Foyle battles to save a young man accused of high treason from the executioner's noose in a case that will shatter his personal world to the core.Foyle battles to save a young man accused of high treason from the executioner's noose in a case that will shatter his personal world to the core.Foyle battles to save a young man accused of high treason from the executioner's noose in a case that will shatter his personal world to the core.
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Storyline
Did you know
- TriviaDCS Foyle's determination to travel to America to take care of some unfinished business refers to the events of Fifty Ships (2003), during which, for purposes of the war, Foyle was forced to release a murderer. The final outcome is revealed at the start of the next series, The Eternity Ring (2013).
- GoofsAfter discussing with Milner, Foyle realises that the letter is coded and the address must be a letter drop for an intelligence service. Dillon denies that the addressee lives at the hotel, but offers to take the letter in case the person comes to collect it, which confirms to Foyle that the hotel is a letter drop. He says to Dillon "why would you do that?" Foyle only offers his surname because he is already known to the intelligence services, confirmed earlier in this episode, and in previous episodes. Dillon makes an immediate phone call and not long after, Foyle is picked up by Military Intelligence, Section 9 (MI9). MI9 specialised in helping British prisoners of war escape - an underlying theme of the episode.
- Quotes
DI Paul Milner: So... this is goodbye.
Christopher Foyle: Yeah, looks like it. You're on your own now.
DC Perkins: He's got me, sir.
Christopher Foyle: Precisely.
Featured review
Fighting for innocence and justice
Loved 'Foyle's War' and was immediately hooked when first getting into it. Love it even more now, on re-watches things that didn't quite make sense at first are clearer and things that were not noticed or appreciated before are and much admired. Everything that came over as brilliant on first viewings still are brilliant on re-watches.
There is the agreement that "The Hide" is contrived in places. Having said that, it is a fine episode still and is not only the best episode of this season by quite some way (thought "The Russian House" was very good though, but "Killing Time" while still with very impressive elements disappointed me) but it's a standout of the later episodes, just falling short of being one of the very best 'Foyle's War' episodes. Like with many 'Foyle's War' episodes, on re-watch there was much more appreciation had for how well established the character development, tone and themes are and things that didn't quite connect entirely at first made more sense on re-watches.
Have always admired the visual detail that went into 'Foyle's War' and how high quality the production values are, with beautiful costumes, the evocative way the characters are made up, the look of the houses and cars, pretty locations and authentic-looking scenery. The music is in keeping with the mood and doesn't overpower the drama while still making an impact.
Writing is intelligent, sophisticated and thought-provoking, establishing Foyle's personality with so much depth already and providing some tense and heart-tugging moments. Although with some contrivances, the story is very intriguing and even emotional, there is a lot going on but it never gets overly-complicated. Found myself really caring for Foyle's quest to clear Devereux's name, while identifying with his want to bring Howard Paige to well deserved and overdue justice. Devereux is a compellingly real character that one roots for.
One thing that wasn't picked up by me but now is and admired hugely is the tackling of what was seen as truths but some really misconceptions and seeing British during the war in a new light. This was a bold move and dealt with a lot of honesty and tact. The background information is so well researched and is every bit as interesting as the mystery itself. The character tensions were also handled very well and added a lot of intrigue.
Michael Kitchen is truly superb as Foyle, subtle, intensely determined, commanding and above all human. One of the most interesting television detectives there's ever been and Kitchen has rarely been better. Honeysuckle Weeks is charming and loyal, with some nice touches of subtle humour as ever, and Anthony Howell is wonderful (it's a shame that this is the last one sees of Milner).
Supporting cast are uniformly very good, with Andrew Scott a revelation as Devereux (he is incredibly believable in painting a figure of an emotionally damaged man).
Altogether, a fine episode indeed and a worthy episode to go out on before the series' initial cancellation, before its (short-lived) revival in 2012. 9/10 Bethany Cox
There is the agreement that "The Hide" is contrived in places. Having said that, it is a fine episode still and is not only the best episode of this season by quite some way (thought "The Russian House" was very good though, but "Killing Time" while still with very impressive elements disappointed me) but it's a standout of the later episodes, just falling short of being one of the very best 'Foyle's War' episodes. Like with many 'Foyle's War' episodes, on re-watch there was much more appreciation had for how well established the character development, tone and themes are and things that didn't quite connect entirely at first made more sense on re-watches.
Have always admired the visual detail that went into 'Foyle's War' and how high quality the production values are, with beautiful costumes, the evocative way the characters are made up, the look of the houses and cars, pretty locations and authentic-looking scenery. The music is in keeping with the mood and doesn't overpower the drama while still making an impact.
Writing is intelligent, sophisticated and thought-provoking, establishing Foyle's personality with so much depth already and providing some tense and heart-tugging moments. Although with some contrivances, the story is very intriguing and even emotional, there is a lot going on but it never gets overly-complicated. Found myself really caring for Foyle's quest to clear Devereux's name, while identifying with his want to bring Howard Paige to well deserved and overdue justice. Devereux is a compellingly real character that one roots for.
One thing that wasn't picked up by me but now is and admired hugely is the tackling of what was seen as truths but some really misconceptions and seeing British during the war in a new light. This was a bold move and dealt with a lot of honesty and tact. The background information is so well researched and is every bit as interesting as the mystery itself. The character tensions were also handled very well and added a lot of intrigue.
Michael Kitchen is truly superb as Foyle, subtle, intensely determined, commanding and above all human. One of the most interesting television detectives there's ever been and Kitchen has rarely been better. Honeysuckle Weeks is charming and loyal, with some nice touches of subtle humour as ever, and Anthony Howell is wonderful (it's a shame that this is the last one sees of Milner).
Supporting cast are uniformly very good, with Andrew Scott a revelation as Devereux (he is incredibly believable in painting a figure of an emotionally damaged man).
Altogether, a fine episode indeed and a worthy episode to go out on before the series' initial cancellation, before its (short-lived) revival in 2012. 9/10 Bethany Cox
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- TheLittleSongbird
- Nov 7, 2017
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- West Wycombe House, West Wycombe Park, West Wycombe, Buckinghamshire, England, UK(White Friars - house interiors)
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