For enthusiasts of British crime drama, Inspector Morse remains a gold standard. Welcome back to carparteu.com, where we delve deep into the intricate world of Morse. Today, we’re revisiting episode 27, “The Day of the Devil,” from Series 7. Before we get started, you might be wondering, in the realm of crime and detection, does Dexter get caught with body parts in his car? While that question pertains to a different, more modern type of crime drama, it highlights the enduring fascination with the nitty-gritty of crime and the potential for discovery. But here, in the classic Morse universe, we explore a different kind of tension.
This episode, chronologically the 27th in the series, originally aired on January 13, 1993, and presents a unique case for Morse and Lewis. Having already explored the preceding 26 episodes (you can catch up on those reviews here: Morse episode reviews), let’s dissect “The Day of the Devil.”
Episode Deep Dive: “The Day of the Devil”
Directed by Stephen Whittaker, in his sole contribution to the Morse series, and penned by Daniel Boyle, who also wrote other notable Morse episodes like “Dead on Time” and “Happy Families,” this episode promises a compelling narrative.
Synopsis: Escape and Occult Intrigue
“The Day of the Devil” kicks off with the escape of John Peter Barrie, a convicted rapist and self-proclaimed “devil’s disciple,” from a secure institution. This immediately throws Oxford into a state of high alert. Barrie, proving to be a cunning and elusive adversary, manages to stay ahead of the police through disguises and seemingly untraceable vehicles. This leads Morse and Lewis to suspect an accomplice – someone aiding Barrie from the shadows.
The investigation plunges into the murky depths of the occult, devil worship, and interpretations of ancient grimoires. Morse and Lewis must navigate this unfamiliar territory to apprehend Barrie before he can commit further crimes. The episode blends classic detective work with unsettling thematic elements, creating a distinctive Morse experience.
Review: A Good Episode, But Not Top Tier
While “The Day of the Devil” might not consistently rank as a fan favorite’s absolute top pick within the Morse series, it’s by no means a weak link. It stands as a solid, well-crafted episode, albeit one that exists within a remarkably strong oeuvre.
The performances across the board are commendable. Harriet Walters, Keith Allen, and Richard Griffiths deliver nuanced portrayals. Keith Allen’s depiction of John Peter Barrie is particularly noteworthy. He avoids the trap of portraying Barrie as a caricature of psychosis, instead layering menace with an unsettling charm and slyness. The acting is certainly not where this episode falters.
Barrington Pheloung’s score, as always, is impeccable. His selection of classical pieces and original incidental music elevates the atmosphere and emotional depth of the scenes. Music remains a consistent strength in Morse, and this episode is no exception.
However, the storyline itself presents some points of contention. The thematic exploration of women’s rights, while relevant, is acknowledged by writer Daniel Boyle as somewhat “heavy-handed.” The dialogue, particularly concerning WPC Curtis’s perspective on Morse’s views on women, can feel a bit forced and didactic.
The script introduces some slightly improbable elements. The idea that intelligent individuals could genuinely believe they’ve conjured the Devil stretches credulity, although not entirely beyond the realm of possibility given the episode’s themes. Furthermore, the inaction of these individuals as they witness “the Devil” seemingly commit arson and murder raises questions. Their passive observation of Trevors being stabbed and set alight strains believability.
Barrie’s actions also invite scrutiny. While his arrogance might explain his public appearance in a pub, flashing his identifying tattoo seems unnecessarily risky. Similarly, the motivation behind his cross-dressing remains unclear and somewhat perplexing within the narrative.
Despite these script-related quibbles, “The Day of the Devil” remains a good episode. It offers intrigue, strong performances, and the signature Morse atmosphere. However, its minor flaws prevent it from reaching the heights of the series’ best episodes.
Jag Rating: 7/10
Musical Masterpieces in “The Day of the Devil”
As with all Morse episodes, classical music plays a pivotal role in enhancing the narrative and emotional landscape. Here’s a selection of musical pieces featured:
- 13m16s: Johannes Brahms’ String Sextet No. 1 In B Flat Major Op. 18 accompanies Morse and Lewis’s meeting with Canon Humphrey Appleton, setting a tone of intellectual discourse and underlying tension.
- 21m50s: Johann Sebastian Bach’s Busoni Chorale Prelude BWV 639 Ich ruf zu dir,Herr is played by Appleton in the church, adding a layer of spiritual and perhaps foreboding atmosphere.
- 40m04s: Jules Massenet’s “Adieu notre petite table” from the opera Manon, sung by Janis Kelly, is heard in Morse’s office, providing an operatic counterpoint to the unfolding investigation.
- 46m25s: Johann Sebastian Bach’s iconic Toccata and Fugue in D Minor is played by Barrie in Appleby’s church, creating a dramatic and unsettling musical moment.
