22 December 2024: The three latest written interviews of me are here, here and here.
Showing posts with label Matthew Rhys. Show all posts
Showing posts with label Matthew Rhys. Show all posts

Monday, June 22, 2020

Perry Mason 1.1: The Young Man as Detective



Perry Mason debuted on HBO tonight.  As I'm sure - or I hope I'm sure - you know, this is the umpteenth time Perry Mason has appeared on TV in a series.  Well, a little less than umpteenth.   One brilliantly iconic time on CBS-TV in the late 50s through mid 60s starring Raymond Burr in the title role with that signature theme song, "Da da da dah, da da..."  And a couple of more times on TV, most of the time still starring Burr.   All of this following Erle Stanley Gardner's numerous novels, from which some half a dozen movies and a radio series were also made.

All of them had one thing in common, which the new HBO series does not.  Perry was a lawyer. On HBO, he's a detective.  He's also much younger on HBO, where he's played by The Americans' Matthew Rhys.  Whether it's correct to say he's "still" a detective, implying that the Raymond Burr Perry started his professional life as a detective, I couldn't tell you.  I haven't read the earliest novels, the first of which was published in 1933, about a year after the narrative in the HBO series begins.  There is the fact, cited on Wikipedia, that Mason's antagonist in the courtroom, DA Hamilton Burger (Gardner had the magic touch with names) tells Perry in the 1935 novel, The Case of the Caretaker's Cat (Gardner had a real talent for titles, too) "You're a better detective than you are a lawyer."  So I guess that gives the creators of the new Perry on HBO writ to make him a detective, though they hardly need my or anyone's permission.

But since this television series begins a little bit before the publication of the first novel, there's still time for Perry, if not to go to law school, to try to take a bar exam anyway?  I don't know.  But I'll give this new series a shot.  It does have a better kind of Delia Street than in the network series - I think the HBO street is more dynamic - though some purists think the Delia who worked as Burr's Perry's secretary was the gem of that Perry's multiple series.   Paul Drake, Perry the lawyer's detective, is also in this HBO series, but I don't think we've seen him yet.

I'll conclude with one thing I liked and one thing I didn't in the HBO series.  The sex was good, gritty when it needed to be, also sometimes funny.  But there was too much violence, and I really don't like stories in which kids are victims.

But as I said, I'll give this a chance.  I owe it to Gardner, whose writing I not only admired, but his advice, too. as when he famously said he said to an editor, "If you have any recommendations about the story, write it on the back of the damned check".  Or something like that.




Thursday, May 31, 2018

The Americans Finale: What the Series Was Always About



An exquisite, satisfyingly restrained, even beautiful finale to The Americans tonight - a series which only in this, its sixth and final season, has become, in my view, one of the finest series ever on television.  This is because, although the series started as gangbusters in its first year, and although it never lost the astonishing originality of its premise and first season, it meandered, almost got repetitive and stuck in a quagmire in subsequent years, only to reclaim the best that it was was and exceed it in this last season.

And the 90-minute finale was at the apex of this extraordinary season.  Rather than analyze it in a linear way, I'd rather just share some thoughts about the highlights of what was just on the screen:

  • I said to my wife that we'd never leave our son, as Philip convinced Elizabeth to do with their son, Henry.  My wife agreed completely - then added, but you and I never killed anyone.
  • The scene with Stan holding a gun on Philip, Elizabeth, and Paige was brilliant, and only the second best in the episode. (It contained peak performances by Noah Emmerich as Stan and Matthew Rhys as Philip, with Keri Russell as Elizabeth and Holly Taylor as Paige putting in their best incandescent performances in the scene between them last week.)  Philip and Elizabeth were always good talkers - as good in talking their way into and out of situations as they were with guns and weapons - and Paige has clearly learned and/or inherited that way with words.   Is Stan's letting them all go believable?  Tough call, but I think it is.  His human connection to Philip and family triumphed over Stan's profession, which was part of what this series was all about. Paige's being there brought out Stan's humanity - he certainly wouldn't have shot her parents right in front of her, except if they were attacking him, which they wisely did not.  But Stan's decision was based on a lie - the lie that Philip and Elizabeth never killed anyone - and it's not clear if Stan really believed it. (Actually, why would he?  He had been searching for the couple who had killed FBI agents.)  Back in headquarters, when his colleagues have identified Philip and Elizabeth, Stan vows to kill them.  Was that for his partner's sake, or does a part of him really feel that way, because he now knows for sure that Philip and Elizabeth lied to him one last time about never killing anyone.
  • Meanwhile, Philip finally had a disguise that was utterly convincing.  Not quite Elizabeth.  Paige's disguise was better than Elizabeth's.  At least the producers made some progress in the disguise department.
  • We still don't know if Renee is working for the Soviets.  Stan doesn't know, either.  It's good not to see every loose end tied up.
  • And the best scene, of course, was the very last scene, with Philip and Elizabeth in Moscow, starting to speak in Russian, ending in English, two souls who had sacrificed their lives for a greater cause, created and raised two children, now having only each other.  Say what you will about the evil of their cause, it was still gratifying and right to see them alive like this, at the end.
And maybe that, too, is what this uniquely memorable series was all about.







