Review: Bosch season 6

Bosch, season 6 (Amazon Prime, 2020)

Reviewed by Craig Sisterson

After a medical physicist is executed and the deadly radioactive material he had with him goes missing, Detective Harry Bosch finds himself at the centre of a complex murder case, a messy federal investigation, and a catastrophic threat to Los Angeles - the city he's pledged to serve and protect. 

Nine years ago I was talking to Michael Connelly at an event in New Zealand about the character of Harry Bosch being stuck in 'Hollywood Hell' - the rights to one of crime fiction's finest characters tied up in seemingly never-ending but never-going-anywhere film development. It's amazing to think about all that's happened since, and how those torturous times in a roundabout way ended up blessing viewers with a sublime longer-format screen adaptation.

While the Harry Bosch of the Bosch television show (played to perfection by Titus Welliver) may differ in some ways (age, which war he fought in, who he's partnered with) from the book character who's been entertaining us for almost thirty years, and the various seasons refresh, blend, and give new spins to a variety of tales from Connelly's excellent books, the underlying tone and spirit of the series is pure Bosch.

Season 6 opens with the theft of radioactive material from a hospital, and a murder. Things quickly escalate in a variety of ways, while Bosch and Edgar are also continuing their own investigations from season 5 - into the cold case murder of young street kid Daisy Clayton (daughter of opiate addict Elizabeth Clayton), and the murder of a CI tied to corrupt LAPD cops and a former Haitian secret policeman, respectively. There are lots of interesting character threads and arcs going on during Season 6 for a wide variety of characters - from Maddie Bosch trying to work out what she wants to do with her life while interning at Honey Chandler's law firm, to Hollywood cops like Lt Billets, Barrel, and Officer Powers all having to reflect on their place in the police when events conspire.

I don't want to give away any spoilers, but suffice to say Season 6 of Bosch is another rich fabric made up of numerous strands. The things we've come to love in previous seasons are all there again: the terrific writing and acting, great use of silences to allow the cast to breathe and convey emotion (rather than relying on quick cuts and pumping soundtracks to adrenalise the audience), the seemingly slow-burn tone that masks the fact a whole lot happens, the wonderfully gritty sense of 'real' Los Angeles, and a few 'holy shit' moments where everything changes on a dime. There's plenty of freshness to the new season of Bosch too, and no hint of staleness.

I was going to try to pace out my watching of the season, but got so sucked into the various stories going on that I'd devoured it all partway through the first day it became available. It's compelling television. In so many ways a fantastic example of just how good screen storytelling can be when you have superb cast(ing) and crew.

Craig Sisterson is a lawyer turned features writer from New Zealand, now living in London. In recent years he’s interviewed hundreds of crime writers and talked about the genre on national radio, top podcasts, and onstage at books festivals on three continents. He has been a judge of the Ned Kelly Awards and the McIlvanney Prize, and is founder of the Ngaio Marsh Awards and co-founder of Rotorua Noir. You can heckle him on Twitter. 

Review: BOSCH season 3

BOSCH: Season 3 (Amazon Prime, 2017)

Reviewed by Craig Sisterson

Angered by the truths behind his mother’s murder, LAPD detective Harry Bosch struggles to find integrity in an imperfect justice system. The killing of a homeless veteran, the suicide of a serial killing suspect, and the high-profile murder trial of a Hollywood director pits Bosch against ruthless opponents who all threaten to destroy him. 

Two years ago I was nervously excited about the premiere of Bosch, an Amazon original show adapted from Michael Connelly's award-winning crime series starring dogged LAPD detective Hieronymous "Harry" Bosch. Connelly had been one of my favorite crime writers for years, consistently putting out excellent novels, and Bosch is arguably the greatest fictional detective of modern times. But how would that translate to screen? Adaptations can be hit and miss at the best of times, and this was Amazon's first original series, which also centred on a stoic, determined maverick who was beloved by readers but might be rather tricky to translate into a screen story.

Fortunately, my apprehension was unfounded. The stars aligned, and the first season of Bosch was an absolute cracker. Titus Welliver embodied Connelly's cop, bringing Bosch's 'everybody counts or nobody counts' attitude and love-hate relationship with his city to vivid life in a subtle, nuanced performance. Welliver was supported by an excellent cast and great writing. Good stuff all around.

The second series was even better, For my money, you'd struggle to find a better crime drama on TV (network, cable, or online) nowadays. An exquisitely shot, beautifully acted, and strongly written show that has a timeless quality, tipping its hat to a past era while never feeling old-fashioned.

