Mystery!: Cadfael (TV Series) The Leper of St. Giles (1994) User Reviews

The series improves a bit with "The Leper of St. Giles".

[planktonrules · 9/10 · 29 November 2013]

The Cadfael series is quality throughout--with lovely acting from Derek Jacobi in the lead, a nice medieval look and some interesting mysteries. This is the third in the series and represents a bit of an improvement over the previous ones--not that they were bad, they weren't. It's just that the story here is a bit stronger--particularly the ending.

The show begins with Iveta de Massard coming to the abbey to marry Baron Huon de Domville, per the wishes of her guardian Godfrid Picard. However, it's obvious to Cadfael that Iveta really isn't excited about marrying the guy, as she already has a boyfriend and the Baron isn't the most pleasant person. So, when he ends up dead, suspicion first falls on her and her old boyfriend. However, when Cadfael begins to investigate, he learn several interesting things--such as a long-time mistress AND something about a mysterious leper. What does all this mean? See the show for yourself.

As I mentioned above, the plot was a bit better in this one and the end is particularly memorable. Well done all around--and evidence that the series was hitting its stride.

"They must've had a very grave quarrel."

[Blueghost · 11 July 2009]

Sayeth the leper with a mysterious past.

I envy this story, or more rather I envy Elizabeth Peters ability to place her great imagination on paper and tell a story to which we think we know the ending. This was one of her many writing talents, and the adaptation of Peters' work does not disappoint.

Not only are we subject to a mystery to which the authorities must solve without the benefit of a DNA lab and other modern forensics, a challenge in and of itself, but we're given a window to another period in time. A period where reputation carried a bit more weight than it ever could now, and even though man's mechanical know-how was simpler, and he lived a simpler life in terms of material wealth, mankind himself was no less rich in wit. This included criminals trying to outdo the opposition.

The story seems formulaic enough in some respects, and we're treated to more than one McGuffin, which themselves we understand as McGuffins. But even when the greater initial mystery is solved, we're left with another.

"Cadfael" is another one of my favorite TV series. The artistry that went into the art direction and performances stands out, even in light of the fact that some of the episodes were shot on a very low grade 16mm stock. But it doesn't matter, because the setting and cast, lead by the superb Derek Jacobi, present to us a series of tales in a time when the world was full of natural mystery, ghosts, demons, witchcraft, and a beneficent (though vengeful) god to oppose the ills of the world.

This slice of performed reality shows us not only the cruelty of the time, but also happier moments. We see not only the deadly bids for wealth and power via the taking of life, but the efforts of mankind to unite to right wrongs and succor those in need. In spite of the fact that there was no electrification of the material world, there was electricity in the spirit of the people. Secret loves, intrigues, infidelities, vendettas, deep friendships, temptations, and a wonderment of life itself, the things we grapple with today, were all very much thriving in those heady times.

Cadfael is a man of "God". A former soldier (man at arms) who forsakes the life of sword and shield for one of dutiful healing of people in mind, body and spirit. And, when the opportunity arises (every episode), solve the occasional murder ;-) My only complaint is that the remaining stories have not been filmed, and it seems unlikely that they ever will be. Which is a shame, for there are few noteworthy television series of such high caliber that were more deserving than "Ellis Peters'" own version of a Canterburry Tale.

A magnificent series that mixes the old 1970's Monday Mystery Movie with the art direction of "Braveheart". Truly a treasure to be watched.

"There is always hope by God's grace and man's efforts."

[Bernie4444 · 10/10 · 15 October 2023]

A marriage of convenience takes place between Baron Huon De Domville and the orphaned Iveta De Massard. The Barron wants more land. Iveta, on the other hand, is really in love with another.

As the baron and Iveta are traveling with some people with leprosy the baron whips them and Iveta tosses money. We can guess what is going to happen to the baron. On the eve of the wedding, the Barron mysteriously rides off alone into the night, and that is the last time he is seen alive. Cadfael sets out to investigate his disappearance. In the process, we get to revisit Cadfael's past and maybe an old friend.

Naturally, the description of this film is simplified and for readers of Ellis Peters' works, the film is simplified from the story.

You must take your hat off to Creeping Gromwell to help Cadfael solve the mystery.

The Leper of St Giles

[Prismark10 · 6/10 · 18 January 2020]

Sleuthing monk Cadfael investigates the death of nasty Baron Huon de Domville. We learn of this early on when he is sneering to some lepers.

The elderly baron was due to marry young Iveta (Tara Fitzgerald), the orphaned daughter of legendary crusader. She is in love with Joscelyn (Jonathan Firth) one of the baron's men but her guardians have arranged her wedding to the wealthy baron for money reasons.

Of course Joscelyn ends up being the prime suspect. Later there is another death and Cadfael believes someone else is responsible for that one.

Of course with a title such as The Leper of St Giles, the lepers do not feature here just for window dressing. They need the dressing for their hands.

A watchable mystery with a few red herrings. You always know there is more to the leper though.

The Princess

[tedg · 3 July 2008]

I am finding these Cadfael episodes formulaic, predictable and uninteresting.

This one has a feature that is pleasantly distracting. The Princess, over whom two men fight, is played by Tara Fitzgerald. She's the sort of actress who can do well enough when all she has to do is act pretty and vulnerable — usually (but not here) exposing her breasts along the way in a practiced innocence.

She never was able to develop into someone that mattered. But here she is at her apex, her bearing absolutely perfect for the art direction here — particularly the understated makeup. That apex, that pure archetype, is of a healthy, but demur, desirable but either dedicated or confused why not, unvoluptuously inviting, tentatively poised.

Ted's Evaluation -- 2 of 3: Has some interesting elements.