Nothing TABOO

Article first published as TABOO Review on Seat42F.

FX’s newest drama is TABOO, premiering tonight. It is the story of a man, James Keziah Delaney, who has spent the past decade in Africa under shady circumstances, and who has just returned home to London, England in the year of Our Lord 1814. Inheriting his father’s property and shipping business should be an easy thing, but even if Delaney were right in the head, which he doesn’t seem to be, he’d find it a challenge given the dark mysteries of his family and the many enemies who seek his wealth for themselves.

Given that TABOO is airing on FX, it stars the terrific Tom Hardy (Mad Max: Fury Road, The Revenant), and is created by Steven Knight of Peaky Blinders fame, as well as Tom and his father, I expect good things from the series. Its ensemble cast, which includes Jonathan Pryce (Brazil, Game of Thrones), Oona Chaplin (The Hour, Quantum of Solace), Michael Kelly (House of Cards), Mark Gatiss (Sherlock), Jason Watkins (Trollied), Nicholas Woodeson (Rome), Tom Hollander (The Night Manager), Stephen Graham (Boardwalk Empire), Franka Potente (Copper), Jefferson Hall (Vikings), and more, adds even more promise. There is lots of talent bringing their skills to bear on this one!

Which means it’s extra disappointing when the show ends up being a dud, a rare misstep for FX.

I’d say the biggest problem is that it doesn’t really seem to be going anywhere. The pacing is very slow, but rather than feeding us bits of the story as it goes to keep us engaged, very little happens or is revealed in the first hour. It plods along and I keep waiting for even a little bit of a hook, but fail to find one.

The other option a series has, besides a gripping story, is to have very magnetic characters, but TABOO lacks those as well. Pryce is always wonderful, and I enjoy him as a villain here. Chaplin is very good in this, too, her character of Zilpha having a very weird relationship with half-brother Delaney. Others of the group do a decent job, but don’t stand out as all that memorable, and Delany himself isn’t well-defined enough to be interesting. He has a little bit of a presence, but trying to attribute mystic qualities to him just because he spent time in Africa (nope, doesn’t get any more specific than that) feels forced, and there really isn’t anything in the pilot to make you want to root for him, or even care what happens to him.

So what we’re left with is an hour that’s pretty excruciating to sit through, and it ends without any motivating factor to tune in again.

What TABOO does well is the production design. The gritty side of old London comes through strongly, providing nice contract to less grounded productions. For those who watch a lot of PBS, this is going to have a very different feel. The shadows and the muck work well with the tone the series is trying to set, and the opulence of the East India Trading Company clashes nicely with the more common men and women portrayed. The world is built is visually neat.

That isn’t enough, though, for repeat watching. It puzzles me why the BBC ran this, or why FX would want to pick it up, as it seems off-brand for both. I’m not sure where it fits in their lineups, especially on the American cable network, and I can’t imagine it’s going to stick around for a second season, given the lackluster reviews its getting. It doesn’t seem likely to draw many eyeballs on either platform.

TABOO premieres tonight at 10/9c on FX.

HBO's Parade's End

First published as PARADE'S END Review on Seat42F.

Grade: 91%

HBO will take its turn presenting the miniseries PARADE’S END this week, its partner in the endeavor, the BBC, having already broadcast it last fall. Perhaps HBO saved it so it would have a rich period piece this winter, just as it had Mildred Pierce last year, or perhaps they wish to attract those in the early stages of Downton Abbey-withdrawal. Whatever the reason, now seems an opportune time to air it.

The title PARADE’S END refers to the excising of the British upper-class way of life, the manner in which the elite of society put on certain airs, stay true to traditions, and worry about the way they are perceived. There is a strict social structure in place in the early twentieth century, mostly destroyed during World War I, and this miniseries tells that tale.

Well, it tells a personal take on characters who make that transition. Yes, the piece is somewhat sweeping, and does have a large-ish cast. But there are really three main players in the story who stand about above everyone else, and who are the case study made an example of here.

Benedict Cumberbatch (Sherlock, Star Trek Into Darkness) plays Christopher Tietjens, a noble Englishman who sticks with the way he is brought up, no matter what. This means he goes through with his marriage to the wicked, manipulative Sylvia (Rebecca Hall, The Town, Frost/Nixon), even though he knows she’s been sleeping around on him, and it’s very likely her pregnancy isn’t a result of his actions.

