A Foreign Field – Simply Media DVD Review


Cyril (Leo McKern) and Amos (Alec Guinness) are two British D-Day veterans who have returned to Normandy fifty years on in order to pay tribute to their fallen comrades. Whilst in the area, Cyril is determined to track down the alluring Angelique (Jeanne Moreau) who helped to keep the morale of the troops up during their stay back in 1944. The only problem is that he’s got competition – an abrasive American veteran, Waldo (John Randolph), has arrived on the same mission.

Roy Clarke might be best known for writing several comedy juggernauts (such as Last of the Summer Wine and Open/Still Open All Hours) but there are many less well known nuggets buried within his cv such as this Screen One, originally broadcast in September 1993. The ninety minute screenplay wastes no time in setting up the basics of the story – before we’ve reached the fifth minute we already understand that Amos is a shell of a man (possessing the mind of a child and a very limited vocabulary) with Cyril cast in the role of his exasperated carer. Meanwhile, Waldo is depicted as a short-tempered Limey-hating Yank ….

Amos is a gift of a role and Guinness milks it for all that it’s worth. With more than a touch of Stan Laurel, Amos breezes through the story with an air of benign innocence. As we proceed there are hints of hidden depths though – his skill with the mouth organ, say – whilst various mysteries (such as why he brought an empty jam jar all the way from Britain) are answered.

If Guinness’ screen presence is one reason why A Foreign Field is so compelling, then Leo McKern’s wonderfully judged performance as Cyril is another. Best known, of course, for Rumpole of the Bailey, there’s something of a Horace Rumpole feel about Cyril. They both might be abrasive on the surface but they contain hidden depths when you dig a little deeper. McKern was always a favourite actor of mine and this role – one of his final screen credits – only served to cement my respect for him. Cyril’s late monologue (where he explains to the others exactly why he’s so protective of Amos) is simply spine-tingling.

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John Randolph has a slightly less well defined role. Waldo and Cyril might both be grumpy, but there’s no doubt that we’re meant to side with Cyril and find Waldo to be somewhat insufferable. The introduction of Angelique strikes the only off-key note in the story – it’s barely credible that Cyril and Waldo would be so shocked to discover that fifty years on she’s not exactly the same beautiful young girl she once was (and their desperate attempts to get out of the date they’d both arranged with her leaves a slightly bitter taste). Luckily this only lasts a fleeting moment and soon Angelique joins their ever-growing party.

Along with Guinness, McKern and Jeanne Moreau, Lauren Bacall is another incredibly strong addition to the cast. Forever linked to Humphrey Bogart – both on screen and by marriage – there’s no doubt that her casting was something of a coup. Her character, Lisa, has one of the most intriguing roles to play. Like the others she’s come to pay her respects to a fallen war hero (in her case, her husband) but there’s a late twist which you may or may not have seen coming. This is resolved in a beautifully understated way which fits perfectly with the rest of the story.

If Cyril and Amos exist without family ties (except the bond between them) then Waldo is luckier on this score (or unlucky, depending on how you view things). He’s arrived in France with his strident daughter, Beverley (Geraldine Chaplin), and her put-upon husband Ralph (Edward Herrmann). They enjoy a decent share of the narrative and both end the story in different places from where they started – Beverley is more relaxed (thanks to the influence of Lisa and Angelique) whilst Ralph emerges as a more assertive type. As with the others, Roy Clarke is skilful at drawing out various nuances and character moments.

Whilst A Foreign Field is a sentimental piece, it never feels mawkish or false. Roy Clarke’s screenplay, and the efforts of the cast, combine to produce something quite special. I’ve come back to it on numerous occasions down the years and I’m sure that I’ll continue to do so in the future. If you’ve never seen it, then I would very strongly recommend picking up a copy.

Originally released in the UK on DVD by Acorn, it’s now been brought back into print by Simply. Picture quality (4:3 full frame) looks fine with no significant issues (subtitles are included).

A Foreign Field is released by Simply Media today, RRP £14.99, and can be ordered directly from Simply here (quoting ARCHIVE10 will apply a 10% discount).

