Much has been said about all of the big TV producers like Ryan Murphy and Shonda Rhimes who have left basic broadcast and cable networks for greener pastures among streaming services like Netflix
But the most amazing transformation of all has been David E Kelley’s since he freed himself from network obsessions with Nielsen Points, demos, and censors (yes, they still exist, although your parents would probably find it hard to believe), it turned out to be a clever and exciting thriller series unmatched by any other producer. can think of in the history of medium m Mercedes (Audience Network now defunct AT&T), Big Little Lies (HBO) and now The Undoing (which debuts on HBO this weekend) were all delightfully written and acted out, mixing doubt, tension, wit and the occasional outright terror in simmering pots of terror
Kelley’s latest, The Undoing (based on the Jean Hanff Korelitz novel you should have known in 2014), is a murder story so full of twists and turns, with so many characters losing serpentine skins, that it is almost impossible to write about the scatter spoilers like confetti Yet in no way does this activate the intrigue gadget It is about trust and relationships, authenticity and appearances, verisimilitude and facets
It starts off pretty well At one point, powerful New York couple Grace and Jonathan Fraser (Nicole Kidman and Hugh Grant) reflect on the extent of the upheaval that would result from leaving their posh apartment in the Upper East Side for the « burbs »
« We don’t have a lot of close friends, » Grace remarks with a bit of nostalgia. Jonathan replies, « It’s only because we hate everyone » It’s a joke that’s not exactly a joke Psychotherapist Grace’s crowd includes artist lawyers and attorneys, but their real professional interests are gossip, bitchy and, in at least one case, exhibitionist pride in what is admittedly an amazing pair of tits Pediatric oncologist Jonathan has plenty of young patients who worship him like a god, but his only adult male companion is purely circumstantial – a cold-as-marble stepfather (Donald Sutherland) who from the moment they first met , despised him as a poseur
But for those few mostly invisible cracks, Grace and Jonathan’s marriage seems a model of transcendent cuteness – until the brutal murder of a parent in their teenage son’s elite prep school. throws a shower of legal and emotional shells in all directions, shattering images and exposing secrets and stress The emerging class resentment on the part of the plebeian masses who, although largely invisible, clashes with the small circle of Grace and Jonathan When a cop suggests, without even the slightest evidence, that Grace is somehow lying about her entirely tangential relationship with the murder victim, the shock on his face turns him into populist fangs. « That’s what rich and empowered people do when threatened, » laughs the cop. « They’re hiding the truth and they think they can get away with it because they are rich «
The pampered delusions of the patrician bourgeoisie are a theme that Kelley returns to again and again, big and small.A very vicious little photographic vignette takes place during a fundraising auction at the preparatory school to which Frasers’ son attends As parents chatter about their pride in the school’s diversity, the camera retreats into a mini-version of the Atlanta crane shot in Gone with the Wind to reveal a crowd as white as ‘a Klan rally in the Mississippi backwoods, though considerably more Guccified.The photography of The Undoing, in the hands of British cinematographer Anthony Dod Mantle (Slumdog Millionaire), constantly explores the geometries of upscale Manhattan and Harlem ravaged for revealing effect
As remarkable as photography are her two main subjects, Grant and Kidman Whether it is the product of her make-up team or the 60 years that have passed since her birth, the childish beauty that has marked her film performances until in middle age is nowhere on display in The Undoing It seems to have curdled all over her face – which is also what happens to her famous charm as the plot wears off
Yet whatever deal Nicole Kidman has made with the underworld, it is thankfully going well. She’s even prettier at 53 than when she first performed three decades ago Her beauty fits her character perfectly, outwardly perfect, inwardly ignorant, sort of a post-feminist version of the role she played in the remake of The Stepford Wives, in which she proclaimed: « This place does something for people – all women are always busy, perfect and smiling, and all men are always happy » Until they are not
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oh yeah I see Hugh Grant on this guy’s face Nicole Kidman could read the phone book I’d look at something Biden is a crook
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The Undoing, Nicole Kidman, HBO, Hugh Grant, Big Little Lies
News from around the world – GB – Suspense Simmers, as Does the Class Conflict, in HBO’s The Undoing
