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REVIEW: Inspector Morse (Specials, 1995 – 2000) January 4, 2015

Posted by Dragan Antulov in Television Reviews.
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INSPECTOR MORSE

Specials (1995 – 2000)

A Television Review

Copyright Dragan Antulov 2015

It is rare to see television drama creators investing significant effort for their show end well, and it is even rarer to see them succeeding in that. Makers of Inspector Morse are among those few who could be proud of such achievement. Beloved British crime show provided its loyal viewers with one of the longest and, in the some time, most rewarding rides into sunset. This happened due to producers’ wise decision not to push its creative and other envelopes and to allow the inevitable to happen at slow pace. So, instead of trying to squeeze the end in the single season, Inspector Morse was ending for more than half a decade – in the form of a television specials, in other words, regular television films being aired made once a year. This allowed actors and staff to unburden themselves while Colin Dexter, the original character’s creator, had opportunity to wrap his story up through couple of novels, later serving as basis for individual “specials”.

The Way Through the Woods, aired in 1995, is based on Dexter’s eponymous award-winning novel. It begins like many Morse mysteries – with brutal incident that actually has very little do with the general plot. Convicted serial killer dies as a result of a prison gang attack, but not before recanting part of his confession and forcing Morse to reopen cold case and try finding the real culprit of young woman’s disappearance. Morse’s efforts not only create friction between him and some of his colleagues who originally investigated the case, but also reveal certain unflattering truths about local community and lead to more bloodshed and mayhem. The Way Throught The Woods is important because it adds another regular character to the show – forensic expert Dr. Laura Hobson, played brilliantly by Clare Holman. The most impressive part of the episode is the ending; it is extremely violent, uncompromisingly dark and utterly harrowing for protagonists, requiring the best performances from both John Thaw and Kevin Whately. Younger viewers are, however, more likely to notice Michelle Fairley, who plays character that could be in the same time described as very similar and quite different from Lady Cathelyn Stark in Game of Thrones.

The Daughters of Cain, aired in 1996, is one of the episodes with the least satisfactory ending. The actual murder mystery is never properly solved. The script by Julian Mitchell covers some important and rather dark topics like domestic abuse, terminal illness and inappropriate teacher-student relationships, but their general treatment is so casual and at times so lighthearted that it makes the episode look like a parody of Morse. Certain subplots and scenes actually don’t make much sense and appear to be in the show only to provide adequate running time. The only thing preventing complete disappointment and rising the general quality to proper Morse standards is acting. Tony Haygarth is impressive and menacing as violent husband, same as Brenda Brooks as his long-suffering wife. The best is Phyllis Logan, who plays one of the more unusual characters of the show, successfully making delicate balance between pathos and comedy.

Death Is Now My Neighbour, aired one year later, again shows that the plots were secondary ingredients to Morse formula. It begins with a seemingly random and senseless shooting and develops into investigation that reveals most bitter fight for the prestigious Oxford posts, blackmails and corruption that taints modern media professionals just like anyone else. The audience would probably pay little attention to the scheme which is both complicated and forgettable at the same time. Instead, it is the acting talent that glues them to the screen. The best example is veteran actor Richard Briers which portrays one of the most evil characters of the whole show, with impressive scenes in which he revels in his wickedness; yet he is not actually the conventional main villain. The episode also features Roger Allam in a smaller role; the very same actor would years later appear as Morse’s superior in Endeavour. The audience would also pay more attention for certain scenes that they waited for in previous thirty or so episodes. At the end, Morse, after many failures and disappointments, actually gets the girl and enjoys his long-deserved R&R. Most importantly, viewers finally get to know protagonist’s unusual first name.

The Wench Is Dead, penultimate episode aired in 1998, represents the greatest departure from the usual content of the show. There were episodes set outside Oxford, in different cities, countries (Italy) and continents (Australia), yet none of them was set in different century. The plot provides opportunity for that in a meeting between Morse and American historian (played by Lisa Eichhorn) leading to Morse’s investigation into 1859 murder and his attempt to prove that two innocent men had been unjustly hanged. This rather odd episode features some interesting and times delightful, albeit rather brief scenes of period reconstruction; the mystery is rather weak and quickly solved by Morse. Another unusual detail is absence of Lewis. The viewers would, however, pay more attention towards the reason which allows Morse to spend time researching ancient murder – his deteriorating health that would be the most important issue in the last episode.

The Remorseful Day, aired in November 2000, is the last episode of the show and one of the few that was actually conceived and meant to be the last. It is based on the novel in which Colin Dexter did what few of his fellow crime authors had done – actually killed his most beloved character. The fans of the show were most likely quite familiar with this detail, with the novel being published in 1999, a year before its television adaptation. The script by Stephen Churchill actually pays little attention to the murder mystery involving nymphomaniac (played by Meg Davies) who might had some prior relationship with Morse. Everything in this episode is under the shadow of the inevitable end of Morse – either through impeding retirement, in which he would be joined by his superior and friend Chief Superintendent Strange (played most movingly by James Grout) or through the years of alcohol abuse taking their final and brutal toll. Direction by film veteran Jack Gold is superb, and it could be best seen at the very end. The few scenes, during which actual police investigation suddenly loses importance compared to what happens to Morse, are among the most effective in the television history. The shot  during which Lewis departs from his superior with a simple gesture and few words is heart-wrenching, especially considering that the life in this case followed art and that John Thaw died in February 2002. The end of Inspector Morse has set a high bar for memorable endings,  just as the show in general has set a high bar for quality television.

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