So what about Season Three, which premiered on Friday? Bluntly, it underlines my belief that while other shows may garner greater awards recognition, Bosch is strongly in the discussion for best thing on TV. We're all different, and have varying preferences and favorites, but I don't think you could find anything that's on a higher level in terms of all-around quality. Bosch is unabashedly binge-worthy, rewatchable, while being just top shelf storytelling across the board. Like a 20-year-old single malt or small batch bourbon, it may not be to absolutely everyone's taste, but it's something truly special.

Like previous seasons, Season Three of Bosch blends elements from multiple Connelly books into a new contemporary story. In this case it's the very first Bosch book, THE BLACK ECHO, where Bosch looked into the death of a fellow Vietnam 'tunnel rat', along with A DARKNESS MORE THAN NIGHT. The latter, in book form, saw Bosch readying to testify against a movie director accused of murder while also facing off against before teaming up with FBI profiler Terry McCaleb (of BLOOD WORK fame), who was investigating Bosch himself for another murder.

For fans of the books who haven't watched the Bosch television drama yet, it's important to underline that its the spirit and underlying story of the books that's used, not the specific details. Things are blended and updated to fit the timeline and modern LA, be age-appropriate for a middle-aged Bosch with a teen daughter, and tie together even if they were years or decades apart in the book series.

So television Bosch is a veteran of Desert Storm, who also did a stint in Afghanistan following 9/11. His teenage daughter Maddie is living with him in Los Angeles while her mother, former FBI Agent Eleanor Wish, lives in Hong Kong. The murdered man is a homeless veteran of Iraq and Afghanistan whose former platoon mates arouse Bosch's suspicions. Bosch is a key witness in a rape and murder case against a Hollywood director at the same time as his own actions fall under suspicion for a separate murder, of a suspected serial killer he'd been closely watching for years. But it's not McCaleb investigating him (perhaps because the profiler has already been played onscreen by Clint Eastwood in a less-than-stellar adaptation of BLOOD WORK?). Instead, one of Bosch's fellow Hollywood Homicide detectives, is on his tail. And Bosch's partner, Jerry Edgar, also has concerns.

For me, this is all done with great aplomb. I love the Bosch books, but aren't put off by the changes made. Welliver's performance is pitch perfect, particularly in the way he conveys Harry's personality through the quieter moments, through silences and glances, not just action and dialogue. This, along with the other great performances, allows me to be sucked deeply into the story unfolding onscreen.

The cinematography is excellent, once again, really giving a great tone to the unfolding drama. It's an unvarnished look at modern-day Los Angeles, a diverse city of dreams made and broken. The cast around Welliver is uniformly excellent, the actors ensuring that even if their supporting roles might fit genre cliches, they're fully formed characters rather than caricatures. It's great to see the likes of Jerry Edgar (Jamie Hector), Lt Grace Billets (Amy Aquino), and 'Crate and Barrel' (Troy Evans and Gregory Scott Cummins) again, as well as Bosch's daughter Maddie (Madison Linz). They have plenty of moments to shine in scenes alongside Bosch as well as when he's offscreen.

It's that quality of writing, acting, and production that elevates Bosch far beyond genre tropes, even if it hits many of the familiar notes for crime dramas. When you're watching, you're just sucked into the swirling, building story with its many strands, but if you pause to consider it with a critical eye, you can appreciate the craft and quality that goes into making it such a smooth, exquisite show. It makes sense, really, when you look at the people involved onscreen and behind the camera. Showrunner Eric Overmeyer is a former playwright who went on to work on Homicide: Life on the Street, Law & Order, and The Wire, among other top notch crime dramas. The cast have experience working on some of the best dramas of the past twenty years, from The Wire to Sons of Anarchy and ER.

But while we can sit here and try to unpick what makes Bosch such a great television show, and why, perhaps it's better just to be grateful we get to sit back and enjoy it. While it's nice to know how a 20-year-old single malt is crafted, and what goes into making it so damned good, the real pleasure is in the drinking. For me, I was intending to space the ten news episodes out over Friday and the weekend, but ended up gulping them all down in less than 24 hours.

Season Three of Bosch is a great television series. Drink it in.


