‘The Night Manager 2’ & Other Unnecessary Sequels (The Hollywood News)

Richard Roper is locked up. His evil arms business has been shut down and the dashing Night Manager of the title survived with his hair in place and good looks intact. The end of the acclaimed BBC miniseries, based on the book by John Le Carré, brought with it an enormous sense of satisfaction. The story began. It held us enthralled for a few weeks. Then sadly it finished.

Or did it? Director Susanne Bier recently announced that development has begun on a follow-up script. It seems the broadcaster is thinking in terms of a franchise, and I for one am anxious. The original tale was so well told, what good could come from elaborating on it? In this era of binge-watching, it isn’t always the best idea to give viewers a tele-visual trough to gorge from. Surely sometimes one rattling good yarn is enough.

As the BBC head down what may be a disastrous path, let’s take a look at some other great shows that would have been better left as a one-time-only-type deal…

MURDER ONE

The first season of small screen pioneer Steven Bochco’s legal drama stood out from the pack, due to an innovative format which saw the entire run taken up with a juicy murder case. Boasting a charismatic, chrome-domed lead in Daniel Benzali, supported by the likes of Stanley Tucci, Patricia Clarkson and Mary McCormack, the show was a forerunner of today’s tendency to devour a series in one sitting.

Unfortunately low audiences led to some fatal retooling for the second season, starting with the replacement of Benzali and a range of stories that failed to capture the imagination. Anthony LaPaglia tried his best to fill the shiny shoes of his predecessor but it seemed the creative team itself was on trial this time round. The verdict: cancellation.

TRUE DETECTIVE

In an age where TV dramas with big screen production values are commonplace, True Detective managed to plough a mighty furrow. The screen-burning combo of Matthew McConaughey and Woody Harrelson formed the epicenter of an intense and frightening journey into the dark heart of Louisiana, and the mind of a killer. Writer Nic Pizzolatto and director Cary Fukunaga worked exclusively on the whole season, giving it a consistent quality throughout.

However the decision to try and continue the series as an anthology turned out to be a misstep, despite the presences of Rachel McAdams and Colin Farrell. Whilst the new narrative of inner city corruption in California was fertile ground for a crime saga, this second run never attracted the critical acclaim of the first, thanks to a tangled plot and a perceived lack of inspiration on Pizzolatto’s part.

BROADCHURCH

This British drama became a sensation during its first outing, the show’s Scandi Noir-inspired sensibility and slow-burning style reviving the corpse of the murder mystery genre. The revelation of who killed young Danny Latimer was carried on the front of every major newspaper the next day, audiences sharing the horror of stars David Tennant and The Night Manager‘s Olivia Colman. The title town would never be the same again, though the story appeared to come to an end once the crime had been solved. Creator Chris Chibnall had other ideas, announcing his intention to make the series the first in a trilogy.

Upon revisiting the seaside locale, it quickly became clear this strange direction was going to lead to a dead end. The Latimer thread received an unnatural extension, with the killer getting off thanks to the vagaries of the legal system. Meanwhile Chibnall inserted a backstory for Tennant’s abrasive detective in a less than compelling fashion. Series Three has been well-received, but Broadchurch must sadly live with the memory of a misfiring second instalment.

BLOODLINE

What looked on the surface to be yet another overheated family saga turned out to be anything but, as Bloodline took well-worn subject matter and made it soar in every department. The return of black sheep Ben Mendlesohn to the Rayburn fold and his subsequent web of lies and deceit spun toward a devastating Season 1 finale, the events of which were boldly revealed in advance at the end of the very first episode.

The mounting tension, as the Rayburns gradually pieced together what their brother had been up to with the clan’s hotel business, was nail-biting stuff, well-written and acted – set against the backdrop of the sweaty Florida Keys. With this tour-de-force of storytelling concluded, creators Todd A. Kessler, Glenn Kessler and Daniel Zelman opted to try and maintain the momentum, only this time minus Mendlesohn’s masterclass in conflicted villainy. After rave reviews for the first chapter, the reception for Season 2 was decidedly mixed. Why did they even bother?

