My review of last week's episode.
Professor Alistair Coke Norris’s death in a hit and run accident seems open and shut—but this is Morse. After some poking around, and informing the mild-mannered wife (Poppy Miller), it’s revealed that he to vote on a sale of college land that, predictably, involves some shady dealings. Also predictably, C.S. Bright is not happy about this turn of events. While at first amusingly Wodehousian, Bright is becoming more and more irritating and obstructive to Morse and Thursday. (By the way, this is getting a little wearing. Isn’t there anything else he does?)
But Bright’s political sycophancy becomes a real danger when one of Thursday’s old adversaries, Vic Kasper, turns up. From the moment the two set eyes on each other, it’s obvious they have A History. Following that revelation, this episode is more about Thursday than Morse (though perhaps it always has been.) Morse learns even more of his mentor’s old secrets. Somehow, though, these tidbits seem less interesting than the knowledge of Italian, war-time reminiscing, and dinner-table banter in earlier episodes.
Professor Alistair Coke Norris’s death in a hit and run accident seems open and shut—but this is Morse. After some poking around, and informing the mild-mannered wife (Poppy Miller), it’s revealed that he to vote on a sale of college land that, predictably, involves some shady dealings. Also predictably, C.S. Bright is not happy about this turn of events. While at first amusingly Wodehousian, Bright is becoming more and more irritating and obstructive to Morse and Thursday. (By the way, this is getting a little wearing. Isn’t there anything else he does?)
But Bright’s political sycophancy becomes a real danger when one of Thursday’s old adversaries, Vic Kasper, turns up. From the moment the two set eyes on each other, it’s obvious they have A History. Following that revelation, this episode is more about Thursday than Morse (though perhaps it always has been.) Morse learns even more of his mentor’s old secrets. Somehow, though, these tidbits seem less interesting than the knowledge of Italian, war-time reminiscing, and dinner-table banter in earlier episodes.
And our villain? Vic
Kasper certainly feels like a sleaze ball, but is upstaged on nastiness by his
son, Vince (Nick Court.) Unfortunately, while Vince gets to say all the mean
things, he doesn’t have the villain oomph to back it up. While the episode is
obviously aiming at a sense of danger, it falls well short of the edge-of-your-seat
feel in Fugue. This could be, though,
because I saw the trailer previously, which ruined most of the dramatic
moments. I noticed that watching it again with my parents, their reactions were much more intense. Still, it doesn't feel like Kasper’s mafia-like aura is fully utilized.
The theme of family is brought to the fore. As viewers of the old
series will remember, Morse had a very dysfunctional family. Here, we get to
meet them. His half-sister, Joyce doesn’t look much like Sorcha Cusack (Cusack
was pretty frumpy in the role, from what I remember, while Sonya Cassidy is very pretty), and has a brief
cameo. There are a few seconds of the abrasive step-mother Gwen. Morse’s extremely distant father (Alan Williams) looks strikingly like John Thaw, and even echoes the latter’s grumpy “don’t fuss” (or some
variant.) In their scenes together, the awkward silence dominates to great effect.
Thursday is
obviously meant to contrast with this. A parallel story with his
daughter, Joan, shows a markedly different father-child relationship, with
Thursday the caring, albeit somewhat over-protective, father. Joan,
on the other hand, is rebellious, which causes her to get caught up in the drama
between Thursday and Kasper (and another between Morse and Jakes.)
Eventually, we
build to a rather melodramatic climax. The aftermath is actually more fulfilling.
The last scene with Morse’s father is
very well acted by Evans, though I’m feeling less connection with the older
Morse with each successive episode. Perhaps he’s fully become his own man.
Overall, fine acting (as usual) but a plodding, un-original storyline with a handful of dangling plot-ends.
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