One of the best Morse episodes which I have just noted has a neat visual trick to enhance the idea that all you see is not always genuine. I have watched this episode 6 or 7 times over the years and only on the last viewing noticed that the scene where Morse and Lewis confront Harry senior in the Oxford art gallery shows Harry senior filmed apparently in the same spot with an old master painting behind him but each time the camera cuts between Harry and Morse or Lewis there is a different painting behind him! I counted 5 changes of background paintings and Harry senior had not moved nor had the camera angle altered. Clever way to highlight the recurring theme of the story.
15 Reviews
A compliment to The Master.
Sleepin_Dragon27 April 2017
Morse investigates the death of free Spirit and artist Harry Field, and in doing so gets dragged into Harry's world.
I very much enjoy this episode, not just for the story, which is excellent, but for the character play between Morse and Lewis, we get more from the relationship between the duo then ever before, the moment where the two discuss Lewis's promotion for example is a brilliant moment, shows how the pair developed over time.
Fair to say it starts off possibly a little on the slow side, but as it develops it really does turn into something special, the ending is first rate, very poignant.
Geraldine James and John Castle, two actors I adore watching do a fantastic job respectively, but it's the sheer class of Freddie Jones who steals the show as the wayward artist's father. An actor that is drowning in charisma, true quality.
Slightly different in format, Morse doesn't as such get a Female interest, but he has a friendship with Ian Matthews, who shares Morse's interest in Whisky and Art.
The 90's don't seem like that long ago, but when you check the decor out you realise it really was some time back.
Excellent, 9/10
I very much enjoy this episode, not just for the story, which is excellent, but for the character play between Morse and Lewis, we get more from the relationship between the duo then ever before, the moment where the two discuss Lewis's promotion for example is a brilliant moment, shows how the pair developed over time.
Fair to say it starts off possibly a little on the slow side, but as it develops it really does turn into something special, the ending is first rate, very poignant.
Geraldine James and John Castle, two actors I adore watching do a fantastic job respectively, but it's the sheer class of Freddie Jones who steals the show as the wayward artist's father. An actor that is drowning in charisma, true quality.
Slightly different in format, Morse doesn't as such get a Female interest, but he has a friendship with Ian Matthews, who shares Morse's interest in Whisky and Art.
The 90's don't seem like that long ago, but when you check the decor out you realise it really was some time back.
Excellent, 9/10
One of the best scenes...
aeszeki13 August 2022
I have quoted below my favourite scene from this episode. It is beautifully acted and very emotional.
If you didn't pay attention to it, go back, watch it. This is all you need, to understand Morse's and Lewis' relationship.
"Do you think l'm good enough to be recommended for promotion?
I'm sorry to tell you, Lewis, that the answer to that.. is yes.
Thank you, sir."
If you didn't pay attention to it, go back, watch it. This is all you need, to understand Morse's and Lewis' relationship.
"Do you think l'm good enough to be recommended for promotion?
I'm sorry to tell you, Lewis, that the answer to that.. is yes.
Thank you, sir."
Ain't missbehavin'
chrislyons1226 April 2007
This is for me one of the best Morse episodes.Freddie Jones is excellent as the father of the murder victim and he shows what a good actor he is. His scenes with John Thaw especially at the end are brilliant. Overall the story keeps you guessing until the end, with various twists in the plot. It also gives a good insight into the world of art.The scenery is fine and the whole episode has a "feel" about it, i've seen it several times and never tier of it. For Morse fans this episode has it all; Oxfordshire countryside, real ale, sophisticated suspects, stately home, an eccentric victim and lots of red herrings to keep you guessing.
Absolutely fantastic!
TheLittleSongbird6 July 2009
This is one of my favourites, definitely one of the better episodes. if they hadn't made Promised Land, then this would have had my pick for the best episode of the 5th series, instead it has to be content with an extremely close second, with Second Time Around closely behind. The episode has some truly beautiful scenery, and definitely one of the more intriguing Morse plots, and it isn't even based on any of the books by Colin Dexter. An episode like Last Bus To Woodstock is still very intriguing, but compared to other Morse episodes it feels too bleak. John Thaw and Kevin Whately are excellent in the title roles, and they are almost overshadowed by the scene-stealing performance by Freddie Jones as the victim's father. I found his final scenes, not only moving but also the highlight of the episode. Geraldine James is also excellent as Helen, and also worth noting are roles from Ronald Pickup and Vania Vilers. All in all, a truly fantastic entry to the best crime drama series ever. 10/10 Bethany Cox.