THE NIGHT MANAGER

One of the most talked-about dramas of recent years, featuring a line up of British talent so hot you could toast a crumpet with it, The Night Manager took John Le Carré’s source novel (adapted by David Farr) and gave it a Bond-esque coat of gloss. In fact so convincing was Tom Hiddleston’s hero, the miniseries sparked strong rumours he was in line to inherit the mantle of 007 from Daniel Craig. This knuckle-gnawing suspense thriller about a hotel employee trying to bring down an international arms dealer (Hugh Laurie’s Richard Roper) had people tuning in by the millions.

Now the makers are attempting an audacious and arguably downright stupid manoeuvre: they are going to try and top one of Le Carré’s best-regarded works with their own sequel. Will Roper emerge from his exile (presuming he lived) to exact vengeance on Hiddleston’s frustratingly telegenic saboteur? Or is the title hunk of the hospitality industry about to further consolidate his status as a Bond in waiting with a whole new adventure, perhaps working undercover at a B & B?

How exactly it will pan out remains to be seen, but the BBC really are dancing on ice in steel-tipped clogs on this one. I enjoyed spending time with The Night Manager, but to be frank I’d rather check out while the going’s good.

 

This feature originally appeared on THN.

The Night Manager Review (The Hollywood News)

The Night ManagerThe British Broadcasting Corporation and novelist John Le Carré go way, way back. In 1979, we saw the classic TV adaptation of Tinker Tailor Soldier Spy, which cast Alec Guinness as aloof manipulator George Smiley. It was so good that even Guinness himself couldn’t top it with Eighties follow-up Smiley’s People. You would have needed cajones made of brass to mount a production as ambitious again. Well, it has taken nearly 40 years but the Beeb have finally done it with The Night Manager.

Leading Brit of the moment Tom Hiddleston shares top billing as Jonathan Pine, a smooth-talking functionary at an Egyptian hotel, who is entrusted at random with a secret document by a female guest. When he passes the information onto a pal at the British Embassy the guest winds up brutally murdered and Pine is recruited by intelligence honcho Angela Burr (Olivia Colman). The undercover operation puts him on a collision course with the subject of the document – businessman turned arms dealer Richard Roper (Hiddleston’s co-star Hugh Laurie). Pine is Roper’s nemesis, though the target is totally unaware… or is he?

One of the great appeals of Le Carré is how he’s acted as an antidote to James Bond (he once described the character as a “neo-fascist gangster”). His heroes aren’t usually heroes. They skulk about concrete structures with coffee breath rather than drinking Martinis in tropical locations. The trick screenwriter David Farr and director Susanne Bier pull off is bringing a Bond-style sensibility to the table. Colman’s scheme to nail Laurie is textbook Le Carré, but the presence of Hiddleston and an arch villain with an opulent, gun ‘n girl-festooned lifestyle is pure Ian Fleming. They’ve managed to meld two sides of the coin and it’s worked to towering effect.

Above all the miniseries drips with coronary-inducing tension from episode to episode. The opener is so gripping you wonder how they’re going to maintain the atmosphere for another five hours, yet somehow they do it with the pace rarely slacking. Pine’s training in Cornwall is a bit vague. He’s despatched to the West Country to pose as a drug dealer in order to create a dark past for Roper to uncover, but it’s a necessary step to portray Hiddleston’s path back to violence. Pine was ex-military before he entered the hotel trade and while the star is less convincing as an action man he certainly has the physique to pulverize his opponents.

Hiddleston is a prettified version of the novel’s protagonist. However this gives him a vulnerability that works with the character and also indicates a great career in hospitality should the acting work ever dry up. Laurie delivers a masterclass in reptilian malevolence as Roper, and a juicy role facing 007 surely beckons. Burr’s role is similarly altered to that of a stressed and pregnant battleaxe. This route seems odd, but of course you should never underestimate Colman, just as you can’t pigeonhole Burr. Everyone does a decent job but from the supporting cast Tom Hollander stands out (he has to, he’s much shorter than everyone else) as Corky, Roper’s preening lieutenant. Hollander has played nasties before (in Joe Wright’s Hanna for example) but this is something else and the actor is frequently in danger of stealing scenes.

