A brilliant little tale - little? It takes place over a year, exactly - worked out over three films involving a femme fatale in Venice and a tow path murderer, which starts out with Shaun beautifully reading this:
"The good ended happily, and the bad, unhappily. That's what fiction means, only until it begins, you don't know what the opera will be, or where the story might take you, whether it'll be comedy, or tragedy. This... is a story about love." (It was only later than I realised the beginning is a direct quote from 'The Importance of Being Earnest.)
In 'Oracle' we are introduced to said woman - The Wrong Woman, of course - Stephanie Leonidas. Meanwhile a barmaid is murdered by a whistling assailant. Suspects include an extremely sexist research facility, a dodgy chef and an ex-boyfriend. Angus Wright is the vile professor, Richard Harrington and Reece Ritchie aren't much better, Naomi Battrick the female researcher who comes to an untimely end. Shaun directed.
Morse is super-friended by Ludo, Ryan Gage, whilst he and Thursday disagree over the identity of the tow path murderer, which a girl with supposed ESP (Holli Dempsey) thinks she's 'seen'.
The Wrong Woman is, of course, Ludo's wife, and despite Morse's attempts to resist her they end up in an affair. 'Raga' brings in a race angle with skinheads and attacks, but also the murder of a chef and the disappearance of a food writer. Whilst this is going on, Frazil brings to Morse's attention a series of bizarre accidents, but Thursday, in disagreeable mood, will have none of it.
The Jolly Raja and Tiffin Court are among the cultural jokes, and when the mother of murdered skinhead slaps the racist politician in front of everyone, it seems we're back in Jaws territory.
All stories dovetail beautifully in 'Zenana' (Persian; part of the house for the women). Morse and Thursday finally fall out with each other, are going their own ways, even with Bright's wife dying (more great acting from Anton). Then Morse writes a beautiful and persuasive letter to Joan (none of her this series, unfortunately) which includes the following:
"To my lasting regret, we parted on poor terms. The fault was mine entirely. He's ever been the best and wisest of men and a better friend to me than I could have wished for, or deserved. I let him down..."
Wonderful climax back in Venice evokes Don't Look Now and cross cuts the action beautifully to opera, which I am astonished to learn was written for the show specifically by Matthew Slater and Russell Lewis. (Note therefore use of 'opera' in the very opening lines.)
DPs: Phil Wood, James Aspinall, James Moss. Other directors: Zam Salim, Kate Saxon.
If (and I suspect it will) the series parallels Morse and Lewis, with 33 episodes each, there are only three Endeavours left...
There are no more women only colleges at Oxford.
Once it's all over it just leaves you wanting more (thus why last time we then started Morse and Lewis again!)
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