My Favorite Morse
dmc-7489010 June 2021
This is the first - and only - episode of the Morse series I'll comment upon, as it is easily my favorite. I rarely watched them when they first appeared here, and only after enjoying for years the Inspector Lewis corpus first, and then Endeavor through seven seasons so far, did I ever go back, find the old dvd's, and re-watch all the Morses, more than once now, too.
In this episode, the murders themselves are secondary - in fact the second one almost ignored - as it is the wonderfully bittersweet mood of this most observant and life-wearily intelligent episode that matters, often filmed late in the day in setting sun and fading light. I think this kind of sad sagacity and introspection is only reached, and perhaps only appreciated, later in life, as I am reaching now. I doubt I'd have been as profoundly struck by the melancholy feel of this episode had I watched it on its first appearance years ago.
Harry Field, the original victim, is barely seen alive in this, yet his rather raffish life is revealed in retrospect, peeled away in layers, as an art restorer such as he had been would do, revealing flaws as well as attributes. He slowly appears as a man who, failing professionally but beloved by many, we wish we could have known, just as we wish we could have had a pint in those peaceful country pubs shown here (and we get a rare inside view of Brocket Hall, a country house owned by two Victorian prime ministers, Lords Melbourne and Palmerston, a nice little bonus). There is a massive sense of loss in this episode, hanging over everything.
The acting is always impeccable, and Morse actually laughs at something funny, the delightful faux family crest mottoes for gullible Americans that Harry Field had cooked up, like the one when translated goes: "At Night, Put the Cat Out". Guest performers are memorable, with Geraldine James's angry grief quite profound, and Freddie Jones, the deceased's father, giving a spectacular diatribe on fraud and fakery in Art while standing in the Ashmolean Museum. So intense was this that I'd not noticed at first, had a previous reviewer not alerted us, that in the background the show's director delightfully rotates five different works of art hung behind him between takes while he never moves - the vagaries and shifting reality of Art and forgery going on right behind, and before us, even as it's being explained... what is real, and what is not? We only see what we are meant to see.
It is not even explicitly explained to us who the second murderer is, although it's fairly clear to me. As Harry's father says himself about his son's suspected murderer - "he MUST have done it." Or did he? The vagaries of art, and life. A supremely impressive, and memorable episode, one that in its own thoughtful way celebrates past lives both real and imagined, and by far my favorite of the lot.
In this episode, the murders themselves are secondary - in fact the second one almost ignored - as it is the wonderfully bittersweet mood of this most observant and life-wearily intelligent episode that matters, often filmed late in the day in setting sun and fading light. I think this kind of sad sagacity and introspection is only reached, and perhaps only appreciated, later in life, as I am reaching now. I doubt I'd have been as profoundly struck by the melancholy feel of this episode had I watched it on its first appearance years ago.
Harry Field, the original victim, is barely seen alive in this, yet his rather raffish life is revealed in retrospect, peeled away in layers, as an art restorer such as he had been would do, revealing flaws as well as attributes. He slowly appears as a man who, failing professionally but beloved by many, we wish we could have known, just as we wish we could have had a pint in those peaceful country pubs shown here (and we get a rare inside view of Brocket Hall, a country house owned by two Victorian prime ministers, Lords Melbourne and Palmerston, a nice little bonus). There is a massive sense of loss in this episode, hanging over everything.
The acting is always impeccable, and Morse actually laughs at something funny, the delightful faux family crest mottoes for gullible Americans that Harry Field had cooked up, like the one when translated goes: "At Night, Put the Cat Out". Guest performers are memorable, with Geraldine James's angry grief quite profound, and Freddie Jones, the deceased's father, giving a spectacular diatribe on fraud and fakery in Art while standing in the Ashmolean Museum. So intense was this that I'd not noticed at first, had a previous reviewer not alerted us, that in the background the show's director delightfully rotates five different works of art hung behind him between takes while he never moves - the vagaries and shifting reality of Art and forgery going on right behind, and before us, even as it's being explained... what is real, and what is not? We only see what we are meant to see.
It is not even explicitly explained to us who the second murderer is, although it's fairly clear to me. As Harry's father says himself about his son's suspected murderer - "he MUST have done it." Or did he? The vagaries of art, and life. A supremely impressive, and memorable episode, one that in its own thoughtful way celebrates past lives both real and imagined, and by far my favorite of the lot.