Craig Sisterson is a features writer from New Zealand who writes for publications in several countries. He has interviewed more than 180 crime writers, discussed crime writing at literary festivals and on radio, and is Judging Convenor of the Ngaio Marsh Awards. Follow him on Twitter: @craigsisterson

Review: BOSCH Season 2

BOSCH: Season 2 (Amazon, 2016)

Reviewed by Craig Sisterson

Season Two of Bosch shows the network cop shows how it's done with an absorbing, slow burn character-focused take on the genre that still provides plenty of action and mystery.

We seem to be in a golden age of television, where long-form storytelling based on intriguing characters and great writing has come to the fore. While many credit the likes of Breaking Bad, the first season of True Detective, and many Scandinavian dramas such as The Killing and The Bridge, we've actually enjoyed an upward trajectory since the days of The Sopranos and The West Wing, and even before that, the groundbreaking NYPD Blue. 

Interestingly, many of those leading shows are crime dramas.

With Bosch, Amazon has brought one of crime fiction's most beloved detectives from the page to the screen. Michael Connelly's Hieronymous "Harry" Bosch is a dogged investigator, an honorable maverick who knows Los Angeles inside and out, warts and all. "Everybody counts or nobody counts" is Bosch's mantra, and through an outstanding series of books it causes him to get into plenty of trouble with those in authority who are more interested in policies, politics, and power, than people.

For a long time I wondered if Bosch was the kind of character that could successfully transfer to the screen. He's no superhero, more determined and relentless, veering quiet and contained. The best books don't always make the best films or television, and it would have sucked to witness a mediocre or unrecognisable Bosch onscreen. How would his intensity and doggedness translate in an era where many popular dramas focus on over-saturated color, short shots with quick cuts, high-action set-pieces, or melodramatic music to inject energy into story and evoke emotion in the audience?

As it turned out, it was a blessing in disguise that the character of Harry Bosch was stuck in development hell for over a decade, as when he finally made it to the screen last year, Season One was terrific, crafted by a superb cast and crew. Timing can be everything, and the stars aligned to deliver fans a very, very good series blending several Connelly books into a fresh storyline. Importantly, Titus Welliver completely embodied Bosch, delivering an immaculate portrayal.

So what about Season Two, now available for streaming on Amazon Prime? In short, it's even better than the first season. It is an exquisitely shot, beautifully acted, and strongly written television show that has a timeless quality, tipping its hat to a past era while never feeling old-fashioned.

Like the debut season, Season Two of Bosch combines aspects of three Michael Connelly novels; in this case TRUNK MUSIC provides the spine, with aspects of THE DROP and THE LAST COYOTE woven throughout. When the body of a pornographer with mob connections is found in the trunk of a luxury car abandoned on Mulholland Drive, Harry Bosch (Welliver), recently returned from a six-month suspension, joins his old partner Jerry Edgar (Jamie Hector) on the investigation. What looks on the surface like a mob hit, or perhaps a domestic dispute made to look like one, takes Harry to and from Las Vegas, where his teenage daughter and ex-wife live, as he follows a trail of corruption and collusion that has also caught the eye of a mysterious and tight-lipped government taskforce.

Of course my synopsis there doesn't do the series justice, as many sub-plots run parallel to or weave in and out of this main storyline. Trying not to give spoilers, here's a few examples: the District Attorney who was responsible for a serial killer escaping in Season One is now running for mayor, and looking to get his political pieces in line while also off-loading the blame for that incident on the LAPD, particularly Bosch. Deputy Chief Irvin Irving's son is operating alongside dirty and dangerous cops. Bosch's ex-FBI profiler ex-wife is having marital troubles, and is unwittingly caught up in the case Harry is working on through her new career as a professional poker player in Las Vegas. And a reporter keeps calling Bosch about an old lady saying she has information about his mother's murder.

The cast and crew of Bosch do a tremendous job delivering a top-notch series on multiple levels. Gritty rather than glitzy, it is absorbing and addictive, perfect for binge-watching. In an era of over-saturation and over-editing, Bosch instead distills things into purer storytelling, organically building tension and suspense through its characters and storyline.

Sumptuous and cinematic in look, there's a patience to this series that belies the fact it still includes plenty of action and excitement. Those making Bosch have no qualms about using long, slow shots. About using silences and holding on actors' faces, picking up the looks and tiny expressions that convey emotion and story through subtext rather than exposition. This gives the whole thing a slower, deeper, timeless quality, while still providing an action-packed mystery.

