Monday, April 2, 2018

Too Much TV: THE ALIENIST (2018)

It hasn't been widely reported that Caleb Carr gave an interview effectively repudiating TNT'S adaptation of his blockbuster 1994 novel shortly before it began airing back in January. Carr is credited as a "consulting producer" despite wanting his name removed, and had only seen the first two episodes of the ten-part miniseries at the time of the interview. He singled out Brian Geraghty's performance as police commissioner Theodore Roosevelt as one of several bad decisions the producers made. In fact, Geraghty is pretty bad, but I think I understand why. On the screen, the energetic, charismatic Roosevelt would be more likely to upstage Carr's fictional protagonists than he was in print. The writers clearly meant to tone Teddy down, but I think there's still enough awareness of what the man was like for people to notice something wrong with Geraghty's glum, almost introverted performance. This can only ever be a minor complaint, however, because The Alienist isn't primarily about Roosevelt.

In the story, the hands-on reforming commissioner facilitates the formation of a team of investigators to track down a serial killer preying on boy prostitutes in 1896 New York. The team itself consists of artist/journalist John Schuyler Moore (Luke Evans), pioneer police woman Sara Howard (Dakota Fanning), high-tech crime fighters Marcus and Lucas Isaacson  (Douglas Smith and Matthew Shear) and the title character, proto-psychologist Lazlo Kreizler  (Daniel Bruehl), whose entourage of patients-turned-servants also helps out. They face resistance from corrupt and vested interests all around, from Roosevelt's political enemies in the police department to members of the proverbial 400 at the top levels of society as they combine early forensic techniques with Kreizler's innovative attempts at psychological profiling. The mystery is basically a procedural on a massive scale, filmed at highly-publicized expense with Budapest playing the role of Old New York quite impressively. It's been more than twenty years since I read the novel so I remembered little about it to compare the miniseries with, at least as far as the plot was concerned. I ended up more impressed with the show's queasy detailing of the sordid underbelly of the 1890s metropolis than with the solving of the mystery.

If the miniseries has a major weakness, it's that it's probably too long for the material and grows repetitive in its clichéd interviews with vintage madmen, among other things. Apart from that, Geraghty's wasn't the only performance lacking something. While Evans fairly effortlessly made himself a man of the time, Fanning seemed to struggle uncomfortably with her character, who is progressive in practice but isn't written like the archetypally spunky or sassy progressive female heroine. Sara is often grimly straitlaced, and Fanning sometimes reminded me of the rugged he-men in old movies itching to tear off the monkey suits forced on them by formal occasions. That might be the correct impression to leave, but I somehow didn't think it deliberate. As for our Alienist, Bruehl is handicapped by having to play a deeply introverted, self-repressing  character, trapped by the trope that will force Kreizler to come to terms with his own traumatic past. The German actor had already shown in Captain America:Civil War that he had difficulty investing characters with strong emotions in English, and he's little better here, often appearing preoccupied, furtive or sulky in a manner unbecoming the protagonist of the story. Despite the sometimes questionable performances there was a lot worth looking at in this spectacular production, even if the actual mystery didn't enthrall you. Carr published a sequel in 1997 and a long-awaited third novel will appear later this year, but my hunch is that this is the one chance you'll get to see Carr's New York on screen anytime soon.  The least I can say is that most viewers should get something entertaining out of it, though your results may vary.

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