For me this is one of the top five episodes in the history of the series. Midsomer, especially in its early years, was known for its casting coups, and this episode features exceptional performances by Annette Crosbie and Geraldine Alexander. Since her twenties, Ms. Crosbie possessed the remarkable ability to portray much older characters without resorting to affectation. Here, Amelia Plummer is at least a decade older than Ms. Crosbie was at the time and is desperately trying to maintain her dignity and sanity despite a concerted effort to drive her mad, and being forced to remember a decades-old tragedy. Her final scene, in which she appears to succumb to dementia after overhearing her family's self-destruction is heartbreaking.
And while Amelia Plummer is struggling with her memories and her demons, her daughter-in-law, Helen, is desperately trying to plug all the holes in the very leaky boat that is the Plummer family business. The casting of Geraldine Alexander as Helen was brilliant, not just because she delivered a superb performance, but because of her resemblance to a slightly younger Joyce Barnaby. Two of the recurring themes in the Tom/Joyce Barnaby years are Joyce's innumerable friends and acquaintances throughout the County and Tom's susceptibility to flattery. We are never told how Helen comes very quickly to the conclusion that Tom can be honey trapped and that she is perfectly suited to the task, but from her first encounter with the Chief Inspector she sets that as her goal. Did Helen and Joyce meet in the course of one of Joyce's many community projects? Joyce seems to know what Helen looks like, and I doubt it's just from the way Tom describes her. And, but for Dan Scott's cynicism and adherence to the investigative trinity of motive, opportunity and means, Helen's stratagem might have succeeded. The pub scene, in which the camera focuses on Tom fingering the material of Helen's coat, shows just how much Tom has become infatuated by Joyce's doppelganger. This is one of the premier moments in the history of Midsomer Murders.
By the way, this episode provides one of John Nettles' finest performances as Tom Barnaby. Occasionally, we get to see Barnaby's few human weaknesses, and when the script gives Nettles the opportunity, he takes full advantage.
The supporting cast of Plummer family members, employees, acquaintances and enemies is also outstanding. Particularly impressive was Karl Johnson as both the son and father of Plummer family victims.
With every viewing of this episode, I catch a difference nuance and grow in my appreciation of its performance and production values. It exemplifies the series at its best.
And while Amelia Plummer is struggling with her memories and her demons, her daughter-in-law, Helen, is desperately trying to plug all the holes in the very leaky boat that is the Plummer family business. The casting of Geraldine Alexander as Helen was brilliant, not just because she delivered a superb performance, but because of her resemblance to a slightly younger Joyce Barnaby. Two of the recurring themes in the Tom/Joyce Barnaby years are Joyce's innumerable friends and acquaintances throughout the County and Tom's susceptibility to flattery. We are never told how Helen comes very quickly to the conclusion that Tom can be honey trapped and that she is perfectly suited to the task, but from her first encounter with the Chief Inspector she sets that as her goal. Did Helen and Joyce meet in the course of one of Joyce's many community projects? Joyce seems to know what Helen looks like, and I doubt it's just from the way Tom describes her. And, but for Dan Scott's cynicism and adherence to the investigative trinity of motive, opportunity and means, Helen's stratagem might have succeeded. The pub scene, in which the camera focuses on Tom fingering the material of Helen's coat, shows just how much Tom has become infatuated by Joyce's doppelganger. This is one of the premier moments in the history of Midsomer Murders.
By the way, this episode provides one of John Nettles' finest performances as Tom Barnaby. Occasionally, we get to see Barnaby's few human weaknesses, and when the script gives Nettles the opportunity, he takes full advantage.
The supporting cast of Plummer family members, employees, acquaintances and enemies is also outstanding. Particularly impressive was Karl Johnson as both the son and father of Plummer family victims.
With every viewing of this episode, I catch a difference nuance and grow in my appreciation of its performance and production values. It exemplifies the series at its best.