It would be hard to read a Michael Connelly book now without picturing Welliver as Bosch, he so embodies the character. From his house atop the Hollywood hills, Bosch peers over his city like a sentinel. Welliver delivers a bravura performance through his eyes and face as much as through his words and actions, encapsulating the rugged, honorable, imperfect determination of Harry Bosch.

But Welliver's is merely one fine acting performance in a series jam-packed with excellent acting. Season Two really gives us a chance to get a better look at those orbiting Harry's life. From Deputy Chief Irving (Lance Reddick is brilliant and shows great emotive range in a character that is, similarly to Bosch, outwardly contained) to Jerry Edgar to Lieutenant Grace Billets (Amy Aquino), the returning cast is excellent. Similarly I was highly impressed by many newcomers, in particular Jeri Ryan as the widow of the murdered pornographer, Brent Sexton as ex-cop Carl Nash, and comic actor Matthew Lillard in a dramatic turn as a mobbed-up Vegas strip club manager.

I was on tenterhooks throughout the ten episodes, which I was going to drip-feed myself over the course of the weekend but ended up binge-watching within one single day. Even when you think you can predict what will happen, Bosch offers enough of a tweak to expectations to keep things fresh.

If I ran through all of the fine acting performances, and all of the admirable things about Season Two of Bosch, this review would be several thousand words long. So I'll finish here with this: if you like great drama, this is must-see TV. If you like crime tales, this is must-see TV. If you enjoy Michael Connelly's books, this is must-see TV. Why are you reading this review when you could be watching?

Bosch is exquisite gem of a television series, I loved it. Fingers crossed for a Season Three.

Craig Sisterson is a features writer from New Zealand who writes for publications in several countries. He has interviewed more than 140 crime writers, discussed crime writing at literary festivals and on radio, and is the Judging Convenor of the Ngaio Marsh Award. Follow him on Twitter: @craigsisterson

TV review: The Blue Rose

REVIEW

The Blue Rose (South Pacific Pictures, 2013)

Reviewed by Craig Sisterson

First day on the job. Everything there is new, to you. Walking into a high-powered city law firm, trying to gauge where and how you’ll fit, taking it all in: the place, the people, the politics. How will this turn out, the start of something great, or disappointing?

Plenty of readers will have shared that moment at some point in their careers, perhaps several times – whether as a wide-eyed summer clerk, a new graduate, or when making a new move later on – but none (hopefully) will have found themselves in the situation of Jane, the new legal temp at Mosely & Loveridge Barristers and Solicitors, one of Auckland’s “most prestigious and expensive law firms”. Jane (Antonia Prebble, ‘Loretta’ from Outrageous Fortune) quickly discovers that she’s not filling in for someone on holiday, but as the replacement for Rose, a loyal and well-liked young mother whose body was found floating face-down in the Viaduct Harbour.

As if sitting in a dead woman’s chair wasn’t perturbing enough for the cautious and mild-mannered Jane, she soon has to juggle the demands of a variety of challenging people, including: fellow PA and snooty ‘office bitch’ Krystle (“with a K”); moody partner Simon Frost; nervous and invasive IT nerd Ganesh; misogynistic high-flying client Derek Peterson; Rose’s ex and former P addict Grant; and Rose’s quick-fisted best pal Linda. Just what has Jane gotten herself into?

The Blue Rose is touted as “a contemporary, smart investigative drama in which the lowly back-room office staff join forces to fight for justice in a corrupt corporate world”.

This new local ‘dramedy’, from acclaimed scribes James Griffin and Rachel Lang (Outrageous Fortune, The Almighty Johnsons) certainly started with quite a noir-ish feel: the blue of the Te Wero Bridge and night-time city lights contrasting the menacing darkness of the harbour’s waters, as the body is discovered by a suspicious homeless man and some late-night revellers. But as the first episodes progressed, there were lighter moments mixed in with the drama, often thanks to Linda (played by Siobhan Marshall, ‘Pascalle’ from Outrageous Fortune) or Ganesh (Rajeev Varma).

As would be expected, there was a lot being set up early on in The Blue Rose, in the first episode in particular – characters, storylines, relationships; however, the way it was done did give things a bit of a ‘thin’ feel at times. Several characters seemed to be placed rather obviously, almost caricature-ly, into ‘good guy’ or ‘bad guy’ roles, as if the audience had to feel a certain way about certain people before things could get started. Peterson is not only responsible for duping investors out of life savings, but he’s a sexist pig. Rose’s ex-husband, despite overcoming a P addiction and wanting to be back in his daughter’s life (which could be good things), is a pushy asshole who Linda hates, so maybe he killed Rose, and regardless, he deserves to be screwed over, legalities be damned. Linda is a self-confessed “mad bitch”, punches people out, breaks into houses, and much more – yet she’s Rose’s friend, so on the side of angels, the audience will like her, and that’s all okay (Marshall’s performance, which mixes surface feistiness with masked vulnerability, does help with bringing us along there).