Perfection
bethwilliam24 August 2006
Warning: Spoilers
This is Morse at its best.
Harry Field is a Bohemian artist scratching a living from cleaning old paintings and the odd forgery or two. His body is found under a bridge in a remote location. An autopsy reveals he has been dead for four days even though he has left a message the day before that he would be home soon. The investigation leads Morse into the art world and to Frenchman Paul Eirl who is about to lend a rare painting to the British Government.
Meanwhile Lewis is under pressure from his wife to seek a promotion to the traffic branch - and away from Morse. I cannot recall a better team of detectives than Morse and Lewis. We have Starsky and Hutch; Taggart and Jardine; Sherlock Holmes and Watson. Lewis is the married, working class Geordie. Morse the upper middle class snob who graduated from Oxford and never married. The chemistry between them is extraordinary.
This episode of Morse touches perfection. What a pity the series ended.
Harry Field is a Bohemian artist scratching a living from cleaning old paintings and the odd forgery or two. His body is found under a bridge in a remote location. An autopsy reveals he has been dead for four days even though he has left a message the day before that he would be home soon. The investigation leads Morse into the art world and to Frenchman Paul Eirl who is about to lend a rare painting to the British Government.
Meanwhile Lewis is under pressure from his wife to seek a promotion to the traffic branch - and away from Morse. I cannot recall a better team of detectives than Morse and Lewis. We have Starsky and Hutch; Taggart and Jardine; Sherlock Holmes and Watson. Lewis is the married, working class Geordie. Morse the upper middle class snob who graduated from Oxford and never married. The chemistry between them is extraordinary.
This episode of Morse touches perfection. What a pity the series ended.
A Feast for the Intellect
Hitchcoc24 February 2018
As this show progressed, we get to see a sophistication that is marvelous. An unbalanced painter is found dead. We have been made privy to his drinking and dalliance; we are also treated to his talent. The problem for him and eventually for Morse is that he is, Kris Kristofferson would say, a "walking contradiction." His excesses and questionable virtues, led to a great deal of anger. His talents also led to reprisals from some very powerful people. His wife has a heavy burden but is damaged herself. We get an education in what is in the artist's soul and also into the commercial world of art. Excellent.
When toes are weary, rest a bit
excowboy5529 November 2011
Warning: Spoilers
OK---if the question was posed: "What's the best Morse episode?" I probably couldn't come up with an answer. Out of the 33 available, there are probably 5 or 6 that for various reasons represent the best of the series and I just couldn't pick one. I can say this, however: the most watchable episode, the episode of which I never tire, would be "Who Killed Harry Field?" The plot layering, characterization, pacing, subject matter, scenery, and moral conflict are fascinating and come together in a single, standalone episode like a magic incantation. There are exceptional major character performances, most notably by Geraldine James (forever loved by me as Sarah Layton in "The Jewel in the Crown") and Freddie Jones, who plays Harry's rascal painter father to the rascal painter son. Not only does James's character come thru with amazing nuance (despite the fact that she is drunk and disheveled half the time), her sexuality reaches out with subtle force; it's like realizing that a person you've known for awhile is suddenly, irresistibly attractive. Jones's combination of fury, resignation, and then doubt at the end of the story are mesmerizing. The way he so correctly pronounces the name "Durer" in the scene just drips contempt and something else---frustration maybe. There are exceptional minor character performances by Nicola Cowper, Ronald Pickup, and Philip Locke (he played the villain Varga in "Thunderball"---remember the spear gun scene?). Cowper in particular is effective as a working-class girl who models for Harry---her character's pathos is heartbreaking without a whiff of sentimentality at the end. Other things that make this episode so distinctive: 1. Morse laughs (laughs!) out loud at Harry's whimsical approach to heraldry for rubes in America. As the episode unfolds Morse clearly develops an appreciation and genuine liking for Harry, a dead man, that can never be consummated. Tell me, how many times does Morse laugh in all those other episodes? How many times does he really like somebody, especially a man? 2. This episode not only provides an abbreviated art history survey, it provides a fascinating look at the politics, strategy, and tactics of forgery. 3. It has a Vincent Black Shadow motorcycle and an Aston Martin DB5 expertly written into the story, so we get to see something other than Morse's Mark 2 Jaguar. 4. It has a back story plot that introduces potential game-changing conflict between Morse and Lewis. 5. It has a rich, despicable villain who lives in a fabulous house for which he cares nothing. 6. At its conclusion, despite the seeming resolution to most of the mystery and destruction of lives and living, the episode's eponymous question remains unanswered.
