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REVIEW: Inspector Morse (Series 6, 1992) October 13, 2014

Posted by Dragan Antulov in Television Reviews.
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Series 6 (1992)

A Television Review

Copyright Dragan Antulov 2014

Even the most successful television shows don’t last forever, and their creators and producers should be aware of it. Those among them who are truly responsible, sooner or later, begin to prepare audience and themselves for inevitable end, or, at least the major transformation that could be interpreted as such. One of such examples could be seen in the sixth series of Inspector Morse. Despite previous seasons never shying away from showing the private life of title protagonist, many details – his name, his past and his background – remained a mystery. Sixth series began to answer some of audience’s questions about their favourite television detective, probably reflecting creators’ view that there will be less and less opportunities to do that in the future.

Dead on Time, first episode of the series, explains why Morse, despite being, sometimes dangerously, attracted to women, ended alone instead of securing permanent female company through marriage. The answer to that question is given in the form of middle-aged, yet attractive woman (played by Joanna David, whose eyes and other features might be familiar to fans of her daughter Emilia Fox of Silent Witness fame), who happened to be Morse’s fiancee three decades ago. Occasion in which Morse meets his former flame isn’t the happy one – she happens to be involved in the case of suicide which, later, turns out to be staged, and reveals the series of tragic events and general misery that makes Morse’s lonely life quite happy in comparison. Despite high amounts of melodrama, Daniel Boyle’s script manages to make plot and characters quite believable. The acting is top-notch, especially in the case of John Thaw whose character finally snaps in one scene forcing Kevin Whately as his loyal, clear-headed and always dependable Sergeant Lewis to save the day. Dead on Time, despite its general bleakness, is one of the better episodes of the whole series.

Happy Families (whose title is more than obvious node to famous opening lines of Tolstoy’s Anna Karenina) looks much worse in comparison. It begins with a rich industrialist and his dysfunctional family, made of characters – with exception of mother played by Anna Massey – who try very hard to make themselves as unsympathetic to the audience as possible. Viewers won’t be surprised nor displeased when they find most of them suffering violent ends before closing credits. However, just like most other Morse episodes with high bodycount, Happy Families is of inferior quality. The motives for murder, the actual murderer and violently melodramatic finale provide plenty of “deja vu” to experienced viewers. The general impression is helped only by superb acting.

The Death of the Self tries to repeat previous series formula by providing Morse with spectacular change of a scenery. This time, the trip abroad is more to Morse’s liking and the snobbish opera-loving detective not only has opportunity to visit pretty sights of Northern Italy but also to meet British expatriate opera singer played by Frances Barber. Unfortunately, the plot that provides an excuse for Morse’s adventures in Italy – possible murder among rich clients of British self help guru and former criminal – is rather weak and the characters look almost parodical. Not even the talents of Michael Kitchen, who plays Morse’s manipulative adversary, can’t help this episode.

Absolute Conviction brings the audience back to Britain, and actually begins in one of its less pleasant locations – a prison. Beginning, in which character played by young Sean Bean gets mysteriously trapped in his cell, clearly indicates that something bad and violent is about to happen. When it does, Morse is forced to investigate murder surrounded by some of the people he had put behind bars. Script by John Brown nevertheless uses opportunity for some socio-political commentary – the prison is minimum security, run by kind-hearted  and socially conscious reformer who happens to be a woman; Morse has to deal with over-zealous subordinate who thinks little of bending law or respecting people’s rights; the criminals are fraudsters who symbolise the greed of Thatcher’s Britain. Just like in many Morse episodes, the trigger for violent events has little do with the obvious and the ending is melodramatically violent. The audience, however, might enjoy great directing by Antonia Bird and some fine acting, especially by actors who only later became famous, with Jim Broadbent as the most recognisable example.

Cherubim & Serafim, the final episode of the series, clearly puts the Morse in 1990s and shows how the world changed during previous seasons and it also provides so far the greatest insight into Morse’s past. The audience finally meets some members of Morse’s family; again, the occasion is not a happy one – suicide of his beloved 15-year old step-niece. Morse’s attempt to informally discover motives for such unexplainable act only leads to formal investigation, when similar cases point to experimental drug being distributed at popular rave parties. The plot is actually weak, but it serves as a good opportunity for Morse to reflect on his own youth and how the culture and general mores drastically changed, yet the adolescent angst remained the same. Morse’s musings on the subjects are presented through conversations with his trusted Sergeant Lewis, whose own children have grown and must face the same teenage ordeals. The plot resolution is weak, although it literally “goes with a bang”. The audience will, however, be pleased to find that scriptwriter Julian Mitchell recognised that Lewis can’t remain Morse’s subordinate forever and the scenes dealing with his Inspector’s exam clearly point that he would pick up Morse’s torch and become protagonist of his own show.




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