Article first published as THE LAST PANTHERS Review on Seat42F.
Sundance will be bringing us a British /
French production this week entitled THE LAST PANTHERS. Set in several
European countries, the six-episode series follows a jewel thief and
those who would hunt him after the crime as he flees home to a dark
underworld.
Goran Bogdan (Number 55) plays Milan
Celik, the lead character, at least as far as I can tell. Milan is part
of a trio that nab some diamonds in the exciting opening sequence, and
it is Milan’s past and actions that provide most of the driving force of
the plot. Will he get away with it? I don’t know, and I’m not even sure
if I should root for him to do so or not.
Those chasing Milan aren’t the most
likeable people, after all. Insurance adjuster Naomi Franckom (Samantha
Morton, John Carter) seems OK, but her boss, Tom Kendle (John Hurt,
Doctor Who, Merlin), is anything but kind. Police officer Khalil (Tahar
Rahim, A Prophet) is in much the same position as Naomi, seeming much
more competent and deserving than those above him. But then again, even
without a direct supervisor, Milan comes across much more favorably than
those he would or has worked for, too, so there’s a pattern.
The result is a chase through a criminal
landscape, ripe with betrayals and executions and cheats and schemes.
It’s a bit hard to follow if you aren’t paying attention, similar
looking actors and frequent subtitles not helping much with that, but
it’s also obvious to the beholder than THE LAST PANTHERS is a high
quality production that deserves your attention.
The cast is quite compelling, with their
smoldering glances and calculating eyes letting you know there is a lot
going on. They also exist in the world with a realistic number of
moving parts, which makes it hard for anyone to do anything without a
dozen other people being affected by it. This means consequences could
come from anywhere, and makes it hard for one character to rely on any
other, but it also makes it authentic, and thus deeper than the average
television series.
The setting is beautiful and gritty at
once. Again, much care has gone into making it seem like THE LAST
PANTHERS is in our own, actual world, and it succeeds at that. Car and
foot chases find plenty of obstacles in the way, but when the action
slows down, it’s even easier to appreciate what’s going on around the
characters. The circles they move in may not always be the most pleasant
to look at, but there’s a detailed quality that makes the program rise
above its peers.
While the U.S. often gets mainly the
best of British television (with some exceptions), THE LAST PANTHERS
feels better than most imports. It has the quality of a well-respected
international film, stretched to miniseries length in order to go both
broader and more focused on what it is portraying. Whether it’s the way a
tattoo plays with a certain group, or collateral damage among an
innocent bystander, the show immediately feels fully fleshed out, and it
is very easy to get sucked into.
The series also fits well with
Sundance’s brand. Slow-burn character dramas, such as Rectify, are what
the network does best, and it already has a history of bringing over
productions from other countries, such as with Top of the Lake. I think
the show itself is good enough to stand on its own, but in the company
of other airings on Sundance, it likely has the best chance to find its
target audience and succeed.
THE LAST PANTHERS airs Wednesdays at 10/9c on Sundance.
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