In the early going, some questions were answered awfully quickly, minds made up and actions taken. Despite initially coming across as an extremely cautious person, Jane is easily roped in by Linda to believe that someone killed Rose, and is willing to follow their amateur investigation all over the city, doing things she never would have imagined. She agrees to screw over Grant after seeing Peterson treat women like crap.

There’s also a definite sense of ‘us and them’ established between the underdog support staff (legal admins, IT, accounts, couriers) and the lawyers and businesspeople. We clearly know who we are rooting for, no matter what they do (at this stage, at least).

Having said that, with Griffin and Lang’s pedigree, I have no doubt that more complexities and layers will become apparent as the series progresses, more shades of grey will emerge, and storylines and expectations will be turned on their head. The first episodes were also pretty enjoyable and entertaining, with some ‘chuckle moments’ (NZLawyer readers will certainly recognise some of the humour-producing office situations), as well as an undercurrent of intrigue bubbling away beneath the action. Will Jane, Linda, and Ganesh be able to discover who killed Rose? Is there more corporate skulduggery going on with Peterson? How is Mosely & Loveridge involved? What will happen to our heroes if certain people find out what they’re up to? Who can they even trust – shared ‘blue rose’ tattoos or not, can they trust each other?

It will be interesting to see where Griffin and Lang take us. Jane may have easily flipped from caution to action early on, but you get the feeling there is a lot more to her character and motives. Simon Frost (played with some nice subtlety by Matt Minto) also seems to have a lot more going on. The Blue Rose may not be one of those shows which ‘wows’ in its very first episode, immediately turning it into appointment TV, but the intriguing set-up, characters, and flashes of humour (“not just any cricket bat”) make it quite watchable.

Like starting out at a new job in a law firm, sometimes you can’t tell straight away just how things are going to go. But there’s enough promise with The Blue Rose to suggest that, just maybe, it could be the start of something great.

The Blue Rose screens on TV3 at 8.30pm on Monday nights, and is also available to watch OnDemand at www.tv3.co.nz/OnDemand.aspx.

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This review was first published in NZLawyer magazine, issue 202, 22 February 2013, and is reprinted here with permission

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Review: Luther Season One DVD

Luther Series One DVD (BBC, 2010)
Reviewed by Craig Sisterson

Luther is one of those television shows that divides people, viewers and critics alike. To say the psychological crime drama received a mixed response when its first season, created and written by Wellington-based novelist and screenwriter Neil Cross, debuted in the UK last year, doesn’t do justice to the divergent viewpoints it incited. Some hailed Luther as one of the very best things on TV in years. Others wrote it off as violent, over-the-top nonsense. One prominent UK critic even publicly changed his mind mid-season, backtracking on an earlier negative review – almost unheard of. The show received awards acclaim – including Golden Globe and Emmy Nominations for Best Actor for lead Idris Elba (who plays John Luther) and a prestigious TV writing award for Cross – but first season ratings were so-so.

Given all the above, it was with more than mild curiosity that I recently popped the first disc into my DVD player, and settled in to watch Cross’s creation, and make up my own mind. As the title credits rolled, I wondered, would I love it, or hate it? Or fall somewhere in between.

Luther (Elba, of The Wire fame) is a near-genius detective with an explosive personality. He gets inside the heads of the worst criminals, but his work weighs heavy on him, and his personal life has fractured. In the first episode, Luther returns from extended leave (months earlier a child killer he was pursuing ‘fell’ and is now in a coma) to investigate a brutal killing, a case that introduces him to Alice (Ruth Morgan), a young woman with much going on beneath her cold exterior. His planned reconciliation with estranged wife Zoe flops – she’s met someone else – and he throws himself even more into work, the very thing that’s undone his equilibrium in the past.

