User Reviews

Loved 'Foyle's War' and was immediately hooked when first getting into it. Love it even more now, on re-watches things that didn't quite make sense at first are clearer and things that were not noticed or appreciated before are and much admired. Everything that came over as brilliant on first viewings still are brilliant on re-watches.

"Elise" and the previous episode "Trepass" for me are the two best episodes of 'Foyle's War's' revival period. Some fans didn't like the change of pace 'Foyle's War' took in the post-war episodes, while some episodes handled it better than others it didn't bother me that much. "Elise" ends 'Foyle's War' on the highest of highs and is one of the best episodes of the latter seasons, would go as far to say that it's one of the best of the series overall and there are a lot of high points (even the weakest episodes are still decent). It's the tightest paced episode of the series' revival period and has more spirit than any other episode of the period too.

Like with many 'Foyle's War' episodes, on re-watch there was much more appreciation had for how well established the character development, tone and themes are and things that didn't quite connect entirely at first made more sense on re-watches.

Have always admired the visual detail that went into 'Foyle's War' and how high quality the production values are, with beautiful costumes, the evocative way the characters are made up, the look of the houses and cars, pretty locations and authentic-looking scenery. The music is in keeping with the mood and doesn't overpower the drama while still making an impact.

Writing is intelligent, sophisticated and thought-provoking. The story is well-paced, suitably complicated without being convoluted and is nice and twisty. The ending is both shocking and moving (even if it's not a series finale that people typically expect), a brilliant job here is done with Hilda and "Elise" is the episode where Adam bothered me least.

One thing that wasn't picked up by me but now is and admired hugely is the tackling of what was seen as truths but some really misconceptions and seeing Britain after the war in a new light. This was a bold move and dealt with a lot of honesty and tact. The background information is so well researched and is every bit as interesting as the mystery itself. The character tensions were also handled very well and added a lot of intrigue.

Michael Kitchen is truly superb as Foyle, subtle, intensely determined, commanding and above all human. One of the most interesting television detectives there's ever been and Kitchen has rarely been better. Honeysuckle Weeks is charming and loyal and have really appreciated her development, while Hilda and Arthur have proved to be worthy regular characters.

Can't fault the supporting cast at all either.

All in all, couldn't have been a more ideal end to such a wonderful series. 10/10 Bethany Cox

This is the second time I am reviewing a Foyle that is supposed to be the last, but I am not complaining because I got to watch three more episodes, and that puts me ahead in the bargain.

I am gob-smacked at how different this is from the first-generation Foyles. This episode, a highly cynical look at the clandestine services, has more in common with a Le Carre novel than with a Foyle adventure. In fact, Foyle is no longer the centrepiece here, he is merely a component of a complex clockwork of a plot that, once wound, must proceed to its ultimate conclusion.

It is almost pitch-perfect. One might argue there are lulls but I suggest these are the result of false expectations. If you were expecting a simple police procedural, you will be disappointed. If you wanted the whole series wrapped with ribbons and bows, you are likely in the right spot.

I will repeat again that the notion of placing Honeysuckle Weeks in jeopardy every single episode is the only atonal element. It was fun the first time, seemed forced the second time, and so on.

I also loved the fast joke in the last 60s seconds when Weeks discloses her condition and Kitchen, sub vocce, says he will manage, but perhaps not "the country." I will miss Foyle. Really.

I can't think of many shows that end in sheer brilliance, but how fitting for a fabulous show like Foyle's War that it should end with an episode like Elise.

The transformation from war time murder mystery drama to John Le Carre styled thrillers has been incredible. When you watch the early episodes they have a very Agatha Christie/Midsomer Murders feel to them, please don't take that as a criticism, far from it, I love both, but the latter episodes are very different.

Elise deals with the shooting of Hilda, illegal trading, Police corruption, treachery, and of course spies.

Fantastic from start to finish, a fabulous story, superb production values, and incredible acting. Michael Kitchen as great as ever, he's been incredible throughout the show and signs off in style, loved his scenes with Honeysuckle Weeks. If I'm honest, the standout in this episode was Ellie Haddington, Hilda has been an interesting character, and grown in stature, in Elise she was very much centre stage, and performed expertly.

Such a quality episode, I always thought Foyle's War was intended as a replacement for Morse and Poirot. Thank goodness we at least have Endeavour.

