Random moments of beauty from All Clear.
Random moments of beauty from All Clear.
Robert Hardy as Henry Beaumont in The German Woman
“But that has nothing to do with Greta. Nobody in their right mind could possibly imagine… What I’m trying to say is that if anybody has a grudge against Greta, they- they simply don’t know her. Greta never had any time for Hitler or the Nazis or…“
Henry Beaumont’s lying, and Foyle knows it.
Commemorating the passing of yet another one of the distinguished actors who guest starred opposite Michael Kitchen on Foyle’s War.
And, of course, what follows is Michael Kitchen’s beautiful delivery of a speech that’s at once touching, romantic, and humorous.
Dominic Dromgoole wrote in The Sunday Times (Aug. 31, 2003):
Kitchen and Okonedo are two of our best actors. They managed to play a substantial story of growing love without any intense stares or moist lips or fidgety signals. There was a lone touching of the upper arm. What they played was a slow-growing spread of trust between two people, and what is love if not trust?
I would have preferred Sophie Okenedo with Michael Kitchen as the companion. tmblr.co/ZQeEnv2NthvL9—
Beth Plutchak (@bplutchak) July 16, 2017
Me, too! Sophie Okonedo and Michael Kitchen are a dream team.
Michael Kitchen’s acting is nothing short of explosive in this scene when Richard Crane finally throws off the cloak of repentance and hits back at Anna. His “Yes, if you say so” gets me every time. Difficult to say who’s more in the right in this showdown, but when Michael Kitchen delivers a speech, it’s impossible not to be swayed towards his character’s point of view. And this is a doozy of a speech. Lovely to see Richard Crane finally become a father in Reckless: The Sequel. That child will surely be spoiled rotten. ****
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.
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.
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.
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.
Mr. Kitchen is possibly the eighth wonder of the world. Never flashy … but nevertheless the center of every frame in which he appears. – hikari
From John Powers’s review of Foyle’s War on NPR:
What makes the whole thing irresistible is Michael Kitchen’s enthralling performance as Foyle, who, in his reticence, sly humor and triumphant decency, is our fantasy of the ideal Englishman.
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.
What a beauty.
Is it any wonder the crooked cop didn’t know what hit him until it was too late?