I believe that this particular offering gave us a truly biting view of war and its implications. We are thrust into the world of medicine needed to treat the horrors of this time in history (as we continue to do to this day). Our current wars have flooded us with dismemberment, burns, and, yes, death. It is bad enough for the victims as they try to recover from physical injuries, but the stresses on them brought on by ignorant and insensitive people who now treat them as less then whole, must be a terrifying thing. The young man who awaits the arrival of his betrothed lies in the hospital, feeling less a man. This is soundly portrayed in this excellent portrayal. Foyle's must wade through some really evil events as he guides and directs his investigation.
8 Reviews
Great acting, great atmosphere, Good story but...
george-84121 February 2014
Warning: Spoilers
As with some other episodes of this excellent series an episode which is thoroughly enjoyable and intriguing to watch, due to superior acting and captivating atmosphere, is undermined because of an embarrassingly weak plot flaw. In this case the entire story revolves around a faulty "slider" on a Spitfire (evidently the part which allows the pilot to exit his plane in a pinch by "sliding" the cockpit window forward) which is the result of the obscene negligence of the murder victim, a thoroughly disreputable chap who beats women, commits extortion, probably deals on the black market and what more is criminally negligent in the performance of his job as an RAF maintenance tech EVEN WHEN THE PROBLEM HAS BEEN POINTED OUT TO HIM MORE THAN ONCE. And by Foyle's son, no less, the handsome RAF fighter pilot.
Andrew ends up going AWOL because his best friend has to use his Spitfire (with the still-unfixed slider) to go on a very dangerous mission and is hideously burned in a crash, mainly because the slider fails and he can't escape fast enough to avoid the flames.
What's the plot flaw here? Andrew knew about the bad slider. He TOLD the mechanic to fix it. Andrew's commander knew about it. How hard would it have been to verify that the jerk had done his job and fixed the darn slider BEFORE his best buddy went on this dangerous mission? I can think of many ways to eliminate this horrible plot weakness while retaining the essence of the plot: such as making the faulty part more subtle, less detectable until subject to stress, etc. As it was written it's a deplorably inadequate device which stands out as a glaring flaw in an otherwise thoroughly enjoyable story of crime in WW2 England. I love Foyle's War. I'm critical here because the stories DESERVE to be better!
Andrew ends up going AWOL because his best friend has to use his Spitfire (with the still-unfixed slider) to go on a very dangerous mission and is hideously burned in a crash, mainly because the slider fails and he can't escape fast enough to avoid the flames.
What's the plot flaw here? Andrew knew about the bad slider. He TOLD the mechanic to fix it. Andrew's commander knew about it. How hard would it have been to verify that the jerk had done his job and fixed the darn slider BEFORE his best buddy went on this dangerous mission? I can think of many ways to eliminate this horrible plot weakness while retaining the essence of the plot: such as making the faulty part more subtle, less detectable until subject to stress, etc. As it was written it's a deplorably inadequate device which stands out as a glaring flaw in an otherwise thoroughly enjoyable story of crime in WW2 England. I love Foyle's War. I'm critical here because the stories DESERVE to be better!
'Foyle's War' is on fire with this episode
TheLittleSongbird2 November 2017
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.
"Enemy Fire" to me is up there with the best 'Foyle's War' episodes. It is a shame agreed that the faulty slider plot element is not particularly well thought out, with inconsistencies and lazy logic as mentioned already, and sticks out like a sore thumb amidst an exceptional episode everywhere else. It is the only thing that is wrong, but sadly is too big a flaw to overlook because the whole story centres around it. 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, establishing Foyle's personality with so much depth already and providing some tense and heart-tugging moments. The story is complicated, with a lot of strands that requires full attention, but clever and from start to finish intriguing. It paces itself deliberately but with so much going on it's never once dull and the twists and turns that slowly unfold keep coming. All the conflicts, social/ethical themes and how the period is portrayed are handled beautifully and tastefully and there is a real sense that war itself is a central character and has terrible implications.
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 British during 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, with some nice touches of subtle humour as ever, and Anthony Howell is wonderful, the character has always been developed very well and Howell continues to come into his own with each episode. Julian Ovendon likewise.
John Wood, Shaun Dooley and especially John Fillingham stand out of an across-the-board great supporting cast.