Elba is magnetic as Luther, bringing a gravitas to the role that transfixes even when things veer towards theatrical. Whether he was throwing things through windows or sitting quietly alone, I was mesmerised by his portrayal of a troubled man treading a tightrope between intelligence and insanity. But it’s not a one-man show; there are strong performances across the board, from Morgan’s Alice, to Indira Varma as Zoe, Saskia Reeves as Luther’s boss, and Paul McGann as Zoe’s new lover. Each brings emotion and authenticity to the roles, none are caricatures.

Viewers will quickly notice Luther ‘looks’ different to other British TV. It is shot beautifully, giving it a more cinematic than ultra-real ‘police procedural’ look and feel. Each of the six episodes of the first season is exciting in itself, while at the same time ongoing issues bubble away in the background, exploding by the finale, where Luther is accused of a brutal murder and must enlist some unlikely allies to help catch the real killer before his colleagues – who think he’s finally gone off the deep end – catch him.

Overall, I absolutely loved Luther. Was it over-the-top, less than realistic, as some said? Yes. Did it verge on theatrical? Yes. But damn it is good. Very, very good. For me, one of the best TV shows I’ve watched in years. I accept it’s the type of show that not everyone will enjoy – it will ‘click’ or resonate with some, and not others. I’m just glad it works for me, because now I can really look forward to season two, which recently screened in Britain to widespread acclaim, and much higher ratings.

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This article was published in the 29 July 2011 issue of NZLawyer, and is republished here with permission.

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Have you watched Luther? What do you think of the TV show? Did you like it, or not? Thoughts welcome.

TV Review: The Good Wife

Today my review of TV legal drama The Good Wife was published in the print issue of NZLawyer magazine (issue 130, 19 February 2010).

Just to mix things up a little with the book reviews and discussion etc, I am reprinting my television review here for your information (since unless you are a Kiwi lawyer, judge or politician, you're unlikely to have access to the print version of NZLawyer magazine - and the reviews aren't placed online).

The Good Wife, which is pretty much a legal/courtroom drama (although it is premised on the hook of a political scandal), began screening in New Zealand three weeks ago. I understand it has been reasonably well-received in the US, where star Julianne Margulies has received some award recognition for her performance in the series.

Shades of grey, in and out of the courtroom
Craig Sisterson takes a closer look at The Good Wife

Although we are still basking (some of the time) in summer, and crossing our fingers that the blue skies and sunshine continue for as long as possible, for keen TV watchers, the seasons have already changed. The past fortnight has seen the return of plenty of old favourites, but also the launch of some never-seen-before shows.

One new series quickly gaining some much-deserved attention is The Good Wife, starring Juliana Margulies of ER fame. The first episode kicked off with the all-too-realistic scene of a disgraced politician at a lectern, bathed in camera flashes, deflecting questions from the blood-hungry press, his wife standing mutely by his side; an innocent bystander in an escalating sex scandal. This ‘grabbed from the headlines’ hook, and the behind-the-scenes look into the private lives of loved ones coping with all the fallout from such a betrayal, adds some extra layers to what is otherwise, in effect, another US courtroom drama.

Margulies plays Alicia Florrick, the wife of Peter (the always-watchable Chris Noth – “Mr Big” for Sex and the City fans) – a high-flying state’s attorney whose career comes crashing down when his penchant for extramarital dalliances is exposed. When Peter is imprisoned on corruption charges (using state money to pay for hookers), Alicia needs to find a job to support her family, so she returns to her former career. Thanks to an old law school colleague (Sports Night’s Josh Charles), the 40-year-old mother of two scores a role as an entry-level associate at a high-powered Chicago law firm. As she tries to find her feet, Alicia is under pressure from all directions: her surname brings whispers, as well as a mixture of pity and prejudice; her kids get teased at school; her husband thinks clearing his name will solve all their problems; her moved-in mother-in-law provides help and hindrance; and then she finds out her job is only temporary – she’s in a competition with a young, well-connected colleague for the solitary permanent place at the firm.

So, is The Good Wife any good? In short, yes. Two episodes in, it has already showed some pleasing depth, layers, and shades of grey to complement the recognisable leads and the intriguing hook. As interesting as the ‘unseen aftermath of a public scandal’ conceit could be, the series needs to have more than that to be sustainable and successful long-term. And it does. Much of the acting is top-notch (including the scene-stealing Christine Baranski as Alicia’s mentor), and the court cases that form the spine of the weekly storylines are both interesting and well written. In the debut, Alicia defends a woman accused of covering up her husband’s murder by making it look like a carjacking; the next week, she represents a stripper and former prostitute (uncomfortable territory given her husband’s actions) filing a civil suit over an alleged rape. The Good Wife highlights plenty of question marks and moral ambiguity both within the courtroom and in the rest of the characters’ lives, and this should ensure it continues to be a very good watch for a long time to come.

