A recurring theme in Foyle's War is profiteering by those in communities (or in responsible positions) who are undermining the war effort. In this one we have a couple of entities at work. Most prominent are pair of guys who are working in a shipyard who are facing the creation of a union. Foyle is sent by his superiors to watch closely the activities of these "communists." We come to realize that things aren't so simple as they seem. There are others in the community who are playing fast and loose with war products. The fun thing is the adversarial relationship between Foyle and his boss. Foyle is a common sense person and sees the stupidity in people but has to pull it back frequently.
6 Reviews
Harking back to Danger UXB?
sallyinsydney7 July 2010
This is a fairly drawn out episode, and the more naturalistic acting, at the encouragement of the director obviously, was a little off-putting. Nevertheless, if you enjoyed the series from 1979 'Danger UXB' then you'll enjoy the similarities between it and this episode! I went back and watched the first episode of Danger UXB to be sure, and I'd be certain that they've watched it before they set up this film. Some early scenes are very similar! The action involves a shipyard, an unexploded bomb, a theft, a murder, the usual elements ... and another excellent solution by the always brilliant Foyle (the understated Michael Kitchen).
How aptly named.
Sleepin_Dragon5 April 2020
Foyle's War managed to tell many different stories, exploring avenues and concepts many of us wouldn't contemplate, A War of Nerves is no exception, this episode deals with some of the real heroes, those that dealt with unexploded devices, the most dangerous job on the home front? It also looks into some of the unscrupulous profiteers.
There was some real tension in scenes where the bomb disposal team were doing their job, that first scene in particular was terrific. I also loved the explosive ending.
Wonderful acting as always, Kitchen at his best, credit also to Samuel Oatley who played Jack Archer, he was excellent.
It's hard to find any fault here, 9/10.
There was some real tension in scenes where the bomb disposal team were doing their job, that first scene in particular was terrific. I also loved the explosive ending.
Wonderful acting as always, Kitchen at his best, credit also to Samuel Oatley who played Jack Archer, he was excellent.
It's hard to find any fault here, 9/10.
Foyle's nervous war
TheLittleSongbird3 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.
All the previous episodes ranged between great to brilliant. Like "They Fought in the Fields", "A War of Nerves" is very good and at its best marvellous but also slight notch down, being a very good high in quality episode but, slightly disappointingly, not quite up to the consistent greatness shown previously. As clichéd as this sounds, even when 'Foyle's War' was not at its best it was much better than a lot of shows at their weakest with none of the episodes being what one would deem "bad". 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.
Even for a deliberately paced series, there are occasions where the pace is a little too drawn out particularly in scenes consisting of the shipyard mystery. Peter Capaldi's un-40s look takes one out of the otherwise evocatively rendered period somewhat too.
With that being said, "A War of Nerves" is an excellently executed episode otherwise. 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 has its issues, but is still compelling and never dull. It does require full attention as ever, and is mostly very clever and intriguing, pacing itself deliberately but as ever with a lot happening things don't feel dull. Some nice twists and turns and the ending is unexpected. 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 its dark nature is explored very well here.
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, such as Foyle's one with his boss.
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.
The supporting acting is all very solid, with the most colourful being Peter Capaldi, though no real "among the best supporting performances of the series" standouts.
All in all, very good but there are other episodes that are a better representation of how wonderful the series is. 8/10 Bethany Cox
All the previous episodes ranged between great to brilliant. Like "They Fought in the Fields", "A War of Nerves" is very good and at its best marvellous but also slight notch down, being a very good high in quality episode but, slightly disappointingly, not quite up to the consistent greatness shown previously. As clichéd as this sounds, even when 'Foyle's War' was not at its best it was much better than a lot of shows at their weakest with none of the episodes being what one would deem "bad". 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.
Even for a deliberately paced series, there are occasions where the pace is a little too drawn out particularly in scenes consisting of the shipyard mystery. Peter Capaldi's un-40s look takes one out of the otherwise evocatively rendered period somewhat too.
With that being said, "A War of Nerves" is an excellently executed episode otherwise. 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 has its issues, but is still compelling and never dull. It does require full attention as ever, and is mostly very clever and intriguing, pacing itself deliberately but as ever with a lot happening things don't feel dull. Some nice twists and turns and the ending is unexpected. 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 its dark nature is explored very well here.
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, such as Foyle's one with his boss.
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.
The supporting acting is all very solid, with the most colourful being Peter Capaldi, though no real "among the best supporting performances of the series" standouts.
All in all, very good but there are other episodes that are a better representation of how wonderful the series is. 8/10 Bethany Cox
A War of Nerves
Prismark101 August 2019
Anthony Horowitz looks at the high risk lives of bomb disposal experts. During the war they had a low life expectancy.
Three of them find a stash of money that they discover at Talbot's shipyard when it was hit by an unexploded bomb.
Foyle is also investigating the shipyard area for black market goods that are being diverted instead of helping the war effort. Milner goes undercover and is shot in the arm when he tries to apprehend the suspect.
All this is not good enough for Assistant Commissioner Rose. He wants Foyle to hound a communist agitator and journalist Raymond Carter who is visiting the area with his wife. The trouble is Rose seems to have a personal hatred for the man which Foyle finds unnerving.
Horowitz certainly asks the viewer to follow the money. As a shop steward tells Foyle, we all work for money but some are making a lot more and they later claim they are just doing it to help the war effort.
Assistant Commissioner Rose is a horrible character. I do wish he had more depth. I think the producers thought they were ironic that they had a true socialist actor Corin Redgrave playing a red baiting policeman. The whole subplot featuring Carter (Peter Capaldi) and his wife was weak.
More successful was the story with the bomb disposal experts but again the owners of Talbot Shipyards were just a tad obvious as being shady.
Three of them find a stash of money that they discover at Talbot's shipyard when it was hit by an unexploded bomb.
Foyle is also investigating the shipyard area for black market goods that are being diverted instead of helping the war effort. Milner goes undercover and is shot in the arm when he tries to apprehend the suspect.
All this is not good enough for Assistant Commissioner Rose. He wants Foyle to hound a communist agitator and journalist Raymond Carter who is visiting the area with his wife. The trouble is Rose seems to have a personal hatred for the man which Foyle finds unnerving.
Horowitz certainly asks the viewer to follow the money. As a shop steward tells Foyle, we all work for money but some are making a lot more and they later claim they are just doing it to help the war effort.
Assistant Commissioner Rose is a horrible character. I do wish he had more depth. I think the producers thought they were ironic that they had a true socialist actor Corin Redgrave playing a red baiting policeman. The whole subplot featuring Carter (Peter Capaldi) and his wife was weak.
More successful was the story with the bomb disposal experts but again the owners of Talbot Shipyards were just a tad obvious as being shady.
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