Edit
Storyline
Sam moves in with Adam Wainwright to help run his guest house though,due to his shyness,they are not a couple. One of the tenants, Mandy Dean,is having a tough time, raising a baby fathered by black G.I. Gabe Kelly. Her old boyfriend Tommy Duggan is devastated when he returns and makes the discovery, To Foyle's dismay segregation is enforced in Hastings to prevent inter-racial fights and Gabe is beaten up for dancing with Mandy in public. They plan to move to New York but she is murdered on the night a robbery takes place at Gabe's barracks.Two pleasant boarders at the guest house are not what they seem but, with Mandy's killer behind bars, Gabe has an unusual offer of help to mind his child until he can return from New York for her. Written by
don @ minifie-1
Plot Summary
|
Add Synopsis
Edit
Did You Know?
Goofs
When Gabe is putting away the lures given to him by Foyle, we see him place them in a translucent polystyrene segmented plastic fishing tackle box. This sort of product was definitely not available in 1945.
See more »
Quotes
Christopher Foyle:
The men you robbed were all successful businessmen. Is that a coincidence?
Larry Hains:
They made money while our lads were dying.
Christopher Foyle:
Well, Delmont's factory makes parts for tanks. Where would you have been in the western desert without tanks?
Larry Hains:
What would you know about that?
Christopher Foyle:
Well, that much.
See more »
One of the advantages the British TV industry has over the American one is that they don't have to make their series go on forever. In America, good ratings mean the series continues until every plot and every idea has been rehashed to death. Fawlty Towers, possibly the best TV comedy ever, had only 12 episodes. Life on Mars, the great recent drama, 16.
Something has gone quite wrong here for Foyle's War which, until this season, I would have said was the best of all the Brit mysteries. This last, post-war season, is poor. And this episode is the poorest -- simplistic to the point of silly, full of caricatures instead of characters, poorly acted, poorly directed. And subtlety has flown out the window. The idea of taking on racial tension in the army isn't a bad idea, but from the beginning the white men are evil, the black men are good. End of plot. What made this program so excellent was the awareness that there is no absolute good and evil in wartime, there are always shades of gray. Not in this flatfooted episode.
And poor Foyle. He, too, has turned into a caricature. He's become rude, mean-spirited, and he doesn't even get to speak any more--all those wonderful facial gestures that used to compliment his persona now define it.
If only this program could have ended gracefully.