The Good Wife screens on Tuesday nights at 9:30 pm on TV3.

Review: The film of the book - THE GIRL WITH THE DRAGON TATTOO

On Monday evening I was fortunate enough to be invited by publisher Allen & Unwin to a preview screening of “Män som hatar kvinnor” (aka the Girl with the Dragon Tattoo). The movie has of course been shown in several places in Europe already, but it opens in wide-ish release in New Zealand, and some other countries, later this month. I was pretty excited about getting a chance to see the Swedish film version (with English-language subtitles), especially after viewing the trailer, which you can see here.

“Män som hatar kvinnor” (aka The Girl with the Dragon Tattoo) is of course based on Stieg Larsson’s groundbreaking first book in his ‘Millennium trilogy’, which years after his death continues to rapidly build an ever-increasing audience around the globe. As I noted in my large feature on Swedish crime writing in the August 2009 issue of Good Reading magazine, Larsson topped the 2008/2009 Wischenbart survey, which analysed bestselling authors across seven major European markets (despite the rampant success and soaring sales of the Twilight teen vampire series, Larsson still beat out Stephanie Meyer). And with the US market only in the past year or so beginning to be exposed to (and embrace) Larsson, I can’t imagine his popularity slowing anytime soon - especially with all the movies coming out (the 2nd and 3rd books have already been turned into films by the same Swedish filmmakers as well).

As many readers will know, THE GIRL WITH THE DRAGON TATTOO is about a disgraced financial journalist, Mikael Blomkvist, who is asked by aging business tycoon Henrik Vanger to investigate the disappearance of Henrik’s beloved niece Harriet forty years ago. Blomkvist eventually teams up with Lisbeth Salander, an antisocial punk-styled expert computer hacker with a very troubled and secretive past – and the ‘odd couple’ discover unexpected and unimaginable brutality while digging through the Vanger family history. The book has won a slew of awards worldwide, over several years (as it has been released in different languages and countries). Recently it picked up the 2009 Anthony Award for Best First Novel at the 40th Bouchercon in Indianapolis.

So what is the film of this famous book like? We all know that there can be great filmic adaptations of famous or beloved books, but that there are perhaps many more book adaptations that disappoint, falling far short of reader and audience expectations. So it was with a mixture of anticipation and trepidation that I trotted along to the Rialto Theatre in Newmarket, Auckland, to view Larsson’s masterpiece on the big screen.

In short, I loved the movie. I thought it was an excellent, well-made film that beautifully evoked the atmosphere, themes, and storyline of Larsson’s tale. It was not always ‘pleasant’ to watch, with some fairly brutal scenes – but nothing ever felt contrived or gratuitous. In my opinion, the filmmakers did a fantastic job in handling those moments, giving the audience great insight into character, and striking the right tone etc. I did wonder how similar moments might have been (mis)handled if it was an English-language film made by, for example, Hollywood filmmakers.

I must confess that I was a little concerned that my date for the evening (an old and dear high school friend who’s recently returned to NZ after a decade in Europe, and had told me she loved reading crime fiction) might have been wondering what the hell I’d dragged her along to, at some points (I caught a few stern visages in my peripheral vision) – but she told me afterwards that she too absolutely loved the film, and thought it was the best thing she’d seen in ages (she hadn’t read the book yet, so was watching it purely from a filmgoers’ perspective).

I thought the screenwriters (Nikolaj Arcel and Rasmus Heisterberg) did a great job translating Larsson’s novel to film form. You can never get everything from a novel into a film; they are different storytelling mediums, for a start. But the film was a cohesive story that definitely contained and touched on many of the most important themes, events, and ‘moments’ from Larsson’s work. I hope that when the film hits wider release that reviewers don’t concentrate on any specific details left out or minor changes that the filmmakers made – as can often happen with reviews when popular books are adapted for film – because I think the filmmakers did a fantastic job overall. I particularly liked the fact they captured some of the layers, and depth, of Larsson’s work (there was a lot of subtext to what was on screen, and many issues and themes were touched on or delicately, and sometimes not so delicately, hinted at) – the story behind or beneath the surface story, so to speak.