Average at best
kindofblue-7822117 March 2022
An average Morse episode is to be a bad episode. Such is the high bar Morse sets.
Who killed Harry Field is a chore. It's turgid, chaotic in an unmorse manner.
I've just watched this and never felt invol Consequently, I didn't actually care who did it or didn't do it.
There's little story. The red herrings are meaningless and very fishythis This is one episode I won't waste my time on again.
It's redeeming feature is the beautiful countryside.
Next time I'll just look out of my window.
Who killed Harry Field is a chore. It's turgid, chaotic in an unmorse manner.
I've just watched this and never felt invol Consequently, I didn't actually care who did it or didn't do it.
There's little story. The red herrings are meaningless and very fishythis This is one episode I won't waste my time on again.
It's redeeming feature is the beautiful countryside.
Next time I'll just look out of my window.
The Art of Murder
Ian_Jules4 July 2019
Warning: Spoilers
This episode, in close competition with "Second Time Around", is my pick for the best of series five, and I feel this is one case where the overall rating should be a bit higher than it is.
Morse and Lewis investigate the murder of an eccentric and frustrated painter, Harry Field (Trevor Byfield), plunging them into both the fascinating world of art history and the dynamics of his damaged but colorful social circle. The characters are some of the most compelling of the series and the ensemble cast one of the most impeccable. Geraldine James as Harry's widow and Freddie Jones as his father are particularly powerful, exemplifying diverse but compelling responses to profound grieving.
Nicola Cowper is remarkably sympathetic as a model who clearly cared a great deal for Harry, while the late Vania Villers essays the role of slimy aristocrat Paul Eirl with finesse (I'd have liked slightly more screen time for him in hindsight). Rounding out the cast is Ronald Pickup as Morse's art historian friend, Ian Matthews, a happily down-to-earth variation on the usual Oxford scholars seen in this show. Pickup is an underrated character actor and brings a lot of warmth to a character that seems to be overlooked even by many Morse aficionados.
This episode was written by Geoffrey Case, his only script for the series, and directed by Colin Gregg, who would return for "Death of the Self" next season. He brings both of entries to the screen with quiet class. Camera work is relatively straightforward but skillful, benefiting here from some gorgeous filming locations (particularly the opulent Eirl estate).
Composer Barrington Pheloung has one of his all time best showings with the haunting "Eirl Theme", apparently devised for this episode and never repeated after, and a fun reconstruction of Fats Waller's classic "Ain't Misbehavin'". Harry's fervent love of jazz gives Pheloung fresh musical territory to mine, which he does in ways that add great texture to the episode.
It's worth noting that, partly because of Pheloung's scoring along with Byfield's too-short appearance as the title character and primary victim, Harry Field's unique and almost undefinable spirit dominates this episode from beginning to end unlike any other victim in this series that I can think of. Some victims are universally loathed, while others have not an enemy in the world. Harry fits neither extreme, and the more we discover of him throughout the story, the more fascinating he becomes as a lost figure whose hectic life and premature death Morse labors to reconstruct.
The story, at its essence, is quite clever and intriguing. Art lovers will be especially pleased with this one. As I hinted above, I do believe the screenplay could have sustained structural tweaks, perhaps introducing the main villains a little earlier and doing more with them alongside the subplots that occupy much of the episode's middle portion. Also, there is a loose end involving repeated phone calls (with no message left) to Harry's studio. The identity of the caller is never revealed, and if it had been necessary to cut some of Lewis's "going for promotion" subplot to clear up this point, it would have been a worthwhile short term sacrifice for me.
If not for the unresolved telephone subplot, this one could probably have rated a ten. Given how many clearly skilled and talented artistes are doing first rate work here, and how sublimely well just about everything else in the episode works, I'm almost certain it was some freak oversight in editing. The writing is otherwise above average even for this series; it's clearly not a case of lazy scripting or indifferent direction, so one wonders if something simply had to be cut for the series' strict time slot. Nonetheless, this episode remains deeply satisfying regardless of its lingering ambiguities.
