Endeavour (TV Series) Harvest (2017) User Reviews

A solid end to series four

[Tweekums · 8/10 · 30 January 2017]

When a body is discovered in a water meadow near Oxford it is initially assumed to be that of a botanist who disappeared in the area five years previously… then the pathologist states that the body is around two thousand years old. It would appear that would be the end of the matter but then Morse spots a pair of spectacles near the body. They look like those of the missing man and are enough to get the case reopened. Morse starts asking questions in the nearby village; people remember the case but have little to add to what they said at the time to the County Police who led the original investigation. Morse notes that none of the workers at the nearby nuclear power station was questioned and when he tries to go there he is turned away. He tries to arrange a visit but keeps being blocked. He then finds his flat has been turned over and wonders if there is a connection. Away from the case Thursday finds a photograph of his daughter, along with her address so pays a visit. While it doesn't exactly go well she does at least call her mother to let her know she is well… then she turns up at Morse's flat and he makes a surprising proposal.

The central mystery in this episode was interesting with some nice misdirection to make us suspect the wrong people. I was a bit concerned that it was going to get a bit too 'Midsomer Murders' (a show I do like) as the villages seemed a little eccentric to say the least as one talks about the equinox while Morris men dance in the background; thankfully it didn't get too silly. If there was a slight problem it was the scene in the power station where Morse and Thursday confront two armed men; it seemed a little unlikely that they would be able to get to the control centre of such a secure facility… sometimes one just has to suspend ones disbelief and enjoy the drama. Away from the case things are interesting; Morse is offered a job in London, a position he seems keen to accept and just as the story line involving Joan Thursday appeared to be wrapped up it took a rather tragic turn that I didn't see coming. Overall this was a pretty good episode that left me pleased when the announcer at the ended of the programme announced that there would be a new series next year.

Fitting end to the fourth season

[TheLittleSongbird · 9/10 · 7 July 2017]

Having recently been, and just finished being, on a roll reviewing all the episodes of 'Lewis', which generally was very enjoyable before having some disappointments later on, it occurred to me to do the same for 'Inspector Morse's' (one of my favourites for over a decade, and all the episodes were also reviewed in my first year on IMDb eight years ago) prequel series 'Endeavour'.

As said in my review for the entire show two years ago, 'Endeavour' is not just a more than worthy prequel series to one of my favourite detective dramas of all time and goes very well with it, but it is a great series on its own as well. It maintains everything that makes 'Inspector Morse' so good, while also containing enough to make it its own, and in my mind 'Inspector Morse', 'Lewis' and 'Endeavour' go perfectly well together.

Was very impressed by the pilot episode, even with a very understandable slight finding-its-feet feel (that is true of a lot of shows, exceptions like 'Morse' itself, 'A Touch of Frost' and 'Midsomer Murders', which started off great and were remarkably well established, are fairly few. The first season was even better, with all the episodes being outstanding. Season 2 took a darker turn, but once again all the episodes were great (even with "Trove" having one of 'Endeavour's' most far-fetched and over-complicated endings, great episode otherwise), with the weakest one "Sway" still being very good, "Neverland" especially was exceptional and a show high-point.

Season 3 is considered by fans as nowhere near as good as previously. Will admit that it is not as good as Seasons 1 and 2, which had more believable stories and didn't try to do too much but count me in as someone who has still enjoyed the episodes and has found a lot to like, while finding "Coda" outstanding.

"Game" was such a terrific start for Season 4, and "Lazaretto" is right up there too. "Canticle" was a very good change of pace, if a slight step down with a rushed and melodramatic ending. Season 4 ends with "Harvest" and a fitting one it is too and makes one excited for what will come next when 'Endeavour' continues. Only the Joan subplot didn't do much for me, too much dragged out soap-opera that is not as interesting as it could potentially have been and didn't add very much.

Conversely, there is nothing that can be faulted with the production values. It is exquisitely filmed and the idyllic and atmospheric setting was a very nice change from Oxford. There is something very nostalgic and charming about the atmospherically evoked 1960s period detail. Similarly, as always, the music is hauntingly beautiful with the way it's utilised never in question, the iconic 'Inspector Morse' theme will forever be immortal and it has always been a genius move to use it for 'Endeavour'.

Writing, as has been said many times in my reviews for the previous 'Endeavour' episodes, is every bit as intelligent, entertaining and tense as the previous episodes and as the best of 'Morse'. Again, really liked the references, the most notable one being the pastiche of 'The Wicker Man', with those for 'The China Syndrome' and 'The Loneliness of the Long Distance Runner' just as fun. The episode served as a particularly fitting tribute to John Thaw, particularly with the casting of his daughter Abigail and his wife Sheila Hancock.

"Harvest" is restrained in pace but always compelling, with some nice twists, turns and shocks and some wonderfully eccentric supporting characters that reminds one of those from classic 'Midsomer Murders'.

