The first Inspector Morse episodes, based on the books by
Colin Dexter, were aired in England 25 years ago, shortly before I left those shores for smoggier climes. Dexter, now 81, took early retirement from his career as a schoolteacher on account of increasing deafness and became an exams officer in Oxford – he was himself educated at Cambridge – where all of his stories are based.
I have only managed to read one of his books, that being his last,
The Remorseful Day, which was clearly written with an eye to immediate transfer to the small screen: the television adaptation appeared as the last in the
33-episode Morse series in 2000, just a year after the book was published. As I recall it, the tome was all but unreadable, with lots of in-jokes, irritating asides and silly guff about Oxford commas.
Having recently completed the viewing of the entire Morse canon, it is safe to say that the TV series’s superiority is ascribable first and foremost to the performance of John Thaw in the title role. It is not to belittle the contribution of Sergeant Lewis, played by Geordie Kevin Whately, to say that his presence is not missed in the one episode from which he is missing,
The Wench is Dead, for which Morse gets a new sidekick, who copes admirably.
But this is only to say that
Inspector Morse operates according to the same principle as any double-act, where one of the two is indispensable and the other Ernie Wise or Paul McCartney. John Thaw’s performance may verge on the ridiculous at times, but that is because he is being forced to act out Dexter’s fantasies. Dexter likes real ale (so does Morse – ‘though not Thaw, even if he drank almost anything else), Dexter likes Wagner (so does Morse), Dexter likes crosswords (so does Morse, ‘though as a speed-solver rather than as a setter), Dexter likes English literature (so does Morse, who will often be found quoting long chunks of Rochester, Milton, Barrett Browning, Thomson and Housman to a befuddled Lewis).
The major criticism of the average Morse plot is that it is too convoluted and contrived. The best in the series, in my opinion,
Infernal Serpent, is not based on a Dexter novel (he wrote 13 of them) but has an original script based on Dexter’s characters. It is also set in an Oxford College, which gives it a tightness not shared by all of the other the adaptations, notably, the two that are set abroad, the eminently forgettable
Promised Land, filmed in Australia, and the silly but more enjoyable
Death of the Self, based in Vicenza and Verona.
Dexter approaches the task of writing a crime novel in much the same way that one imagines him approaching the task of crafting a crossword, from the answer back to the clue. “I’ve got a pesky four-letter space to fill with the checking letters
i and
e in place” gives way to “I’ve got ten minutes of programme time to fill with a red herring – shall I whack Morse on the head with a bottle or have him flirt improbably with one of the leading suspects?”
Morse is an unreformed curmudgeon, whose three relaxations are music (besides Wagner, he favours Mozart, Brahms and Schubert with a little Fauré thrown in for light relief), doing crosswords (he averages 12 minutes – a time I’ve only achieved once on a cryptic puzzle) and nooky.
Morse must be the randiest sod that’s ever put on uniform. He’ll have it off with anything that falls into the slightly plump, thinking-man’s-crumpet category, nearly all of whom find him irresistible. He is the Don Juan of the Thames Valley nick, or as the handsome American writer, Dr. Millicent van Buren, says to the knockout English rose Judy Loe, playing the latest in a succession of short-term girlfriends, in
The Wench is Dead, “He’s soo cute!”
One of the all-time classic Morse scenes, in which he gets to fulfil not only Dexter’s fantasy but every heterosexual viewer’s fantasy as well, occurs in
The Secret of Bay 5B, when the high-class hooker (we’ve moved to London for this scene) tries to seduce him. Obviously impressed by his ability to know a dud pre-Raphaelite painting when he sees one, she slides up closer to her man on the divan and breathes into his ear, “Some men take the trouble to please me too!”
Morse is unimpressed, ‘though. He’d sooner join Lewis for a pint of lager before he beds a bird who listens to Ella Fitzgerald rather than Montserrat Caballé.