Overall, exceptional episode that sees the show on fire despite the glaring plot flaw. 9/10 Bethany Cox
"Enemy Fire" to me is up there with the best 'Foyle's War' episodes. It is a shame agreed that the faulty slider plot element is not particularly well thought out, with inconsistencies and lazy logic as mentioned already, and sticks out like a sore thumb amidst an exceptional episode everywhere else. It is the only thing that is wrong, but sadly is too big a flaw to overlook because the whole story centres around it. 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, establishing Foyle's personality with so much depth already and providing some tense and heart-tugging moments. The story is complicated, with a lot of strands that requires full attention, but clever and from start to finish intriguing. It paces itself deliberately but with so much going on it's never once dull and the twists and turns that slowly unfold keep coming. All the conflicts, social/ethical themes and how the period is portrayed are handled beautifully and tastefully and there is a real sense that war itself is a central character and has terrible implications.
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 British during 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, with some nice touches of subtle humour as ever, and Anthony Howell is wonderful, the character has always been developed very well and Howell continues to come into his own with each episode. Julian Ovendon likewise.
John Wood, Shaun Dooley and especially John Fillingham stand out of an across-the-board great supporting cast.
Overall, exceptional episode that sees the show on fire despite the glaring plot flaw. 9/10 Bethany Cox
Excellent episode
Laight4 December 2011
Warning: Spoilers
One of the best in this series. The dubious morality of the war is never more murky. Foyle is challenged and yet, as always, pulls a rabbit out of the hat. Like the others in the series there are a few mistakes and some poor plot choices. But despite the ups and downs, what makes this episode shine, besides the usual excellent acting (especially as Anthony Howell has really started to come into his own) and a truly stunning performance by John Fillingham as a horribly wounded, courageous soldier, is the fact that this story is about a murder, dereliction of duty, treachery, thievery, disloyalty, and cruelty -- and yet it ends up being tearfully joyful.
The often untold story of the War
Sleepin_Dragon2 March 2018
So often you watch a War time film where you see beautifully turned out officers, the dark side with killings etc, but how often do you get to see the tragedy of what befell the Officers who were injured, often ignored by family and loved ones, many medical procedures still in their infancy. Enemy Fire manages to be both an outstandingly good whodunit, a superb character study, and it manages to open up the viewer's eyes to a part of the war that many wouldn't have even thought of. The acting is superb, many fantastic performances, Kitchen amazing as always, but the performance of Julian Ovended as Andrew for me pinches it, he brought to life the real pressures and stresses those brave pilots would have felt. It's always excellent viewing, this one has an added dimension.
An emotionally rich episode
wjspears2 January 2021
Warning: Spoilers
I would agree with the one reviewer who criticized about the plot device of the faulty slider part not being fixed properly.
I would take the quibble a step further.
If an RAF mechanic had not fixed the serious problem which evidently only affected one plane, and was therefore not a manufacturing defect.. If the mechanic's negligence was widely known, even by the commanding officer of the unit. And finally, if the mechanic's dereliction of duty led to an ace pilot being badly burned, and out of commission, how is it that the mechanic, is not under some sort of house arrest? Instead he is free as a bird, able to get himself murdered?
I refer to the criticism as a "quibble" and I make light of it somewhat in my question, because it doesn't really effect the power of the episode--which rests, as usual, on the same writers being able to visually and verbally show us multiple points of view in a single episode.
The performances all around were outstanding, from Michael Kitchen's subtle and subdued responses to the stress he was feeling for his son, to the highly emotional and realistic breakdowns of so many of the characters in this episode.
A very touching episode.
I would take the quibble a step further.
If an RAF mechanic had not fixed the serious problem which evidently only affected one plane, and was therefore not a manufacturing defect.. If the mechanic's negligence was widely known, even by the commanding officer of the unit. And finally, if the mechanic's dereliction of duty led to an ace pilot being badly burned, and out of commission, how is it that the mechanic, is not under some sort of house arrest? Instead he is free as a bird, able to get himself murdered?
I refer to the criticism as a "quibble" and I make light of it somewhat in my question, because it doesn't really effect the power of the episode--which rests, as usual, on the same writers being able to visually and verbally show us multiple points of view in a single episode.
