.

Burned.  I love it when Foyle reveals to culprits that he’s not one to be fooled.  In this case, it’s Monsieur Duveen, the traitorous head of The Russian House, who blatantly lies about not having any knowledge of two escaped Russian prisoners of war, when in fact, only days earlier one of them fled from the Hastings area up to London seeking assistance from him. 

Savoring more of Foyle’s grins, because in Series 8, it seems he has even less reason to crack a smile – not that Michael Kitchen doesn’t look great frowning also.

Perkins commits a cardinal sin according to Foyle’s code of conduct.

MK’s face so clearly registers Foyle’s displeasure at Milner’s dismissal of Perkins’s offense.

When Foyle says “frankly”, watch out.

Having unwisely offended Foyle in his eagerness to prove himself on his first case, Milner receives sharp criticism from his former boss:

“You were rude, uncooperative. You defended a junior officer who was disrespectful, and to put a tin lid on it, you upset Sam, and I’d say that’s a poor return for five years we spent together.  But if that’s how you want to handle yourself now that you’re in Brighton, that’s entirely up to you.”

Who wouldn’t mend their ways after such a tongue-lashing from Foyle?

Milner has learned a lesson he won’t soon forget.

Must say I agree with hikari regarding Milner’s out-of-character actions in this episode:

Paul really goes off the deep end in the last episodes, doesn’t he? His belligerent attitude toward what he deemed Foyle’s interfering in his investigation was just way over the top for somebody who’d looked up to Foyle as a mentor for so long. It seemed like they were scrambling to create some sort of drama for Milner in the final going, after underutilizing him for most of the series . . but the ‘drama’ they came up with forced Anthony Howell to play Milner out of character. In his buttoned-down way, that was Milner becoming unhinged. It didn’t make a whole lot of sense . . and ended the program on an unsettled and unsatisfactory note; Milner obviously miserable, for unexpressed reasons . . and alienated from his former boss and the other members of his former team.

Foyle’s War candids

HQ photos taken during filming of The Russian House. I’d never seen these before.

And more besides…

Love the exchange between Foyle and Sam when he discovers she’s been posing nude for her new employer.

From an article in the Birmingham Mail:

Honeysuckle says: “Michael phoned me up to tell me [about Sam posing naked] and pulled my leg something rotten. I said ‘What? You mean she’ll be totally starkers?’

“I thought I’d have to be naked in front of the whole production team. But then I read the script and realised you don’t actually see Sam with her kit off – just a painting of her with no clothes on.”

I would love to have heard that phone conversation. Michael Kitchen’s amusement comes through, though, in the scene as it plays out in the conservatory.