Inspector Lewis: The Soul of Genius

Inspector Lewis at long-last returned to television screens with its fifth series of new cases to solve on Masterpiece Mystery, beginning with The Soul of Genius. This is an episode with a literary flair that reaches back in time to touch on the loss of Lewis's wife -- the tragedy that has in no small way informed the man he is today -- and in doing so examine just how far the series' titular sleuth has come. Here's the brief episode summary from the PBS website:

What is a snark? This is just one of the many unanswered questions Inspector Lewis must ask when botanist Liz Nash accidentally unearths the recently buried body of an English professor obsessed with the Lewis Carroll poem, The Hunting of the Snark. Locked in bitter rivalry with his brother, professor Murray Hawes was fixed on solving a legendary riddle hidden in Carroll's philosophical story of an impossible quest for the unknowable. The search for Murray's killer launches Lewis and Hathaway on an impossible quest of their own, taking them from Oxford's botanical gardens to the evidence wall of an interfering amateur sleuth. But when a prime suspect is killed and a secret society is exposed, Lewis and Hathaway intensify their hunt not for the unknowable, but for an all-too-real killer. Kevin Whately and Laurence Fox star alongside James Fleet (Little Dorrit) and Celia Imrie (Cranford) in The Soul of Genius. (90 minutes; TV-PG)

This series is one of the most satisfying productions Masterpiece has ever produced, with consistently high production values, smart scripts, and engaging characters. In other words, the powers that be behind this show know what works and what doesn't. :) And the biggest draw of this series for me is the manner in which the relationship between Lewis (Kevin Whately) and his sergeant Hathaway (Laurence Fox) has been developed. Over the course of this long-running production we've see Lewis and Hathaway move from barely tolerating each other (one has to wonder if Lewis ever perhaps felt that Hathaway was Morse come back to "haunt" him, as the two cerebral, classics-loving officers bear more than a  passing resemblance to each other -- though Hathaway is decidedly less grumpy) to genuine respect and appreciation for the ways in which their varied backgrounds and points-of-view complement their partnership. Last year's season saw Lewis and Hathaway reach a new level of ease in their partnership as the two men have become fast friends, freeing them to needle and annoy each other at will. The Soul of Genius makes it abundantly clear that this sense of camaraderie is still very much a vital part of what makes this show work oh so well -- Lewis and Hathaway, people, they never get old.

The Soul of Genius opens with a young botanist, Liv Nash (Nadine Lewington), leading a group of volunteers on  quest to eradicate some sort of pestilential plant. But Liv and her crew make a discovery of another, and wholly unpleasant kind, when they unearth the corpse of a murder victim -- one Oxford English professor named Murray Hawes. Hawes was a frequent visitor to the Botanical Gardens, something of an eccentric well-known for his obsession with Lewis Carroll's enigmatic poem, The Hunting of the Snark. In attempting to describe the allure of the Snark and its mysteries to Lewis, Hathaway describes the poem as an "impossible quest" with an unknown end in sight, the danger being in discovering what the unknown is -- the type of intellectual and philosophical puzzle that can drive a person mad.

Murray was survived by his brother Conor (Alex Jennings), a chaplain and tutor at Oxford's Carlyle College. The brothers apparently had a very testy relationship history, particularly since Murray was apparently the favored son, leaving Conor to fester in jealousy and insecurity. Two of Conor's pupils were seen near the Botanical Gardens when Murray's body was discovered -- self-style postmodernists Mia (Daisy May) and Vincent (Oliver Johnstone), a.k.a. the most obvious intellectual posers in the history of recent cinema (I mean hello, they took their names from friggin' Pulp Fiction). Mia and Vincent are obsessed with gaining admittance into the Wednesday Club, a legendary, secretive organization for geniuses at Oxford.