The performances all around were outstanding, from Michael Kitchen's subtle and subdued responses to the stress he was feeling for his son, to the highly emotional and realistic breakdowns of so many of the characters in this episode.
A very touching episode.
Enemy Fire
Prismark1027 October 2018
All roads lead to Gordon Drake. A thoroughly disreputable fellow that as Foyle observes, half the village set out to kill him.
An adulterer, a wife beater, a blackmailer and a negligent RAF mechanic.
The story involves a requisitioned mansion which is now being used as a hospital to treat burns victims with pioneering treatment. Sir Michael Waterford who owns the house but has now moved to a cottage in his estate is not happy with this state of affairs. The hospital itself is suffering mishaps that leads a doctor to believe is deliberate sabotage.
Andrew Foyle has a run in with Drake for not fixing his plane properly. Andrew is also showing signs of battle fatigue, something he confides in Samantha about.
Foyle and Milner find themselves investigating the peculiar goings on at the hospital, later with Drake's murder and then Foyle has to go looking for his son who has gone AWOL.
There are a lot of bases that are covered in this episode. It was almost inevitable someone Andrew knows is abound to end up being a burns victim at the hospital.
The murder actually happens well into the episode. Everything else is just the hors d'oeuvres until then.
An adulterer, a wife beater, a blackmailer and a negligent RAF mechanic.
The story involves a requisitioned mansion which is now being used as a hospital to treat burns victims with pioneering treatment. Sir Michael Waterford who owns the house but has now moved to a cottage in his estate is not happy with this state of affairs. The hospital itself is suffering mishaps that leads a doctor to believe is deliberate sabotage.
Andrew Foyle has a run in with Drake for not fixing his plane properly. Andrew is also showing signs of battle fatigue, something he confides in Samantha about.
Foyle and Milner find themselves investigating the peculiar goings on at the hospital, later with Drake's murder and then Foyle has to go looking for his son who has gone AWOL.
There are a lot of bases that are covered in this episode. It was almost inevitable someone Andrew knows is abound to end up being a burns victim at the hospital.
The murder actually happens well into the episode. Everything else is just the hors d'oeuvres until then.
Melodrama is NOT Mellow
Warin_West-El27 June 2023
Warning: Spoilers
Having produced a superb story last episode, devoid of ethnic propaganda and unnecessary melodrama, the filmmakers turned right around and dumped so many soap opera scenes into this story, for the first time ever, I had to fast-forward through a Foyle's War episode.
Sadly, this is the standard trajectory for crime dramas. Even the acclaimed Borgen suffered from this treatment. In fact, that was what made Bron/Broen SO special. They never went down the melodrama road. It started out as a crime drama and continued as such all the way through.
One reviewer described this episode as "emotionally rich", so apparently some people buy into the melodrama shtick. What was particularly sad was devoid of the melodrama, this was a very good mystery. The revelation of "Pip" at the end was particularly satisfying.
But I'm just NOT interested in Sam being interested in Andrew. Who cares? Other than drinking, have we ever seen them sharing some overarching common interest?
And, of course, there was the lack of realism just to serve the plot. That mechanic would have been court marshalled and thrown in the stockade for dereliction of duty. He might have been murdered. But it would have happened while he was behind bars.
This story had the makings of an excellent mystery but it was ruined by soap opera diversions that drained the story of its power.
Sadly, this is the standard trajectory for crime dramas. Even the acclaimed Borgen suffered from this treatment. In fact, that was what made Bron/Broen SO special. They never went down the melodrama road. It started out as a crime drama and continued as such all the way through.
One reviewer described this episode as "emotionally rich", so apparently some people buy into the melodrama shtick. What was particularly sad was devoid of the melodrama, this was a very good mystery. The revelation of "Pip" at the end was particularly satisfying.
But I'm just NOT interested in Sam being interested in Andrew. Who cares? Other than drinking, have we ever seen them sharing some overarching common interest?
And, of course, there was the lack of realism just to serve the plot. That mechanic would have been court marshalled and thrown in the stockade for dereliction of duty. He might have been murdered. But it would have happened while he was behind bars.
This story had the makings of an excellent mystery but it was ruined by soap opera diversions that drained the story of its power.
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