A film about the French Revolution is made in Midsomer. People lose their head in the guillotine, and it's not a film trick.



(screenplay), (characters)

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Episode cast overview, first billed only:
Jane Wymark ...
Marian McLoughlin ...
Gwen Morrison
Neville Hayward
Jonathan Moore ...
Jed Norris
Danny Twyman
Leonie Charteris
Jay Villiers ...
Nick Cheyney
Nicky Henson ...
Terence Charteris
Fiona Mollison ...
Diane Charteris
Jack Braxton
Freddie Greenaway
Raymond Clandillon


DCI Barnaby and DS Jones investigate the murder of Nick Chaney, the director of a low-budget film about the French Revolution and the Scarlet Pimpernel, being filmed at Magna Manor. He is found on his film set having been decapitated in the guillotine. Chaney was found by Jed Norris, who had only recently been hired to work as a security guard by the film's tight-fisted producer, Jack Braxton. Chaney had also had a run-in with Danny Twyman who operates a local taxi service and who wanted Chaney to stay away from his girlfriend, Leonie Charteris. That Chaney fathered her child is a complicating factor. The owners of Magma Manor, Leonie's parents Terence and Diane Charteris, have spent a great deal of money on the Manor and very much want to maximize any possible returns. Then there's Raymond Clandillon, a past his prime actor who is prone to drink and to whom Chaney would only offer a position as an extra. Then there are Gwen Morrison and Neville Hayward who definitely had a history ... Written by garykmcd

Plot Summary | Plot Synopsis


Crime | Drama | Mystery





Release Date:

10 May 2008 (UK)  »

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Did You Know?


DCI Tom Barnaby: Tight budet... this film?
Jack Braxton: Like a tourniquet.
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The Marseillaise
Composed by Claude Joseph Rouget de Lisle
Used as a cell phone ring tone
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User Reviews

'Midsomer Murders' meets The French Revolution
11 February 2017 | by (United Kingdom) – See all my reviews

As has been said by me a number of times, 'Midsomer Murders' is one of my most watched and most re-watched shows. It is nowhere near as good now and the Tom Barnaby-era wasn't alien to average or less episodes, but when it was on form or at its best boy was it good.

Season 10 was an uneven season, with "The Animal Within" being very good while "The Axeman Cometh" and particularly "Picture of Innocence" underwhelmed somewhat. The other episodes previous to "They Seek Him Here" were decent if flawed. "They Seek Him Here" had an interesting idea, with a unique killing method for the show and the whole filming of 'The Scarlet Pimpernel' idea was inspired, but it really isn't one of the best 'Midsomer Murders' episodes and one of the lesser episodes of Season 10 too from personal opinion.

"They Seek Him Here" does get a good deal right. The production values as always are just great, the idyllic look of it contrasting very well with the story's grimness, and quaint and atmospheric photography. The music fits perfectly, with some lush jauntiness and sometimes an ominous quality, and the theme tune one of the most memorable and instantly recognisable of the genre.

There are some thoughtful and humorous moments in the script and the supporting characters are entertaining enough. The final solution was surprising and reasonably well done and the episode is one of 'Midsomer Murders' most brutal and unique methods of killing (then again even the thought of a guillotine gives me the creeps).

John Nettles and Jason Hughes are both superb, individually and together (their chemistry, and the chemistry with Daniel Casey and John Hopkins before Hughes, being a huge part of their episodes' charm). Can't fault the supporting cast either, with Marion McLoughlin, Desmond Barrit and Nicky Henson standing out.

However, the story is not as compelling as it could have been. The first half an hour is too exposition heavy which gives the episode a "far too long to get going" vibe, while there are not enough red herrings, clues and twists and turns in a case with too few suspects. The secondary criminal subplot feels like extraneous and woefully under-explored padding.

Lack of build up to the murders is agreed a problem, and it is too obvious who the victims are (or at least the first victim, far too unlikeable to be kept alive), while how the killer managed to kill the victims (done too much by chance and luck) begged for an explanation that never came. Too much of the script is by the numbers.

All in all, interesting idea that didn't quite work. Average affair, which for 'Midsomer Murders' is disappointing. 5/10 Bethany Cox

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