Wednesday, May 23, 2018

Penultimate The Americans: Tour de Force Keri Russell




Well, the next-to-last episode of The Americans, just concluded on FX tonight, was really something.  Keri Russell has been outstanding throughout the six-season series, but she put on an off-the-chart performance as Elizabeth tonight.

Conversations have always been the centerpiece of this series, but the conversion between Elizabeth and Paige tonight set a new high standard for Elizabeth.  She finally admits to what Paige has been in one way or another accusing her of all season and earlier: Yes, she's not only a spy.  She's a spy who sleeps with men, because sex in such circumstances means nothing to her, it's just a means to an end, and Philip knows and approves.  Those statements and emotions would have been powerful coming from any decent actress, but Keri Russell delivers a searing performance in that two-minute conversation.

A little earlier, it's Margot Martindale as Claudia who delivers the goods - to Elizabeth.  Claudia's quiet denunciation of Elizabeth, telling her she's ruined everything in her support of Gorbachev and betrayal of the Centre, was just outstanding.

Meanwhile, Stan's convinced now that his neighbors are the deadly spying couple, and Philip almost gets caught by the FBI when the Russian priest sets him up in a meeting.   I can't recall seeing Philip/Matthew Rhys run faster on this show.   Ordinarily, I would have said there was little chance of Philip actually getting caught in such circumstances.  But the end of the series is nigh, and Philip ran was if he knew that.

The finale of this remarkable series is next week.  I'll be here moments after with my review.







Thursday, March 5, 2015

The Americans 3.6: "Jesus Came Through for Me Tonight"

Philip says to Elizabeth, in The Americans 3.6, that "Jesus came through for me tonight".   And that just about captures this strong episode, big time.

On the one hand, Philip, in a continuing display of decency, or maybe just guilt he feels as the father of a teenaged daughter, continues to refuse to give in to Kim and the logic of his spying assignment, and sleep with her.   But how long can he continue with this restraint, with the 15-year old Kim wanting so badly to get into bed with him?

Fortunately for Philip and our story, he's not only a master spy but an expert psychologist - one versed, moreover, in teenaged girl mentality.  He's thus able to use religion not once but twice to deflect Kim in his arms leading to more, and though the first time leaves her angry and suspicious, the second time leaves her feeling she really shared something meaningful and adult with Philip - just what every teenaged girl wants from her relationship.

Philip is also amazingly quick on his feet and his ability to draw upon a real experiences in his life, and apply them to the mission at hand.   He calls upon Jesus in the first place because his daughter Paige was just baptized.  And in his second encounter almost leading to sex in Kim's bedroom, Philip calls on what he has just learned about a son he fathered years earlier.

The acting in all this continues to be superb.  Elizabeth and Philip in the church when Paige is baptized was picture perfect.  Elizabeth has a mostly frozen expression on her face, only her eyes betraying how disconcerting this baptism is to her.  And Philip's face alternates between a forced smile and the true concern he's feeling about the baptism.  Kudos to Keri Russell and Matthew Rhys, who really excelled in this scene.

The pace of The Americans is slower this year than in previous seasons, but it's shaping up to be every bit as compelling.





Friday, May 3, 2013

The Americans Season 1 Finale: Excellent with One Exception

The Americans' season one finale this past Wednesday night captured the essential excellence of the series, along with the one sore thumb which still doesn't add up.

