Tag Archives: weak in the presence of MK’s beauty






Colin Clark (Eddie Redmayne) impresses Laurence Olivier (Kenneth Branagh) and Hugh Perceval (Michael Kitchen) with his resourcefulness in securing a rental house for Marilyn Monroe during her stay in England while filming The Prince and the Showgirl.

(Just like Michael Kitchen’s parents, Eddie Redmayne’s parents urged him to become a lawyer instead of an actor. Fortunately, the acting bug prevailed for both young men.)


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What better way to introduce the character of DCS Christopher Foyle than with closeup after closeup of Michael Kitchen’s gorgeously disgruntled face, that of a resolute man seething at having his request for a transfer to the War Office denied yet again.



Foyle requires an explanation from his friend, Stephen Beck.

Gorgeous catchlights.

Pop Culture Comfort Food You Can Turn to When You Need a Break From President Trump (Slate.com):

This very British series is a police procedural set in Hastings, England, during World War II. But it’s also about Christopher Foyle (played by the great Michael Kitchen), a good cop and a great man, who always manages to do the right thing, even when bending the rules might seem like the expedient thing to do. A prolonged ode to integrity seems like it might be useful viewing these days.


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Foyle gradually gets around to telling Tom the truth behind his mother’s disappearance.


Anatomy of a smile.


Michael Kitchen in The Justice Game (1989)

Series 1 and 2 DVD out on Oct. 10, 2016 and available for pre-order on Amazon UK.

Not my type of show at all, but the MK snippets make it well worth the investment.









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Summers gets much more than he bargained for in trying to lay down the law with a suspicious Foyle who sees right through him to his ulterior motive.

Excerpts from Jonathan Meades’s rapturous critique (The Times, Nov. 16, 2002) of Michael Kitchen’s acting in Foyle’s War:

Michael Kitchen’s playing of the title role in a show called Foyle’s War … is uplifting because it is an unalloyed display of high art.

His performance is singular, serious, very quiet.  He does something that only the greatest actors are capable of, that is to convince in character while employing consummate professional skills.

Kitchen’s instrument is his face.  He has used it to create a gestural language of the utmost suppleness and complexity… His sheer control is awesome.  His repertoire causes us to rethink the possibilities of facial musculature.

There are occasions when an interpretation can quite overcome the creation it supposedly serves.


A perennial eBay beauty.


Foyle, the master of brevity, knows when he’s said enough to bring the guilty party to his knees.

And Michael Kitchen knows how to use his incomparable mouth shrug and eyes to maximum effect.




More John Farrow in 2017?

Hopefully, more adorable outtakes, too.




What a beauty.


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