Faith, the recently adopted baby daughter of Stephen and Frances Groves, is abducted in broad daylight, leading Gently and Bacchus to the home for unmarried mothers from where the couple got Faith. Mrs Dunwoody, the owner, tells them that Faith had a twin brother and the mother Susan Faulkner disappeared with him after Faith's adoption but, when traced, Susan is unable to help the enquiry. After a kidnap ransom demand proves to be a red herring, Gently discovers that both Frances and Stephen have guilty secrets from the past, which, in one case, will solve the case. Bacchus meanwhile reconciles with his father after years of hostility.Written by
don @ minifie-1
When Gently and Bacchus go looking for Hazel Joyce, the camera pans across to follow Bacchus from the car to the seafront. As it does so, a modern car (a Vauxhall Nova) is seen parked in a side road. See more »
[a few years ago, Hazel Joyce was an unmarried mother who had a baby at Esther Dunwoody's adoption clinic but decided not give him up for adoption; now she works for Esther and the two of them are doing a sales pitch to prospective adoptive parents]
All our babies come with a clear biography and a clean bill of health. We want our adopters to have as much information as possible on which to base their choice. Hazel?
Just think of it like a bring-and-buy sale. We bring them. You buy them.
[...] See more »
As a huge fan of detective/crime/mystery series, there is the admission that it took me a while to start watching 'Inspector George Gently', worrying as to whether it would appeal to me for "can't put my finger on it" reasons other than being young at the time and not being as knowledgeable of the period. Getting into the show eight years ago and continuing to watch it without fail, it turned out to be simply wonderful and actually became a favourite.
After a very solid, if still settling, start in "Gently Go Man", it felt like 'Inspector George Gently' started to hit its stride with "The Burning Man" and that continued with "Bomber's Moon". The show hit a high point with "Gently with the Innocents" and the high point standards applies here in "The Lost Child". There is a lot here that is particularly good about 'Inspector George Gently' and it shows that it is not at all hard to see why the show appeals to many.
"The Lost Child" is one of the heart-wrenching episodes from 'Inspector George Gently'. It is indicative that the show has found its feet and hit its stride. It has the emotional impact and succeeding emotional reactions after watching of particularly "Gently in the Blood", "Gently with Class", "Gently Northern Soul" and "Gently with the Innocents", and it is a powerful and beautifully constructed episode nonetheless, handling its subject with sensitivity and poignancy.
However, "The Lost Child", like the rest of the show, looks great, often beautiful. It is strikingly filmed and the scenery and period detail are atmospheric, handsome and evocative, a lot of work and care went into re-creating the period and it shows loud and clear. The music is stirring and haunting, dynamic with what's going on and never intrusive.
The writing has a lot of thought-provoking intelligence and balances subtle humour and drama very well and executing both individually just as well. The direction is alert and accommodating and the story, despite having an air of familiarity at times and not as rich as other stories for other episodes, is easy to follow and absorbing with a good deal of suspense. "The Lost Child", and 'Inspector Gently' in general, is very interesting for how British law was like in the 60s and how much it's changed and come on compared to now.
Love the chemistry between Gently and Bacchus, one of the most interesting and well-contrasted detective/crime/mystery drama pairings (perhaps the most interesting since Morse and Lewis). The two couldn't have more different personalities and how they gel and clash entertains and intrigues. Both are fascinating characters, and became even more fascinating as the show progressed.
Can't fault the acting, the continually brilliant performances from Martin Shaw and Lee Ingleby here and throughout the show are career highs for both actors. All the support is good.
All in all, truly heart-wrenching and wonderful. 10/10 Bethany Cox
2 of 2 people found this review helpful.
Was this review helpful to you?
| Report this