Lewis and Hathaway quickly discover a third line of inquiry when an amateur investigator, Michelle Marber (Celia Imrie), suggests that Murray's death is connected with the work of Dr. Alex Falconer (James Fleet). Falconer is a scientist with an aristocratic background who works at the Davy Institute of Clinical Medicine -- a research facility where Murray frequently participated in drug trials, earning money to support his Snark research. Jean Innocent (Rebecca Front), Lewis and Hathaway's no-nonsense boss, has a funnier-than-usual appearance when she tells the detectives to "deal" with Michelle, who she very obviously writes off as a nutter. Michelle blames Falconer for her son Stevie's death -- a brilliant student who worked as Falconer's research assistant. Falconer's possible connection to the case circles back to the Botanical Gardens, as Lewis and Hathaway discover that he's been having an affair -- never mind his sickly wife Thea (Annabel Mullion)! -- with Professor Helena Wright (Matilda Ziegler), head of the Garden and the boss of Liv the botanist who discovered Murray's body.

And with that set-up we're given what Lewis does best -- delivering twisty, multi-layered plots, laced with enough red herrings to make one's head spin. :) The modus operandi of this program might best be described by Sir Walter Scott's line "oh what a tangled web we weave, when first we practice to deceive," as nothing is ever as straightforward in these investigations as the down-to-earth Lewis would like. I love spotting familiar acting talent in each episode's cast. This installment features a pair of Cranford veterans -- Jennings played the Reverend Hutton throughout the series, while Imrie played Lady Glenmire in a single episode. James Fleet is another Masterpiece veteran, who memorably portrayed Frederick Dorrit in the Little Dorrit miniseries, and the delightfully flaky Hugo in The Vicar of Dibley.

This investigation is laced with some absolutely superb Hathaway/Lewis moments, a fantastic illustration of just how far this duo have come has regards their partnership and friendship. Lewis's concern for his younger partner takes on an almost fatherly tone when he sees, once again, the toll the investigation takes on Hathaway's well-being. The latter's intellect and quiet demeanor set him apart, but when Lewis encourages him to break the cycle of loneliness, I seriously cheered. For a man who has battled his own personal demons extensively over the course of the series, this episode gives Lewis a chance to mentor not only Hathaway but to also sow what he's learned through his experiences with grief and loss into the life of Michelle. Watching Lewis willingly revisit the painful loss of his wife in order to help another through their grief -- it was a fantastically well-acted, incredibly moving scene, underscoring Lewis's compassionate nature. He may not have the most patience when it comes to Oxford's intellectual elites, but having known the pain of sudden, inexplicable loss, he can understand the toll of grief.

Hathaway reminded me powerfully of Morse in this episode -- not only because the Endeavour prequel film recently aired, but because since last season of Lewis I've had the chance to immerse myself in the Morse series. Like his predecessor, Hathaway is extraordinarily smart, loves the classics -- a bit of an odd-man out when it comes to the typical pastimes of his peers, leaving him rather isolated. And -- most adorably! -- he's completely hopeless when it comes to women. This episode gives me hope that perhaps that aspect of Hathaway's life will change, as he is clearly smitten when he meets Liv the botanist but he has NO IDEA how to manage a casual conversation. I love that he is so struck by a woman who is, at first blush, his complete opposite -- suits vs. work clothes, gardening vs. classic texts. But Liv is every bit as whip-smart as Hathaway when it comes to common sense, observation skills, and a vast knowledge of the history and purpose of plants and their uses, which proves critical to the resolution of the murder investigation. I can only hope that someday she makes a return appearance for Hathaway's sake. Also, the moment when Hathaway BOWS to her? I nearly died that was so absolutely, wonderful, perfect! :)