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Debut of an Old Bailey Hack – Rumpole of the Bailey (Play For Today – BBC 1975)

After watching A Foreign Field I wanted a little more Leo McKern, so digging out the Play for Today in which Horace Rumpole made his debut seemed a logical choice.

Rumpole of the Bailey would become a popular and long-running series, although it seems that the BBC didn’t consider that the character or concept had legs, so Play for Today producer Irene Shubik took it to Thames where it ran for seven series between 1978 and 1992.

The development of the series was still several years off when this play was made and it does seem that this was produced purely as a one-off. So although there’s plenty that’s familiar to viewers of the later series, there are also various interesting differences.

An obvious difference is that Hilda is played by Joyce Heron, rather than Peggy Thorpe-Bates or later Marion Mathie. At the end of the story she portrayed as a drunk with a strong hint that this is a regular occurrence. This is something we never see again, as the implication that Hilda drinks to drown the sorrow of her hollow life with Horace is presumably too bleak to bear repetition. Instead, whilst the Thames Hilda may sometimes bemoan her lot and life with Horace, it’s done with considerably more humour.

Horace Rumpole himself, apart from one important character beat which we’ll come to shortly, is quite recognisable as the Rumpole from the Thames series. He indulges in lengthy internal monologues as he makes his way to work and he also laments the fact that it’s impossible now to get a decent lunch anywhere. There’s only sandwiches and other convenience foods – which horrifies the traditionalist Rumpole.


“Hack? Not exactly a hack. Been at it for longer than he can remember, Rumpole has. No flies on Rumpole. Cut his teeth on Rex v Magwitch and the Penge Bungalow Murders. I could win most of my cases if it wasn’t for the clients. Clients have no tact, poor old darlings, no bloody sensitivity. They will waltz into the witness box and blurt out things that are far better left unblurted.”

Rumpole is at the Old Bailey to defend Ossie Gladstone (Herbert Norville), accused of stabbing a man outside Lords Cricket ground in a motiveless attack.  And this is where we see the major difference between the Play for Today Rumpole and the Thames Rumpole.  Here, he is very keen for Gladstone to plead guilty and even after Ossie maintains his innocence he is reluctant to consider a not guilty plea.

The Thames Rumpole never liked to plead guilty and was always ready for a fight, but maybe this Rumpole is simply more of a realist.  If the evidence is strong then what’s the point of delaying the inevitable and possibly only increasing the sentence by pleading not guilty?

Or maybe Ossie is right when he taunts Rumpole that his case isn’t sufficiently interesting and too much like hard work to fight.  This certainly seems to strike a chord with Rumpole in a way that it would be impossible to consider happening in the later series where the character was always much more straightforward.

So the decision is made to fight, although as the police have a signed confession it seems like a forlorn hope.  Rumpole spends the morning toiling away at the police evidence before the lunch-break brings a chance to grab a last chat with his son Nick (David Yelland) who is shortly due to fly to America to take a University post.

David Yelland

The pub lunch with Rumpole and Nick is the heart of the play, as Nick confronts his father about their strained relationship.  Nick and Rumpole both have very different views about Nick’s childhood – Rumpole remembers the good times in the holidays – teas, pantos, visits to the Old Bailey – whilst Nick remembers the long time spent at various boarding schools from the age of seven.

This is another relationship that is adjusted when the series debuted in 1978.  During the first series the chronology was rewound, so the first story was set in 1969, some five years before this one.  Therefore we get to see Nick during the time he was at school and also enjoying a much more cordial, though sometimes still distant, relationship with his father.  But even when the series reached the point where Nick departed for America it was done in a subtly different way, with much less angst and Nick never displayed the same anger again that he does here.

With lunch concluded, Rumpole is able to engineer a breakthrough when Detective Inspector Arthur (Edwin Brown) states under oath that Ossie read his statement back to him.  A simple ruse in the cells proves that Ossie can neither read or write and this revelation is enough to dent the police’s case and so the jury issue a not guilty verdict.