Morse and Lewis investigate the murder of an eccentric and frustrated painter, Harry Field (Trevor Byfield), plunging them into both the fascinating world of art history and the dynamics of his damaged but colorful social circle. The characters are some of the most compelling of the series and the ensemble cast one of the most impeccable. Geraldine James as Harry's widow and Freddie Jones as his father are particularly powerful, exemplifying diverse but compelling responses to profound grieving.
Nicola Cowper is remarkably sympathetic as a model who clearly cared a great deal for Harry, while the late Vania Villers essays the role of slimy aristocrat Paul Eirl with finesse (I'd have liked slightly more screen time for him in hindsight). Rounding out the cast is Ronald Pickup as Morse's art historian friend, Ian Matthews, a happily down-to-earth variation on the usual Oxford scholars seen in this show. Pickup is an underrated character actor and brings a lot of warmth to a character that seems to be overlooked even by many Morse aficionados.
This episode was written by Geoffrey Case, his only script for the series, and directed by Colin Gregg, who would return for "Death of the Self" next season. He brings both of entries to the screen with quiet class. Camera work is relatively straightforward but skillful, benefiting here from some gorgeous filming locations (particularly the opulent Eirl estate).
Composer Barrington Pheloung has one of his all time best showings with the haunting "Eirl Theme", apparently devised for this episode and never repeated after, and a fun reconstruction of Fats Waller's classic "Ain't Misbehavin'". Harry's fervent love of jazz gives Pheloung fresh musical territory to mine, which he does in ways that add great texture to the episode.
It's worth noting that, partly because of Pheloung's scoring along with Byfield's too-short appearance as the title character and primary victim, Harry Field's unique and almost undefinable spirit dominates this episode from beginning to end unlike any other victim in this series that I can think of. Some victims are universally loathed, while others have not an enemy in the world. Harry fits neither extreme, and the more we discover of him throughout the story, the more fascinating he becomes as a lost figure whose hectic life and premature death Morse labors to reconstruct.
The story, at its essence, is quite clever and intriguing. Art lovers will be especially pleased with this one. As I hinted above, I do believe the screenplay could have sustained structural tweaks, perhaps introducing the main villains a little earlier and doing more with them alongside the subplots that occupy much of the episode's middle portion. Also, there is a loose end involving repeated phone calls (with no message left) to Harry's studio. The identity of the caller is never revealed, and if it had been necessary to cut some of Lewis's "going for promotion" subplot to clear up this point, it would have been a worthwhile short term sacrifice for me.
If not for the unresolved telephone subplot, this one could probably have rated a ten. Given how many clearly skilled and talented artistes are doing first rate work here, and how sublimely well just about everything else in the episode works, I'm almost certain it was some freak oversight in editing. The writing is otherwise above average even for this series; it's clearly not a case of lazy scripting or indifferent direction, so one wonders if something simply had to be cut for the series' strict time slot. Nonetheless, this episode remains deeply satisfying regardless of its lingering ambiguities.
Brave, a good bouquet and a fine finish.
rmax30482322 February 2011
Warning: Spoilers
I don't know exactly what went wrong with this episode but I believe I may have been able to follow the plot from beginning to end, though it was no more convoluted than your ordinary Swiss chronometer. It had all the usual canards as well. Who was the mysterious short-haired blond that Harry Field used so often as a model? The short-haired blond who is in the opening scene, smashing one of Harry's paintings and throwing a fistful of money in his face? The short-haired blond whom Morse would love to interrogate? (It doesn't matter.)
Not only was I able to follow it but I kind of enjoyed it too, partly because of its subject. When the broth is reduced, it's about art forgery. Harry's father, Freddie Jones in a robust performance, paints a fake Durer in the immediate aftermath of World War II, then fakes a sloppy restoration attempt. That's pretty good. You make a splendid fake, then you fake a poor restoration. I guess I won't give away more of the plot but I like Jones' argument towards the end, that a flawless and undetectable pastiche is treated with as much reverence as an original only because of our mistaken belief that it is, in fact, original. The MBAs who greenlight Hollywood products ought to see this one and think it over.
There's humor in the episode too, although you have to be alert or you'll miss it. Morse and Lewis are sitting at an outdoor pub, Morse with his stout and Lewis with his orange juice. Lewis confides that he's thinking of taking the exam for promotion but, if he does, may he depend on Morse's recommendation? Morse pauses before answering, "I'm afraid, Lewis, that the answer to that question -- is yes." But of course Morse doesn't want Lewis to transfer out of the division and he queries his boss about it. The boss says something like, "I should think he would welcome a transfer." Morse is genuinely puzzled and asks why. The boss: "Your attitude towards him is sometimes dismissive." It drives Morse into another fit of thoughtfulness.