Some spoilers ahead! For the most part I was quite pleased with how the resolution of this mystery unfolded, though I do wonder if we'll discover additional scenes on the DVD release, since I feel like the Conor/Wednesday Club storyline and their somewhat tenuous connection to Murray's death were explained in a bit of a haphazard fashion. I did, however, love how the story's love triangle was so unbelievably twisted. This show does twisty, complex personal motivations for murder oh-so-well. *wink* Not only does this script give us illegal secret drug tests, but the tests are run by a man whose mistress is helping him try to find the cure for his wife's cancer, and somehow the sick wife is OKAY WITH ALL OF THIS because she didn't want her husband to be alone after she died. NEVERMIND THAT HE WAS KILLING PEOPLE, apparently! Gotta love the crazy Lewis and Hathaway run into! :P

I'd love to hear your thoughts on Lewis and Hathaway's most welcome return to TV screens! I hope that the next few episodes will feature more of coroner Laura Hobson (Clare Holman), and perhaps a little forward momentum on her oh. so. S-L-O-W burning will-they-or-won't-they romance with Lewis. Unless I'm forgetting something (and given how this week has been going, that is HIGHLY possible), I really felt like she didn't have much screentime in this episode. That said the Hathaway moments were priceless. :)

Return to Cranford, part 2

Spoilers...

I was so, so impressed with the conclusion of Return to Cranford. My only complaint about this second series is that is wasn’t longer. Here’s the brief episode summary of part two from the Masterpiece website:

William Buxton's big news is not warmly received by his father. William, in turn, decides to strike out on his own in an apprenticeship with Captain Brown on the railway. But the work is difficult, and his separation from Peggy problematic.

The social scene of Cranford becomes the center of focus when Mrs. Jamieson's sister-in-law Lady Glenmire arrives. The women of Cranford eagerly anticipate some interactions, but are seemingly spurned by their friend Mrs. Jamieson. Lady Glenmire, with the encouragement of Captain Brown, takes matters into her own hands, and plans a party.

In the meantime, Miss Galindo is concerned about Harry Gregson, who has disappeared from school. Worse still, it becomes clear he has a very good reason for running away.

The friendships in Cranford are strained when a surprise wedding shocks everyone. But no one can know the tragedy and challenge that await and will threaten the ties of the close-knit Cranford community, putting the women to their ultimate test.

As I mentioned in my review of part one, my favorite storyline in Return to Cranford is the romance that develops between William (Tom Hiddleston) and Peggy (Jodie Wittaker). I didn’t see how it would be possible, but this storyline gets oh so much better in part two when the stakes are raised. When William makes his intentions known regarding Peggy, his father (Jonathan Pryce) erupts in anger, since marriage to a woman of Peggy’s standing does not fit with his plans for William’s political future. Thankfully, William tells his father just what he can do with his plans (in a very respectful, 19th-century manner, of course – LOL), and goes to work for the first time in his life as an engineering apprentice to Captain Brown (Jim Carter), who’s overseeing construction of the new railway. William and Peggy become Cranford’s star-crossed lovers, the town’s own version of Romeo and Juliet, only much less annoying than those two and thankfully, with happy ending after much heartache. There is something so incredibly romantic watching William and Peggy’s relationship grow through secretly exchanged letters, and watching William struggle to establish himself as an engineer and prove that he can support himself, and a wife, without his father’s patronage. Tom Hiddleston is just swoon-worthy here – I loved every moment.

Since I mentioned Captain Brown, I’m going to backtrack here and discuss his surprising courtship and marriage, which resulted in some wonderfully funny and poignant scenes. Brown has mellowed out considerably since he first came to Cranford, learning to see the merits of Cranford’s slower pace of life, thanks to residents like Miss Matty. When the pretentious Mrs. Jamieson’s (Barbara Flynn) widowed sister-in-law, Lady Glenmire, comes to visit, the rumor mill starts wagging since she’s titled. Mrs. Jamieson offends everyone when she makes it known that the women of Cranford need not bother her illustrious relative (played by Celia Imrie). Brown intervenes when the newcomer is snubbed, resulting in an especially hilarious scene when Lady Glenmire takes Mrs. Jamieson’s dog for a walk near the railroad construction, and the dog apparently nearly dies or something and has to be “revived.” It was so funny to watch them “consult” over the proper course of treatment. When their friendship results in a whirlwind surprise marriage, it’s fascinating to watch the social ramifications of so “rash” an action play out in the small town atmosphere. Those obsessed with social status are horrified by the impropriety of such a match involving two people from very different social backgrounds, while others (like Miss Matty) love seeing a romance between two people “their own age” play out right before their eyes. The latter group breaks your heart just a bit, because you know these characters can’t help but relive their pasts and wonder what might have been.