Morse and Thursday's relationship was always one of the show's major high points, it always entertained and warmed the heart and with each episode it gets more so on both counts, with some moving and tense moments too. Also forgot to mention the sparkling presence of Dakota Blue Richards' character, she is like sunshine and deserves more to do.

Shaun Evans as ever does some powerful, charismatic work as younger Morse, showing enough loyalty to John Thaw's iconic Morse while making the character his own too. Roger Allam is also superb, his rapport with Evans always compels and entertains but Thursday is quite a sympathetic character, as well as loyal and firm, and Allam does a lot special with a role that could have been less interesting possibly in lesser hands. Chris Coghill is fine support and Sheila Hancock brings earthy mysticism to her role.

Overall, Season 4 ends on a fitting note. 9/10 Bethany Cox

melancholy end to the season

[blanche-2 · 8/10 · 11 September 2017]

Wow, short season - as usual.

In "Harvest," Morse and Thursday are thrown into a five-year-old case involving the disappearance of a botanist when a body is discovered at an archaeological dig.

Nothing much comes of the investigation until a woman whose brother works at the nuclear power station, says she saw the man's car near there. The plant is controversial since the village is the proposed site of a new reservoir. They at last discover that he did come to the plant. What did he learn there?

Meanwhile, the boss (Anton Lesser) is back, and Morse is offered a job in London. The Joan situation heats up, with Thursday becoming involved in her situation.

We're left with a bit of a cliffhanger, with Morse's bravery being rewarded, but poised to take his new position.

The story had a neat twist to it.

A sad episode. Can't wait until next season!

The magic of Morse lives on.

[Sleepin_Dragon · 10/10 · 28 April 2017]

A very different feeling episode, we leave the glory of Oxford for the country side, green fields, strange locals, pagan rituals, it could almost have been scripted for Barnaby and co.

The village setting gave the show a different feel, the village somehow managed to add a claustrophobic feel to the case. The Power Station also managed to make the episode feel different. Advantage was taken of the setting, the camera-work was excellent, the episode looked particularly good.

A very interesting story, beautifully performed by all cast members, I especially enjoyed Sheila Hancock and Chris Coghill's performances. It must have been strange for Hancock working on the show given the links to her late husband, and having her daughter there too.

A slightly bittersweet ending as we've come to expect from Endeavour, the Joan storyline does however need to be put to bed soon, or it'll be guilty of being dragged out. Nice to see Morse as a hero. I did wonder why Jeremy Corbyn was doubling up as The Professor, and then I realised it was Michael Pennington.

I'll admit this episode blew me away, I loved it.

Captivating, intelligent, true to time.

[kiwes8 · 10/10 · 2 May 2018]

In this last episode of S4, the production team went that extra mile to allow the story and the characters to suggest rather than tell, and the viewers to intuit rather than be spoon fed the plot. The use of musical scores from the original Morse and Lewis is a stroke of genius that connects the dots with the corresponding series. This episode is about the murder of a nuclear plant scientist who appears to have consulted with a tarot card reader about his love life (I believe it was his murdered who actually consulted the tarot reader, but never mind...) The background story line carries over from the previous episode, where Win Thursday evidences worrisome signs of depression over the silence her daughter is punishing her parents with. (Remember that in the last episode of S3, Joan fell prey to a bank thief and was indirectly responsible for the death of a police officer.) Win's anguish reflects the effects of her (and her husband's) own past actions and behaviours towards Joan (too much control) and Joan's pride and poor decision making. Win complains to her husband, DI Fred Thursday, that both he and Morse could find a needle in a haystack on any day but not the whereabouts of Joan. That sets DI Thursday in motion, and using evidence from Morse's recently burgled flat, he goes on to visit Joan. His detective skills shine when in a few seconds he finds evidence of what Joan is up to and with whom: a married man with children. As they are arguing, Joan's lover opens the door and quickly hints to Fred that he's not wanted there. Fred quietly leaves the flat to reappear in the parking lot waiting for his daughter's lover to get to his car. Fred hits him repeatedly and tells him to leave Joan alone. Fred later confronts Morse about not telling him that he had found and visited his daughter but concludes that they both may have wasted their time. However, when DI Thursday gets back home, he finds his wife bursting with joy because Joan had called her to say she's alright and that she'd call back the following week. Win then tells Fred that she'll make a special meal to celebrate. (That moment is just both heartbreaking and heartwarming). Soon enough, Joan appears by Morse's flat and he invites her in. It'd be easy to assume that finally something is going to happen between the two of them, but the script writers know better. Nothing succeeds like unfulfilled romance. Morse sees evidence of battering in Joan's face and asks her where her lover is. She replies that it was really her fault that he bashed her because she had provoked him. It is not till the end of the episode that the viewer can understand that the "provocation" was probably that she had told her lover that she was pregnant, resulting in a beating, and a miscarriage. I love the character development in this series. The writers take their time and leave viewers begging for more. For example, we all know that Morse (John Thaw) was a ladies' man. But certainly he did not start off as such. I believe that after his failed romances with Susan (at University) and Joan, he realized that he was never going to find true love again and settled for more transitory affairs. 'Endeavor' is an absolute delight to watch and I cannot wait for S5 and S6 to show in New Zealand.