Ten minutes later, long after we've forgotten the exchange between Morse and his superior, Lewis locates that mysterious blond and summons Morse to her flat. Morse is about to enter, then stops, turns around, and pointedly says to Lewis, "Well done." After a five-minute interview, Morse emerges from the flat and as he and Lewis are climbing into the Jag, he remarks, "Very well done, Lewis." It brings the detective to an abrupt halt and he asks, "Are you alright, sir?" There's another scene, maybe half an hour later, when Lewis comes up with some datum and Morse, still scowling as usual, pats him gently on the back and tells him, "Well done." I've sat through about a dozen episodes and this is the only one that made me laugh out loud.
Also appealing is Harry Field's life style. He's an impecunious artist, a drunk, a bum with little talent. His place is an unholy mess, resembling mine in its entropy. It's nice to get away from the overly neat upper classes once in a while, although this tale plunges us deeply into a family of multi-millionaires.
I'm getting to like these very British names too. They grow on one. Think I'll write a novel set in Britain. The common people can have names like -- well, let's see -- we have a Ronald Pickup in the cast here, and of course there's the famous Betty Box. Those happen to be real names so we'll have to invent fake ones. (Ronald Flatbed? Betty Basket? Probably not.) Fakes that SOUND real. For the upper class we can exercise our imaginations freely. Reginald Ffolkes? That's pretty good, isn't it? St. John Smythe? With the "St. John" pronounced "Sinjin." And, let me think. Yes. Lady Amanda Hawthorne-Jewell. That should wrap the story up if no one examines it too closely and finds the ink still wet.
Not only was I able to follow it but I kind of enjoyed it too, partly because of its subject. When the broth is reduced, it's about art forgery. Harry's father, Freddie Jones in a robust performance, paints a fake Durer in the immediate aftermath of World War II, then fakes a sloppy restoration attempt. That's pretty good. You make a splendid fake, then you fake a poor restoration. I guess I won't give away more of the plot but I like Jones' argument towards the end, that a flawless and undetectable pastiche is treated with as much reverence as an original only because of our mistaken belief that it is, in fact, original. The MBAs who greenlight Hollywood products ought to see this one and think it over.
There's humor in the episode too, although you have to be alert or you'll miss it. Morse and Lewis are sitting at an outdoor pub, Morse with his stout and Lewis with his orange juice. Lewis confides that he's thinking of taking the exam for promotion but, if he does, may he depend on Morse's recommendation? Morse pauses before answering, "I'm afraid, Lewis, that the answer to that question -- is yes." But of course Morse doesn't want Lewis to transfer out of the division and he queries his boss about it. The boss says something like, "I should think he would welcome a transfer." Morse is genuinely puzzled and asks why. The boss: "Your attitude towards him is sometimes dismissive." It drives Morse into another fit of thoughtfulness.
Ten minutes later, long after we've forgotten the exchange between Morse and his superior, Lewis locates that mysterious blond and summons Morse to her flat. Morse is about to enter, then stops, turns around, and pointedly says to Lewis, "Well done." After a five-minute interview, Morse emerges from the flat and as he and Lewis are climbing into the Jag, he remarks, "Very well done, Lewis." It brings the detective to an abrupt halt and he asks, "Are you alright, sir?" There's another scene, maybe half an hour later, when Lewis comes up with some datum and Morse, still scowling as usual, pats him gently on the back and tells him, "Well done." I've sat through about a dozen episodes and this is the only one that made me laugh out loud.
Also appealing is Harry Field's life style. He's an impecunious artist, a drunk, a bum with little talent. His place is an unholy mess, resembling mine in its entropy. It's nice to get away from the overly neat upper classes once in a while, although this tale plunges us deeply into a family of multi-millionaires.
I'm getting to like these very British names too. They grow on one. Think I'll write a novel set in Britain. The common people can have names like -- well, let's see -- we have a Ronald Pickup in the cast here, and of course there's the famous Betty Box. Those happen to be real names so we'll have to invent fake ones. (Ronald Flatbed? Betty Basket? Probably not.) Fakes that SOUND real. For the upper class we can exercise our imaginations freely. Reginald Ffolkes? That's pretty good, isn't it? St. John Smythe? With the "St. John" pronounced "Sinjin." And, let me think. Yes. Lady Amanda Hawthorne-Jewell. That should wrap the story up if no one examines it too closely and finds the ink still wet.