Harry (Alex Etel) had returned to school at the end of part one. Several months later, his advocate in Cranford, Miss Galindo (Emma Fielding), is horrified to discover that he’s run away from school due to abuse suffered at the hands of his classmates. Though we only hear about these events after the fact, this is one more way in which this miniseries brings to light class distinctions during this time period and how incredibly hard it was to change one’s circumstances. When Harry runs away again, he sets in motion a chain of events that will bring great tragedy to Cranford – a fiery train wreck. This wreck is cause by, of all things, Mrs. Forrester’s pajama-wearing cow wandering onto the tracks. Honestly, and I promise I’m not overstating things here, the cow’s death is probably one of the most shocking things I’ve ever seen in a BBC period drama. I was quite traumatized. :P Anyway, after this near death experience, Harry receives the happy ending he’s longed for – a home with Miss Galindo and the chance to attend school closer to Cranford. These two are bonded together by a shared love and admiration for Mr. Carter, Harry’s benefactor, and it brought a tear to my eye to see the two of them form their own little family.

The train wreck also proves to be the making of William and Peggy’s happiness, after a very close call of course. Throughout this series, Peggy’s been on a character-building fast-track, learning to stand up to her domineering mother and brother, and proving her mettle to William’s father. She also receives some romantic encouragement from Miss Matty (Judi Dench), who tragically had her own romantic hopes thwarted twice. When Matty informs William that Peggy is taking her embezzling, worthless brother out of the country, he races to intercept the train. And yes, maybe the whole racing-to-stop-the-train thing is clichéd, but I loved every moment of it. William really seizes the moment here and becomes even more of a romantic hero by rescuing Peggy from the overturned railcar – and then he nearly gets himself blown up. I could barely stand the drama, people!! The two are only reunited after William spends several weeks convalescing, and Peggy remains a faithful visitor even while being denied entrance to the house. The moment when they’re finally united, after months of hardship and separation, is oh so sweet.

Tom Hiddleston as William Buxton

Jodie Wittaker as Peggy Bell

Since the heart of Cranford is Miss Matty and her dearest friends, it’s only fitting that this series ends with Miss Matty using her savings to renovate the neglected assembly rooms and bring in an exotic magician for a Christmas performance. Along with Mrs. Jamieson, Mrs. Forrester, Miss Pole (Imelda Staunton), and Miss Tomkinson (Deborah Findlay), Miss Matty restores Cranford’s assembly rooms to their former glory, and the entire town is brought together to celebrate the power of community following the devastating shock of the train wreck. It’s touching and humbling, in a sense, to watch these women relive past glories through this process – but they don’t dwell on the past. No matter what happens, this core group of friends has always learned to look forward. I have to mention Tim Curry as Signor Brunoni, the visiting magician. He’s perfectly cast in the role, and the fact that Miss Pole is quite taken with him just adds to the fun. While much has changed in Cranford over the course of this series, the importance of family and friends has, if anything, only been amplified. Again, this show nearly made me cry when Miss Matty receives the best present she ever could’ve wished for – Martha’s daughter Tilly, and her now-widowed husband Jem have returned to Cranford for good. Though change can be indescribably difficult, it’s heartening to witness how the residents of Cranford have weathered the storms that come their way. I only hope that maybe, just maybe, we’ll get to visit this town again in the future.