Special mention should go to titles designer Patrick Clair and his team at Elastic/Antibody, who have realized another stunning opening sequence. Showcasing various items of decadence that morph into deadly armaments, it’s effortlessly cool and sinister. Further proof that Clair is the master of bringing the cinematic to the small screen.

The show was introduced as a blockbuster, and they weren’t kidding. However The Night Manager is worth noting as a saga that’s packed with content, making it a rarity in the bloated arena of today’s television. It’s a lean, mean, intoxicating six-parter that leaves you fit to bursting but entirely satisfied by the final bang.

 

This review appeared on The Hollywood News.

Columbo: How I’d Do It

PFColumbo is one of my favourite TV shows, and like many fans I wonder how it would work if it were brought back. In the twenty-first century the legacy is very much alive on social media and Columbophile’s recent post got me mulling definitively on the prospect.

It’s led me to think that, despite the absence of original star Peter Falk, the show really could be revived. Whether it should…? That’s a whole other question. Columbophile was highly eloquent about what he did and didn’t want, and we chatted briefly about it on Twitter. However the more I pondered it, the more I found myself going in a different direction. Eventually, like the little details that always bug the Lieutenant, the ideas soon crowded in my head and now it’s going to be cheap therapy for me to write it down.

I’m arguing that the format was as much a star of the show as Mr Falk. The simple concept of knowing who committed the crime from the outset is unique to Columbo and can’t be separated from it in my view. There are two major factors to the appeal of the series – watching the killer in the aftermath of the crime/waiting for him or her to be caught. And spectating as the high and mighty are brought down a peg.

The former will always be compelling. There’s a greater social context than ever for the latter. Donald Trump is aiming for the White House. Celebs achieve notoriety by showing up at various places. The cultural landscape is ripe for a Columbo’ing! Aside from the usual line up of prominent figures I’d have murderers more directly tied to real life “personalities”, so there’d be a satirical bent to proceedings. Columbophile makes a good point that – as with the classic 70s version – performers you associate with movies have decamped to television (one of the reasons the revival lacked sparkle). But there’s scope to put some less likely actors in the frame, along the lines of Johnny Cash‘s appearance in Swan Song. In this age of celebrity you might well see occasional thesps Taylor Swift, or Snoop Dogg being pestered by the great detective.

So a crucial element of a return for me would be a contemporary setting. Columbo is associated with the 70s, but back then it was cutting edge stuff, in terms of electronic music and presentation. I’d be more interested in pushing forward with the new rather than sticking closely to the old, and feel the staple ingredients would update themselves quite easily. The earlier episodes were an hour long, fairly similar to today. I’d keep the slower pace of course, in opposition to the CSI style – audiences wouldn’t mind and like before it’d enhance the old school battle of wits.

The small screen plays host to all manner of horrors, with the theatre of death having been ramped up to mega-levels in the decade or so since the last televised instalment. I’d make the murders pretty eye-popping at times, fiendishly-constructed and not shying away from gore. That’s not to say every week would see a flying head, but the new Columbo would be more wince-inducing and graphic. Mind you, its predecessor had a fair helping of nastiness – George Hamilton despatching a reporter with a poison cigarette in Caution Murder Can Be Hazardous To Your Health was uncomfortable viewing as I recall.

Last but not least, there’s the question of the lead actor. Peter Falk is a legend. That’s why I’d have no intention of trying to replace him, or echo his performance (though Jason Alexander would make a good Columbo in that mould). Instead I’d go for something different and cast Hugh Laurie

HLHis name has been speculated on previously and to me he’s a great fit. Columbo is full of surprises. Hugh Laurie is full of surprises. He can take the aloofness, the humour, the intelligence and gumshoe persistence, and roll it into a ball, creating a deceptive steamroller of a character. There’s no point in conjuring up Mr Falk. A fresh take on the concept requires a fresh face.

I’d shift the nature of the Lieutenant slightly, moving him away from the trench-coated bloodhound and more in the direction of slacker. To his opponents he’s a Cosmo Kramer-like “hipster doofus” (though he wouldn’t be walking into doors and so forth). Yet he epitomizes the person who looks all over the place, when really they’re paying strict attention, and waiting for the moment to strike.

That’s how I’d do it anyway.