Their union is predictable unhappy, and Sylvia doesn’t even try to stay faithful, spending much time apart from her groom in the company of other men. Christopher, though, keeps up appearances, even as he begins falling for the sweet, strong-willed Valentine Wannop (Adelaide Clemens, Rectify, Vampire).

Looked at through the modern eye, it’s very hard to understand why Christopher doesn’t just leave Sylvia for Valentine, a topic discussed in the series. Why should he show any loyalty to someone who is so nasty to him? But that’s Christopher’s way of life, so I’m not sure it even occurs to him to end his own suffering, at least not for awhile. Part of the beauty of the piece is the illustration of the type of man Christopher represents, a specific guy from a specific period in time in a specific place.

In fact, PARADE’S END succeeds very well artistically. The sets and costumes are made expertly, and the details that set an authentic tone are present. The writing is smart, and the characters are well defined. Presenting World War I as a catalyst is a good idea, executed with much success.

The cast is fantastic, of course, especially the three leads. For those who are familiar with Cumberbatch’s work, this should come as no surprise. The girls’ talent matches hiw, but this is Cumberbatch’s showcase, and he owns every moment he is on screen, conveying much in his sad eyes.

The supporting players also lend both a fuller picture, and some levity to the proceedings. They include Roger Allam (The Thick Of It, The Queen), Rupert Everett (My Best Friend’s Wedding), Miranda Richardson (Rubicon), Janet McTeer (Damages), Clare Higgins (Homefront), Stephen Graham (Boardwalk Empire), and Rufus Sewell (The Pillars of the Earth), each of whom adds a positive element.

My problem with it is that it’s slow and a bit boring. Like Mildred Pierce, it meanders for quite awhile, and there isn’t a lot of movement. Does it really take five hours for a trio to work out their romantic arrangements? Especially when we, the viewer, know right away the decision that Christopher should make. His struggle is interesting, to be sure, but the running time will likely drive some potential watchers away.

PARADE’S END is strongly British, and not completely accessible. One must pay attention to follow the story, and it isn’t very light-hearted. I enjoyed what I’ve watched of it (I haven’t finished it yet), but it’s a miniseries I’d have to be in a certain mood to really appreciate, for sure.

PARADE’S END airs this Tuesday, Wednesday, and Thursday on HBO.

Boardwalk Empire is pretty good...

     HBO spent $65 millions dollars on Boardwalk Empire. Yes, that's right. Sixty-five million on a television series! They actually built the entire boardwalk of the title from scratch in Brooklyn, and worked hard to ensure that every detail of the show is authentic to the 1920s, when the story takes place. Although parts of it are fictional (the main character's last name is Thompson, while the real-life man who ran the boardwalk had the last name Johnson), much about Boardwalk Empire rings very true. And the production values paid off, as the sets, costumes, and scenery are fantastic.

     Sadly, however, I can only call the series pretty good. In the pilot, the plot meanders along, and much of the screen time doesn't advance the action. The dialogue is fun, but not much is memorably quotable. Steve Buscemi does a fair job in the primary role, and proves he can handle a television show. I know it's about time that he got top billing. Yet, I couldn't help but feel something was lacking. It could have been better. Reviewers who have seen more than one episode have suggested that perhaps Martin Scorsese, who directed the pilot, is better at directing the big screen than the small, and future episodes with other directors flow better. I hope so, because this show has a lot riding on it, and I do want it to succeed.

     I hope my opening didn't scare you off from BE. There is much that is laudable, besides the setting. Buscemi plays Nucky Thompson, the treasurer who runs things on the boardwalk in Atlantic City, New Jersey. As the series begins, Prohibition has just begun, but Nucky is keeping the libations flowing liberally. He is also facing a bit of a crisis, as the world modernizes and he is a little slow to change with it.

     The biggest threat to Nucky is his loyal but ambitious driver, Jimmy Darmody, played excellently by Michael Pitt (Dawson's Creek). This week, Jimmy helped a very young Al Capone (Stephen Graham) topple the balance of power in Chicago. He gave a cut of his dealings to Nucky, but angered plenty of other people.

     The third apparent star of the show is Kelly Macdonald (Trainspotting) as Margaret, a love interest for Nucky. Clearly there is some deeper attraction for Nucky, something to do with his childhood and babies, that brings him closer to the pregnant Margaret, but his fascination with her continues after she loses the baby. Now that Nucky got rid of her abusive husband, I'm interested to see how the relationship develops.

     Boardwalk Empire has eleven more episodes in the can, and will air Sunday nights at 9pm on HBO. 

Article first published as Boardwalk Empire Is Pretty Good on Blogcritics.