An episode on the problem of ferreting out covert companies trading with The enemies of the Allies during the war would have been intriguing.
Unfortunately, this one depends on a series of absurdities that would have embarrassed a Victorian melodramatist.
Among them, a German lawyer somehow practicing in an English court in 1940 without anyone raising an eyebrow. Even a "good German" would not have been doing so in the midst of hostilities. Another, the fanatical English son responsible for the murder was also somehow responsible for the denunciation that forced said jurist to flee...but if he had been in opposition to the regime, he already would have been known by the police, and wouldn't have been the subject of a denunciation. And then they somehow wind up in the same orbit over in England.
The denouement is singularly silly since it requires that audience to believe that in autumn 1940, the English had a list of Jewish prisoners rounded up on the Continent along with an inventory of goods expropriated, which would be necessary for Foyle to explain how incriminating the silver box was. Of course, such tracking was only possible long after the war, unless the Nazis were so nice and thorough that they provided British spies with such inventories of persons & their stolen possessions.
Unfortunately, this is what happens when the writers forget that the story itself is dramatic enough and doesn't require their chest-thumping & music hall villains.
Unfortunately, this one depends on a series of absurdities that would have embarrassed a Victorian melodramatist.
Among them, a German lawyer somehow practicing in an English court in 1940 without anyone raising an eyebrow. Even a "good German" would not have been doing so in the midst of hostilities. Another, the fanatical English son responsible for the murder was also somehow responsible for the denunciation that forced said jurist to flee...but if he had been in opposition to the regime, he already would have been known by the police, and wouldn't have been the subject of a denunciation. And then they somehow wind up in the same orbit over in England.
The denouement is singularly silly since it requires that audience to believe that in autumn 1940, the English had a list of Jewish prisoners rounded up on the Continent along with an inventory of goods expropriated, which would be necessary for Foyle to explain how incriminating the silver box was. Of course, such tracking was only possible long after the war, unless the Nazis were so nice and thorough that they provided British spies with such inventories of persons & their stolen possessions.
Unfortunately, this is what happens when the writers forget that the story itself is dramatic enough and doesn't require their chest-thumping & music hall villains.