Why Can't He Say It? Still Stuck in the Past?

[Hitchcoc · 8/10 · 31 January 2018]

This is the end of Season 4. The case of a missing man, presumed murdered, takes Morse and Thursday to a strange, primitive town, that is in the shadow of a new nuclear power plant. There are so many roadblocks along the way. There are rituals being performed by these people, some of whom are living thousands of years in the past. Meanwhile, Thursday decides to find Joan. It isn't pretty. This eventually leads to Morse having to deal with his feelings for her. There is an interesting conclusion which begs us to watch Season 5.

A great Twist with Sheila Hancock

[stevan-k-holt · 10/10 · 13 April 2018]

This is a departure from the normal "within the town" kind of plot by going out to a nuclear plant and saving the world like super heroes...but a really cool element to this episode is the inclusion of the amazing Sheila Hancock. It is ironic that she, a cancer survivor herself with Breast Cancer, honored the love of her life and husband of nearly 30 years, John Thaw. Thaw died in 2002 of esophageal cancer, reportedly smoking 60 cigarettes a day. John Thaw IS Inspector Morse, of course, at a later stage in life than Endeavour. How magical it must have been on set to have her performing in her late husbands greatest role?

Mystery pretty-good; Joan's story not so much

[jknousak · 6/10 · 19 March 2022]

Mostly I, here in the 21st century, am really not liking Thursday's confrontation w/ his daughter, w/ her man and also Mrs. Thursday's trip down a rabbit hole about Joan going off on her own. Maudlin. Parents don't own their children!!!!

Series made in 2014 or '15 and though it takes place in 1967 or so, why they had to make Morse's life so bleak and then ADD to it, Joan's bleak life along w/ her parents'. Apparently, no one in the 60s was happy in their family/love relationships, a point stressed ad nauseum in Endeavour.

Lost its way

[pawebster · 5/10 · 30 January 2017]

This was a great series at one time. However, it hit a low with this episode. The previous reviewer mentioned Midsomer Murders and rightly so. In fact, many a detective series has had an episode in a village with pagan customs. That Endeavour had to stoop to this is a sign that ideas are running out.

And what about the power station? Automation must have been extraordinarily well advanced in the 1960s, since this plant is able to operate with one gatekeeper and two scientists.

I couldn't understand what Morse did at the climax, but never mind.

The Joan Thursday subplot is soapy, drags on and and is seemingly not very relevant, but at times it is more interesting than the mystery in hand.

After this, I may be done with Endeavour

[v_danilovic · 4/10 · 23 September 2017]

I have been an Endeavour fan since the beginning and thought that some episodes rival or even better the best of Inspector Morse. Examples include the Pilot and Home - season 1, Trove and Neverland - season 2. But over the last two seasons, the pace has slowed; mystery-solving has given way to (in some cases) almost soap opera-ish attempts at psychological insight, all with far to much 'arty' videography. The sole aspect of the series maintaining its original high standard has been Roger Allam's superb portrayal of DI Thursday.

Which brings me to this sad story. The spooky(?) village scenes and the nuclear powerplant background story remind one of any number of eminently forgettable TV mystery/dramas from both sides of the Atlantic. Morse seemed out of his element, so much so that at any moment I expected Prof. Quatermass to arrive on the scene and dismiss him to re-take his sergeant's exam. The final insult were the inanimate Morrismen and the village crone. Whenever they were on camera I could not escape the image of an early Blackadder episode, also with Morris dancers and Witchsmeller Pursuivant.

If there is a next season, I hope all hands return posthaste to Oxford and to story lines more befitting a legitimate Inspector Morse prequel.

A decent episode, no more no less - and best of the season

[yavermbizi · 5/10 · 2 July 2020]

My overall rating of "Endeavour"'s Season 4: 3/10

It's a bit sad to say that I can only rate the best of the season a 5, and yet here we are again. This episode suffers most of all from too many scenes and conversations not really flowing naturally but only being there to progress the story. The culmination makes little sense. Finally, it feels like the writers are choking themselves a little bit with having to stick to a status quo at the expense of perhaps telling a better/more dynamic story, starting a new chapter of it. In that pursuit characters' motivations are shuffled in a semi-random way.

The action itself is watchable enough, and the actors are, as always in "Endeavour", very believable and charismatic, but it's not enough on its own.