Oh, before we begin-normally I find our age’s spoiler-phobia to be pretty obnoxious and a serious impediment to discussing art critically, but since this is a mystery we’re talking about, where half the fun is trying to piece the clues together yourself, consider this a spoiler warning: we’re going to reveal all the twists in this episode, because otherwise the themes are impossible to fully talk about. Finally, in Part III, we’ll unravel the mystery and discuss the audience’s relationship with the author of a work. In Part II, we’ll move onto the murder and how it instructs us on the way the artistic process actually works.
In Part I, we’ll talk about the central figure of the episode and her concerns about how her writing will be received. I’m going to break this little investigation into three parts. This is one of my favorite episodes of the show, not because of the mystery itself, but because of what the episode has to say about writing and about our reactions to it.
The episode I would like to look at in particular is “The Kembleford Boggart,” the seventh episode of the show’s third series. Father Brown is joined by a group of supporting characters, including parish secretary Mrs McCarthy (Sorcha Cusack) and local noblewoman Lady Felicia (Nancy Carroll), and he often butts heads with an ever-changing line of police detectives, such as Inspector Sullivan (Tom Chambers), who rather begrudgingly tolerate the priest’s side hobby of sleuthing. The show follows the title priest (played by Mark Williams) as he solves various crimes-usually murder-around the fictional English town of Kembleford in the post-WWII period. Well, over a year later, I’ve finally gotten around to doing just that.įor those who aren’t aware, Father Brown is an amateur detective show loosely based on the short stories of G.
Last year, when I wrote about the oddly soothing aspects of the murder mystery genre, I mentioned that I had another post about the show Father Brown that I wanted to write.
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