- 53m34s: Johannes Brahms’ Sextet No. 1 in B-flat major – 2. Andante ma moderato returns as Morse meets Appleton in the college, reinforcing the themes introduced earlier.
For a comprehensive list of music featured in the entire Morse series, resources are available: Morse Music (Excel) and Morse Music (PDF).
Literary and Artistic Depths
The episode title itself, “The Day of the Devil,” hints at literary themes. References to “Exegesis on Ancient Grimoires” directly tie into the occult elements of the plot. Grimoires, books of spells, and exegesis, the interpretation of texts, become relevant to understanding the motivations and beliefs within the episode’s narrative.
A subtle literary nod comes in the form of a Macbeth quote, “Fair is foul and foul is fair,” spoken by Appleton to Morse outside the church, foreshadowing the deceptive appearances and moral ambiguities within the story.
The visual landscape of “The Day of the Devil” is enriched by its Oxford college settings. Exeter College serves as a backdrop for scenes with Canon Appleton, showcasing portraits of notable figures:
(1-11): Portraits identified include John Collier Jones, Walter de Stapeldon, Sir John Taylor Coleridge, Sir William Peryam, Henry Richards, Sir William Petre, Thomas Bray, John Prideaux, Hugh Shortrudge, Sir William Noye, and Sir Cyril Norman Hinshelwood.
A painting of Norman Crowther Hunt, Baron Crowther-Hunt of Eccleshill, is also noticeable in a scene, subtly linking the episode to the academic and political world of Oxford.
Nancy’s keen eye identified an opera poster in Morse’s office:
This poster, “The Royal Opera I Puritani Bellini,” from The Royal Opera House, adds another layer to Morse’s character, reflecting his refined tastes and cultural interests.
Locations Unveiled: From Colleges to Pubs
“The Day of the Devil,” like many Morse episodes, utilizes a range of atmospheric locations, primarily in and around Oxford and Buckinghamshire:
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Mental Institution: Location remains unidentified.
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Riverside Cafe, Colnbrook By-Pass, Slough: Where Barrie hitches a ride.
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The Old Post Office, Weedon Hill, Hyde Heath: Near Dr. Martin’s shopping scene.
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Exeter College, Oxford: Canon Appleton’s college.
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St. Mary’s Church, Chesham: Canon Appleby’s church.
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Balliol College, Oxford: Mr. Trevors’ workplace.
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Toast at 103 High Street, Oxford (formerly Estate Agent): Where Barrie’s picture is seen on TV.
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Esoterica Shop, High Street, Princes Risborough: Visited by Lewis.
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Old Berkeley House, Owlswick (formerly Shoulder of Mutton Pub): Pub visited by Barrie.
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Mapledurham Watermill, near Reading: Mill Cottage where Holly Trevors is held hostage.
Connections Across the Morse Universe
“The Day of the Devil” features several actors who appeared in other Morse, Lewis, and Endeavour episodes, creating a sense of interconnectedness within the Morse universe. For example, Lloyd McGuire (Clough) also appeared in Endeavour, and Beverley Klein (barmaid) in Endeavour as well. Richard Griffiths, playing Canon Humphrey Appleton, is himself connected to the Morse universe through the location of his show “Pie in the Sky” being used in another Morse episode.
Episode Quirks and Final Verdict
Small details, like Strange’s submarine models in his office, and Lewis’s mispronunciation of “St John,” add characteristic touches of humor and personality to the episode.
In conclusion, “The Day of the Devil” is a worthwhile Morse episode, marked by strong acting, evocative music, and intriguing locations. While its script has minor shortcomings, it delivers a compelling mystery within the established Morse framework. It might not reach the very pinnacle of the series, but it remains a solid and enjoyable entry for Morse aficionados.
Murders and Methods:
- Trevors: Stabbed and set alight by Barrie.
- Barrie: Shot by WPC Curtis.
- Trevors’ Cat: Killed by Barrie.
In Memoriam:
The episode features performances by actors who have sadly passed away, including John Bleasdale, Richard Griffiths, Gilly Coman, and Kevin Stoney. Their contributions are remembered and appreciated by fans of the Morse universe.
Cast Highlights:
- John Thaw as Chief Inspector Morse
- Kevin Whately as Detective Sergeant Lewis
- Keith Allen as John Peter Barrie
- Harriet Walter as Dr. Esther Martin
- Richard Griffiths as Canon Humphrey Appleton
- Katrina Levon as WPC Nora Curtis
“The Day of the Devil” offers a glimpse into a darker, more occult-themed crime within the sophisticated world of Inspector Morse. While we may not find body parts in car boots here, the episode provides its own brand of suspense and mystery, firmly rooted in the intellectual and atmospheric style that defines the Morse series.
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