What's excellent, even superb, about the show is the way we care about the two murderous KGB agents, Elizabeth and Phillip.  This is testament both to the fine acting of Keri Russell and Matthew Rhys, and the convincing story lines they're playing out - convincing because we can believe that a married couple with two children, seemingly leading a conventional suburban life in the early 1980s, are in fact infiltrating the highest offices of our government - including the home of Secretary of Defense Caspar Weinberger - and ready to kill in a heartbeat when necessary to save themselves and sometimes the mission.  Their marital problems similarly ring true, even when juxtaposed with their expertise in the martial arts.

Also superb is their boss Claudia, played by Margo Martindale.  She always gives a powerful performance, but her mixture of toughness and compassion, of loyalty to the KGB but also her own people, is one of the most appealing parts of the show.

The one point that I still can't buy, and which got even worse in the finale, is the idea that Stan, an FBI agent whose very beat is hunting KGB agents in America, just happens to live next door. Early on in the series he was indeed suspicious of Elizabeth and Phillip, but they convinced him otherwise in an impressive series of moves, and he apparently has been a believer ever since that the two are the nice, normal couple living next door that they are pretending to be - in fact, believes it even when Elizabeth and Phillip take a little "pause" as a couple, but continue their joint KGB missions.

In the finale, this is ratcheted up yet one step further:  Stan has sketches of the KGB couple - sketches of Elizabeth and Stan in good disguise - but, still, he doesn't register a flicker of recognition, any sense that something looks familiar, when he sees Elizabeth in flesh, still under disguise.

An editor once told me that readers will allow one thing that doesn't ring true in a story, but that's it.  Whether the Stan story is just one thing, over and over again, or more than one, I can't say.  But I do think it is a drag on another otherwise outstanding new series, which I'm looking forward to seeing more of next year.

See also The Americans: True and Deep ... The Americans 1.4: Preventing World War III ... The Americans 1.11:  Elizabeth's Evolution

 

Thursday, January 31, 2013

The Americans: True and Deep

The Americans, with Keri Russell as one half of the Soviet sleeper spy couple so deeply undercover in Washington they're more American than most of us, debuted on fx last night.  It was superb.

First, about Keri Russell, there are two interrelated things about her past as an actress that make her appearance in The Americans especially interesting.  She is best known for her breakthrough Felicity roll a while ago,  one of J. J. Abrams' early series about a college student.  And Abrams' next series was Alias, which featured Jennifer Garner not Russell as graduate student turned spy, but which had a major continuing storyline about a Soviet agent under cover in the United States - Sydney Bristow's (Jennifer Garner's) mother, Irina/Laura.   I like these sort of complex prior histories to television series.

In Alias, the Soviet spy (played by Lena Olin) was married to an American spy (played by Victor Garbor) - all powerfully acted, by the way.  In The Americans, both Elizabeth Jennings (Keri Russell) and her husband Phillip (Matthew Rhys) are Soviet spies, and their acting is top-notch.  In fact, just about everything in this series seems to be, so far.  Plot twists, unexpected bursts of action, frank sexually vivid (not quite explicit) language combine with the acting to made the premiere never a dull moment.

Russell, especially, has a way of getting just the right pitch in her voice.  When her husband, wanting to show her a little affection and getting rebuffed, protests that he's her husband, Elizabeth responds "is that right?" with just the right slight cutting sarcastic edge.  This is because their marriage is their job as spies, not a true aspect of their lives.  But, as William James the American psychologist noted more than a century ago, when you go through the actions of something, often enough, you begin to grow real feelings for those actions, too.

Elizabeth and Matthew have been at this for more than a decade.   They have two children, a daughter age 13 and a son a little younger.  So of course they have some real feelings.  It's just that, at the beginning of the show, Matthew is more in touch with them than is Elizabeth.  But that changes at the end, in a sequence of events which show that, as much as Matthew has become a truly happy suburban American father, he's still tough as nails underneath.

The one part of the premiere episode that jangled a bit is the FBI guy who moves next store.  This can't be coincidence - which Elizabeth and Matthew seem to realize - but so far the show is playing it as coincidence one-hundred percent.  I expect we'll find out before too long what's really going on with the neighbor.

There's also great 1981 scenery, with talk about Reagan as a lunatic from the Soviet perspective, Walter Cronkite on television, and all sorts evocative 1981 music.  At this point, The Americans is looking to easily be one of the best new shows on television, with only The Following as any real competition.

                                                           
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