Thanks Michael Kitchen and co. 10/10

This may well be the best of all episodes of this outstanding series. It starts out with Hilda being shot by a young man, filled with venom, shouting "for Elise." We have three concerns. First, will Hilda survive? Secondly, who is this guy? And third, who is Elise. We find out along the way that there are power hungry individuals who don't care how many bodies lie in their wake. It turns out that Hilda had the job of recruiting young women into the special services. The mortality rate for these girls was abominable. It is interesting how many times demagogues manage to look after their own butts and allow the deaths of others in the name of patriotism. One particular character sees it all as necessary to rebuilding of England. So a few twenty somethings get blown away. They are just doing their duty (these guys never have to face any sort of danger). Well, that is stripped away when this young fellow begins trying to kill people and some of the hangers- on start to shake in their boots. This has one of the most dramatic conclusions as any final episode of any television show I can recall. I am glad I got turned on to this show. I have enjoyed every one, even the occasional clinker.

So much research and period accuracy supports the brilliant acting and complex, challenging story line. Watched it three times, one after the other.

Just one little glitch - the aircraft ferrying SOE agents should have been a Westland Lysander, but rather oddly looks like a Piper Cub. Put me right someone?

The 2014-filmed final series rounds off the two-season, six-episode "comeback" following the initial "retirement" of the series by ITV.

We look into some of the secrets and realities of the dirty war waged across Europe by SOE during WW2 - and the costs involved.

Hilda Pierce receives a fitting send-off as she "did it her way". Foyle is as magnificent and taciturn as ever, supported by the customary cast members. Even the bus looks right, passing in the background.

Now, on to fanfiction!

On 2 August 2019, rayhart-z99 (who is clearly very knowledgeable about Special Operation Executive operations in WWII) said, "the aircraft ferrying SOE agents should have been a Westland Lysander, but rather oddly looks like a Piper Cub."

Both statements are true. The aircraft should have been a Westland Lysander, and it should have been painted black with red markings and subdued insignia. However, as far as I know, there are no Lysanders available in flying condition. The aircraft is an Auster J1N (similar to a Piper Cub) Civil Registration G-AJAJ. It is almost identical to the Auster light aircraft used by the British Army and RAF during WWII for liaison and artillery spotting duties. Although it was not used (as far as I know) for agent insertion and egress missions, and if it were so used, it would not have been in those peacetime markings, I think it is close enough to be plausible.

And the beautiful De Havilland Dragon Rapide. G-AKIF is completely accurate as a post-war regional airliner.

The end of the road for the stoic and dogged Foyle. It is the final episode. Writer Anthony Horowitz whose father was an inside man in Harold Wilson's premiership uses the past to make a pointed commentary on today's politics.

The story opens with Hilda Pierce (Ellie Haddington) being shot. The man who pulled the trigger shouted 'Elise.'

Elise was the name of a young SOE operative who was captured by the Germans when she immediately arrived in France. Foyle discovers that the SOE was compromised and it was covered up. People sent on missions were sent to their deaths. This is something Hilda Pierce has had difficulties living with even though she survives the the shooting attempt.

The second strand of the story was more ham-fisted. It has a terrible performance from Leo Gregory as the on the up black marketeer and wide boy Damian White. It was the kind of performance where the security service should had just taken him around the back and had him shot.

White owns a golf club, he has nobbled the local police chief and is seen mixing with a Soviet agent. When Sam's politician husband complains about people profiting from the black market to his local police chief, he soon finds himself arrested for having dodgy goods in his house.

It is up to Sam with a clever device to come to her husband's rescue and save his political career. At the same time Foyle is investigating the White's association with a Soviet agent. It was all rather clunky and clumsily crowbarred into the story. A slightly disappointing end to the series.

Having watched the whole 8 series and thoroughly enjoying it, the last three episodes were pretty boring, and this, the last was dire.

Firstly not enough Foyle and his great deduction. Too many unecessary flashbacks, in slow motion and soppy sentimental music. Oh and if you hadn't realised that the title had a double meaning - also a title of a Beethoven piece, it was played many, many times just in case you didn't get the connection.

Poor acting, especially from the weedy gangland mastermind, and some of his cronies and those he was blackmailing, and the Miles character

Poor performances all around really - Sam following a suspect and employing a SOE officer to create a diversion - she wouldn't have the common sense to do this. Adam her husband the drippy Labour MP, so naive and seeing good in everyone, even the racketeer selling goods in the market!

Why on earth were Sam and hubby at the funeral??? She hadn't met the person, and he certainly hadn't. She couldn't have been driving Foyle!

It was a long winded, way too long episode, with the story flagging, flashbacks of the terrible actress who was so bravely off to France.

Disappointing, no wonder no more were made.