But here, as with some of the earliest stories in the Thames series, there’s some ambiguity.  Although Ossie has declared his innocence, Rumpole is forced to admit that he may well be guilty – there’s simply no way to be sure.  He could have admitted his guilt to the police and the confession may be geniune, but Inspector Arthur’s decision to overstate his case was enough to sow a seed of doubt in the jury’s mind.

There are other examples of this in the early Thames series, where we see that Rumpole isn’t always able to depend on the honesty of his clients.  As the series became more mainstream, this, along with the various other points discussed, were gradually smoothed away so that a more family friendly, mainstream character emerged.  The later Rumpole always pleaded not guilty, almost always won and could always rely on the honesty of his clients.  This is not to say that the later series are not well written or well acted, but they lack a little of the bite and intensity of this Play for Today and the first two Thames series.

It goes without saying that Leo McKern is excellent here, as he was throughout the series.  But as this play has more character beats he is able to instill a little more character to the part.

The closing words of the play, as Rumpole and Hilda face each other over the dinner table – “Who am I exactly?” – echo the comments of Nick at lunchtime, who tried to break the public facade of his father. At the end of the day it seems that even Horace Rumpole has his doubts.  He knows what he does, and what he does well, but has his own identity become submerged under the numerous character quirks of an Old Bailey Hack?


Their name liveth for evermore – A Foreign Field (BBC Screen One – 1993)

Roy Clarke's A Foreign Field
Roy Clarke’s A Foreign Field

The recent centenary commemorations of the start of WW1 has inspired me to pull this Screen One production from September 1993 down from the shelf for a rewatch as although it’s concerned with the events of WW2, the themes of sacrifice and comradeship are universal and timeless.

Cyril (Leo McKern) and Amos (Alec Guinness) are two D-Day veterans who have returned to Normandy to visit the graves of their fallen comrades. Both of them have been scarred by those fateful days in 1944 – particularly Amos, who is virtually mute and seems to have the mind of a child.

Alec Guinness and Leo McKern

Cyril has another reason for the trip, as he is looking to track down his wartime sweetheart Angelique (Jeanne Moreau). The fact he hasn’t seen her for nearly fifty years doesn’t discourage him, nor does the fact that he has a rival for her affection – Waldo (John Randolph), an American veteran visiting the area with his son (Edward Herrmann) and daughter-in-law Beverly (Geraldine Chaplin).

John Randolph
John Randolph

After fighting for Angelique’s affections, Cyril and Waldo decide to join forces as they both treat her to a day out and then together with the mysterious Lisa (Lauren Bacall) the mismatched party eventually find their way to the graves to remember those they have lost.

A Screen One production from 1993, A Foreign Field was written by Roy Clarke. Although he has a varied CV, the record-breaking Last of the Summer Wine is undoubtedly the series he is best remembered for. That series’ longevity and the critical mauling and polite indifference that the later runs generated have tended to mask that Clarke is a very talented writer with a keen ear for dialogue. This is a hallmark of A Foreign Field, particularly as Cyril and Waldo give full vent to their simmering Anglo-American resentment.

Lauren Bacall and Jeanne Moreau
Lauren Bacall and Jeanne Moreau

As good as Clarke’s teleplay is, it clearly doesn’t hurt that the likes of McKern, Guinness, Randolph, Moreau and Bacall are cast members. Frankly, this is a dream lineup, with particularly fine performances from Guinness and McKern. Alec Guinness has probably the showiest part – lacking virtually any dialogue he is able to insert various bits of business in order to steal any scene that takes his fancy. The eye is automatically focused on him because, well, he’s Alec Guinness, but he still manages to instil a sense of dignity into the character of Amos.

Best of all is Leo McKern. Well known for his long run in Rumpole of the Bailey, McKern here is able to produce a moment of subtlety and pathos that is heart stopping. Outwardly bluff, his mask slips when discussing the beachhead landings in a wonderful monologue.

The conclusion, with the mystery of Lisa’s pilgrimage solved, brings the story to a satisfactory conclusion and the point made, whilst subtle, is clearly understood. Available on DVD from Acorn, this is a fine production that could have so easily tipped over into mawkish sentimentally. The fact it doesn’t is a tribute both to the writing and the acting choices of the principal cast. A production that is well worth tracking down and treasuring.