Judith is a middle-aged spinster. The setting is Dublin, Ireland. She teaches piano, and she occasionally goes on drinking binges when life becomes too hard to handle. (It’s not much different than our single binges of overeating and other destructive tendencies we partake in to kill emotional pain of loneliness.) Judith moves into another boarding house in search of a new beginning. She brings her suitcase, her framed picture of Jesus for the wall, and promises God things will be better.
Life in the boarding house is not exactly what I’d term the best place to make a new beginning. Its boarders are an eclectic mixture of nutcases from the owner to the residents. It’s here that Maggie meets the brother of the owner, who happens to be an American, played by Bob Hoskins.
James Madden, Judith’s new potential interest, isn’t the man of character that she thinks him to be. They start to spend time together, and Judith begins to falsely believe that he’s interested in her as a potential wife, when in reality all he wants is her money, of which she has very little. The realization that he’s really not interested, sends Judith spiraling downward into depression and gin bottles.
Poor Judith is a woman ridiculed and alone. She compensates for her less than happy life by telling little white lies to make her life sound better. When she finally breaks, a scene ensues where she goes to church and loses it completely. It’s the most powerful cry of the human soul I’ve seen in quite some time, as the good and faithful Catholic Judith runs to the altar, rips back curtain of the Tabernacle, and screams at God, “Are you really in there? Did you hear me?”
I think this movie moved me on a personal level because of my own life of being alone for 13 years and unanswered prayers for a mate. The climatic scene in the church is so well played by Maggie Smith and so heart wrenching, it’s hard to put into words. In any event, the movie is well worth the wonderful performance. It’s an oldie, but goodie, that deserves to be resurrected.
Memorable Lines: (Judith)”Mr. Madden, I usually go the 11 o’clock mass on Sunday. Do you have a usual time?” (Madden) “Time doesn’t matter, you just gotta get through it.”
Type: ITV Series (22 episodes to date)
You’ll discover a lot about who I am as a person as my reviews continue and what makes me tick. Foyle’s War, believe it or not, is a good example. I don’t always watch the “chick flick” fluff. There are times that I watch the nitty-gritty of life’s realities that are filled with struggle and often heartache.
I think my fascination with this series is due to my background. My father fought in World War II. He was in the Army Corps of Engineers, and though he was stationed in the Pacific, rather than in Europe, I know that World War II had a huge influence upon my parent’s life. My mother kissed her husband goodbye when she was pregnant with my brother, and four years later he returned, thankfully, alive. During those years, my mother worked in a radio factory, and life was tough for everyone. My parent’s generation were people that knew about sacrifice, unlike the younger generation of today, who have no idea about ration cards for food, gas masks, bombs falling upon their heads, blackouts, death, and destruction in their own backyard.
Foyle’s War is an interesting look into war in Britain from the very beginning to the end, and a few series beyond. It’s not only a murder mystery series, it’s a series about how the war affected everyone in England, from the civilian to the soldier, pilot, or sailor.
Detective Chief Superintendent Christopher Foyle (played by Michael Kitchen) is the main focus. He’s a man of honor, moral absolutes, and integrity, who is faced with not only the war in Britain, but the war against criminals during a time of war. It’s true that hardship can bring out the best in the human race, but it can also bring out the despicable of the human race. Foyle, as you soon learn in the series, is sometimes faced with the question of whether to take the high road in prosecuting the criminal, or turning a blind eye for the sake of the war effort.
From the early onset of the series, the difficulties and heartaches of war are clearly focused upon and not glossed over. The episodes are wonderfully crafted, as well as the interwoven stories of a different kind of war — one of a personal nature where individuals kill a single human not for king and country, but for personal gain, greed, and hatred.
Foyle is the ultimate man with the stiff upper lip mentality. He says very little, you can be assured, unless it’s necessary to say. The remainder of the time he ponders, deducts, and keeps a tight lip on his own emotions, though his facial expressions and body language reveal his every thought. When it’s time to reveal the killer, he pulls no punches and spews out the facts and accusations with clarity and often laced with a tad of sarcasm.
The series also focuses upon his son Andrew (handsomely played by Julian Overden, who just released an album by the way); Samantha Weeks aka Sam, who is Foyle’s driver (played by the cute Honeysuckle Weeks); and his side-kick detective Paul Milner (played by Anthony Howell). Of course, like any other series, there are side plots that involve everyone’s life.
I’m happy to see that Foyle’s War is scheduled to release three more episodes in 2013, which are after-the-war, of course. Foyle at the end of the last episode retires, but I think he has unfinished business to attend to in America.
Though this isn’t your typical female watch, if you like murder mysteries, this series could be for you. I know I absolutely loved it, and it convinces me once again that the British know how to do great television tastefully, even with difficult subjects.
Highly recommended and entertaining series. I so love British TV.
Favorite Line: (Season IV – “Invasion”) The US Army Captain says to Foyle (Paraphrased), “It’s you British that are always murdering each other.”
Greatest Disappointment: Andrew and Sam don’t get married. :sniff:
Angel writes not only for success, but she writes to rewrite her own painful life by creating a world of her own imagination. As an author having had times of building my own make-believe worlds to shut out the pain of reality, I totally understood the driving force behind Angel Deverell’s need to rewrite her life in order to survive it. Creativity sometimes borders on a type of madness, and I think there has always been some stigma that the greatest of geniuses in any art form are a bit eccentric and unbalanced.
Though the beginning is filled with what I call “fluff” of Angel’s rise in popularity as a writer, the unhappiness that eventually catches up to her isn’t a surprise. She loved her husband like the characters in her books loved their heros – blindly and with a tad of selfish and obsessive possessiveness. In addition, the home she dreamed of owning as a child called Paradise, becomes a reality when she makes enough money to purchase the estate. However, she soon learns that Paradise isn’t everything she had hoped for, and her home becomes her personal purgatory instead.
The costumes and indoor settings are stunning, but the cinematography is awful, which distracts from the story and cheapens the film. It’s too bad, frankly, because a bigger budget might have made this film a little more memorable. Fake backgrounds abound, and they are terrible. Romola Garai does a fine job portraying Angel, and I can’t complain about her performance.
All in all, I enjoyed it and would recommend it to my author friends. It’s the tragic drama of an interesting character’s life. Worth the watch if you’re into that sort of storyline.
Below is a trailer, however, it’s not the best of quality.