Great, intriguing episode
grantss12 September 2022
An episode that sees Morse and Lewis investigate the death of an artist. This leads to some fascinating discussions about art and famous artists, to the point that I wish I knew more about the subjects. The investigation itself is just as interesting as Morse and Lewis get drips of information and it seems that they'll never unravel the case.
The ending initially feels a bit flat as there's a few unanswered questions. The series does this a lot, leaving things up in the air, to it's detriment. However, this time it's okay as the mystery is largely resolved (unlike many of the previous examples) and crime investigations are often not neatly tied up to the extent that all events are known.
The episode marks a turning point in the Morse-Lewis relationship. After generally treating Lewis with contempt before, Morse now starts to be kinder, for a variety of reasons.
The episode also produces one of the funnier scenes in the Morse series. Morse and Lewis are heading to a garage to interview the owner. Morse knows the owner as he takes his car there to be serviced but asks Lewis to conduct the interview. This is strange but Lewis goes ahead. Turns out the owner is also a Northerner and Morse can hardly understand what's he's saying (neither could I, for that matter)! Morse is essentially using Lewis as an interpreter!
The ending initially feels a bit flat as there's a few unanswered questions. The series does this a lot, leaving things up in the air, to it's detriment. However, this time it's okay as the mystery is largely resolved (unlike many of the previous examples) and crime investigations are often not neatly tied up to the extent that all events are known.
The episode marks a turning point in the Morse-Lewis relationship. After generally treating Lewis with contempt before, Morse now starts to be kinder, for a variety of reasons.
The episode also produces one of the funnier scenes in the Morse series. Morse and Lewis are heading to a garage to interview the owner. Morse knows the owner as he takes his car there to be serviced but asks Lewis to conduct the interview. This is strange but Lewis goes ahead. Turns out the owner is also a Northerner and Morse can hardly understand what's he's saying (neither could I, for that matter)! Morse is essentially using Lewis as an interpreter!
Sheer delight to witness Morse's knowledge, full force.
DriftedSnowWhite12 March 2021
Warning: Spoilers
That Morse is fluent in Latin is a prize, and integral to the plot. How many scripts find a place of glory for fluency in Latin? (Mrs. Scott, RIP would be thrilled). Add to that, Morse's additional language fluency making witness interrogation a delight as the witness makes the wrong assumption about the type of people who would be in Morse's position. Geraldine Page's character is so perfectly played she is intolerable, and, of the 30 times I've viewed this episode, (which I own), I have yet to find an ounce of sympathy for her, nor have I found a way to detach and not find the character manipulative to the nth degree. Other reviewers have found the character sympathetic. More power to them. But, ultimately, the extreme frustration in not knowing who killed whom, is unbearable. Not even fair to the viewer. (And believe me when I say that there is nowhere on the Internet that I have found that fledges out an explanation. This is the only Morse I enjoy, despite the frustrating non-resolution. (Someone. Anyone. Give the ending).
"Yer diven speak Geordie"
ygwerin120 August 2020
Warning: Spoilers
Artist Harry Field's body is found adjacent to an road bridge, when Lewis arrives Morse is already on the scene.
Their investigation into Field's death leads them, into his world and that of art and artists.
They discovered Field had more than one string to his bow, possibly of necessity to keep the proverbial wolf from his door.
Morse has a lead involving Field's vehicle but he asked Lewis, to conduct the interview possibly expected him to act as interpreter.
Lewis wants promotion and feels the need to run it past Morse for his consideration, and even asked him if he thought he was upto it.
Morse looking particularly pained to have to admit that yes he is, an observation one suspects that he would never have volunteered to anyone.
Their investigation into Field's death leads them, into his world and that of art and artists.
They discovered Field had more than one string to his bow, possibly of necessity to keep the proverbial wolf from his door.
Morse has a lead involving Field's vehicle but he asked Lewis, to conduct the interview possibly expected him to act as interpreter.
Lewis wants promotion and feels the need to run it past Morse for his consideration, and even asked him if he thought he was upto it.
Morse looking particularly pained to have to admit that yes he is, an observation one suspects that he would never have volunteered to anyone.
See also
Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews
