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.
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.
Michael Kitchen as Christopher Foyle by Robert Pereira Hind
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.
Three angles. One shot. Way to move across the screen.
Some chewing from Series 1:
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 and the colors of fall.
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.
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.
The Michael Kitchen pivot – seated and kneeling versions.