If Sherlock Holmes can be brought back from death at the Reichenbach Falls, then Christopher Foyle can certainly be recalled from permanent retirement at the Hastings Police. And fortunately for viewers, British ITV has had the good judgment to bring such a scenario to fruition. As far as this viewer is concerned, Foyle, Sam, and Milner--such wonderful characters, they seem like old friends--can go on solving mysteries as long as possible, not only in the period immediately after the war but also into the Cold War, the beginnings of which are intimated in "The Russian House."
As usual, the mysteries are absorbing. I especially enjoyed watching the low-key, snail's-crawl 'car chase' in the first episode; the slowness of the pace heightened the suspense even more than would the customary high-speed television cliche of cars careening through the streets in wrong-way traffic.
In addition to being a superlative detective series, "Foyle's War" continues to act as a mirror of history. It is fascinating to discover some of the War's dirty secrets that had been first hidden and then, conveniently, forgotten, such as the one that serves as the background for "The Russian House." The best thing about the continuation of the series, however, is its concentration on a period of history that is so often neglected--the depiction of what it was like to live in Britain just after the war, with rationing, food shortages, bomb-damage, displaced persons. Especially compelling is its portrayal of the men and women who had given their hearts' blood to service for so many years, dreaming that there was no place like Home, and then upon returning sometimes discovering that Home had no place for them. All the characters of the series have been defined by their wartime personae, as Sam and the young man she meets in London indicate (She has spent most of the war as Inspector Foyle's driver and the young man has spent the war code-breaking at Bletchley Park). With the end of the war, they are analogous to actors who had been performing in a very long play after the applause has died down and the curtain has descended. They must go back to reality, but to a new reality.
So here's to Christopher Foyle: may he (and Michael Kitchen) continue to flourish! And thank you, ITV, not only for allowing him to do so, but also for providing us television viewers with such outstanding entertainment.