REVIEW: Inspector Morse (Series 7, 1993) October 18, 2014Posted by Dragan Antulov in Television Reviews.
Tags: Inspector Morse, John Thaw, Kevin Whately
Series 7 (1993)
A Television Review
Copyright Dragan Antulov 2014
One of great things about UK television shows is their flexibility, not only in a ways they are created and aired, but also in a way they tend to end. In case of Inspector Morse, the ending appears to have less to do with decreasing ratings or popularity and more with the general fatigue of the cast and crew. From 1987 to 1991 number of episodes per series was rising, making the task of maintaining high quality increasingly difficult. Seventh series, originally aired in the beginning of 1993, proved to be the last regular season of the show. Only three episodes were made, but those three kept the general tone and high standards nowadays associated with Morse.
The first episode, Deadly Slumber, is one of the more straightforward murder mysteries of the show. Although beset with usual red herrings, the case of a murdered physician is actually quite simple and Morse doesn’t have to work that hard in order to find the actual suspect. Brian Cox, actor who never fails to leave the impression, plays rather complex character – rough man with terrible personal grudge and who appears capable of a homicidal act, yet at the same also happens to be dedicated family man and prone to generosity. The rest of the cast is also quite up to the task. After the case is finally resolved – in rather simple way, uncharacteristic for Morse – writer Daniel Boyle and director Stuart Orme still have time for one of the most poignant scenes of the entire show. Because of that, Deadly Slumber is the best episode of the series.
Second episode, The Day of the Devil, is as close as Inspector Morse ever comes to “jumping the shark”. The beginning actually reveals the main villain who also happens to be one of the most frightening and the nastiest characters of the show. Devil-worshipping convincted serial rapist, played by Keith Allen, escapes from psychiatric hospital and makes his to Oxford, using carefully planned disguises. For most of the part John Thaw looks like his character was accidentally teleported into another fictional universe, one belonging to 1990s Hollywood thrillers about unstoppable and seemingly all-powerful serial killers. However, the episode gradually shifts to more familiar territory of red herrings and less obvious plots and motives. Allen, one of the more colourful British character actors, leaves quite an impression as embodiment of diabolical evil. His performance is, however, well-matched by actors in less flamboyant roles. Harriet Walter is very good as prison psychiatrist and villain’s presumed target, same as Richard Griffiths who plays very convincing priest and expert for the occult. The episode could have been much better if not for the ridicoulously over-the-top black mass scene that looks like it was borrowed from cheap grindhouse horror film. Thankfully, very interesting twist improves general impression, just like the ending that, together with the character of tough female policeman played by Katrina Levon, looks like homage to Silence of the Lambs.
John Thaw in prevous two episodes actually didn’t have much opportunity to display emotions. In the last episode, conveniently titled Twilight of the Gods, Morse’s character is again given opportunity to express his love of opera. This is provided by Welsh diva, played by Sheila Gish, who arrives to Oxford University in order to receive honorary degree only to be shot by a sniper during the public ceremony. Morse quickly overcomes the shock and uses his academic connections and experiences to determine possible motive and perpetrator. Just like in many previous episodes, he discovers that actual motive for the shooting have very little to do with the actual victim. Despite that, the audience, especially those familiar with certain traumatic chapters of 20th Century history, will relatively quickly connect the dots and solve the mystery. The episode is the best when it shows how the characters come to such conclusions, and the script by Julian Mitchell provides plenty of opportunity for lighter, humourous scenes, especially those dealing with members of diva’s entourage and their implied or explicit homosexuality. Acting is generally good, whether it is old John Gielgud in rather not that important role of university chancellor and very young Rachel Weisz whose character mostly amounts to nothing more than eye candy. Robert Hardy, on the other hand, is slightly over the top as vulgar media tycoon, although it could be said that his character was based on real-life (and equally flamboyant) Robert Maxwell. After this episode, Inspector Morse continued through television specials instead of regular seasons; however, if Twilight of the Gods should be seen as the finale of regular series, it should also be said that Morse ended on positive note.