As Oscar-winning screenwriter Philippa Boyens (The Lord of the Rings trilogy, The Lovely Bones) said in our interview for a feature in the current issue of Good Reading, filmmakers must search for the spine and spirit of a book, and seek to tell that story best in a visual way, rather than focusing on all the various details in a novel. I think the filmmakers of “Män som hatar kvinnor” (aka The Girl with the Dragon Tattoo) did that wonderfully.

In terms of acting, I thought Noomi Rapace was brilliant as Lisbeth Salander. She conveyed the computer hacker’s conflict, confusion, anger, and uniqueness (amongst other things) exceptionally well through glances, gestures, and other non-speaking moments – not just scripted dialogue. Like the best performances, I never saw it as someone acting as Lisbeth Salander, rather Rapace was Lisbeth Salander. Mikael Nyqvist was also great as Mikael Blomkvist – in fact I thought the cast was very solid across the board. The actor who played Lisbeth’s new guardian (Peter Andersson I think), for instance, had a particularly tough role to play, but was completely believable as the lecherous lawyer – while still giving the role some (creepy) reality and layers, rather than being simply a cardboard caricature of evil.

Overall, for me this is/was without a doubt one of the best films, if not the very best, I have seen in 2009. In fact; in the past few years. Highly, highly, recommended. Simply superb.

Have you seen the film? If so, what did you think? If not, are you looking forward to seeing it? What book-to-film adaptations have you loved, and which have left you wanting? Thoughts and comments welcome…

DVD Review: Until Proven Innocent (the David Dougherty Story)

Earlier this year, to open its acclaimed "Sunday Theatre" season, TVONE screened a telemovie based on one of New Zealand's most infamous real-life criminal cases. UNTIL PROVEN INNOCENT was a thought-provoking and delicately-toned portrayal of a terrible miscarriage of justice, where David Dougherty was imprisoned for the rape of his young neighbour. The telemovie, written and produced by Donna Malane and Paula Boock of Lippy Pictures, was rescreened in August, and is now available on DVD.

After the first screening I wrote a review of the telemovie, including a wider commentary on the case, for NZLawyer magazine (Issue 106, 20 February 2009). I include this review for your information below. I can highly recommend this movie for anyone interested in true crime cases, or just good dramas in general. The telemovie was done as well as many an independent film, and sits alongside OUT OF THE BLUE as recent examples of great, understated, portrayals of infamous New Zealand real life crime stories. It has deservedly been shortlisted for 10 awards at the upcoming Qantas Film and Television Awards.

Until Proven InnocentA fortnight ago, TV One opened its new season of Sunday Theatre by screening Until Proven Innocent, a feature-length drama based on one of New Zealand’s most egregious miscarriages of justice. Craig Sisterson watched, and reflected

Imagine being falsely accused of one of the most heinous crimes imaginable, raping a child. Imagine your faith that the justice system will recognise the fact you didn’t commit the crime, gradually being eroded as the victim, the police, the courts and the public all point their finger at you as the perpetrator. Imagine having what you believe is clear-cut scientific evidence proving your innocence being argued over, twisted then disregarded at appeal. Imagine living with the fact your father died believing you were innocent, but never saw you set free. Imagine, if you can, being David Dougherty.

The producers of Until Proven Innocent give you a chance to do just that, with the well-made drama recounting the nightmare Dougherty endured throughout the 1990s, and the sterling work of a small group of supporters that helped him eventually clear his name, both in the courts and the eyes of the public.

Until Proven Innocent opens in the middle of the story, so to speak, with Sunday Star-Times reporter Donna Chisholm meeting barrister Murray Gibson at an Auckland party. Chisholm, wonderfully portrayed by Jodie Rimmer (In My Father’s Den, The Strip, Shortland Street), has been looking for a juicy crime story - chasing Gibson for comment about his client David Dougherty, who despite exculpatory DNA evidence had previously lost his appeal against a child rape conviction. Gibson, who hadn’t come on board until after the lost appeal, only had the Privy Council and the Governor-General as remaining options.

From there, the story moves forward, while glancing backward, as Chisholm joins Gibson and passionate DNA scientist Arie Geursen in working to free Dougherty. She meets shy and soft-spoken Dougherty within the castle-like walls of “The Rock”, Mt Eden Prison. “I didn’t hurt that little girl,” he says in a voice barely above a whisper, “If you’re going to write about me, I need you to know that”.

Peter Elliot (Gloss, Shortland Street, the Civil Defence ‘Get Ready, Get Thru’ ads) gives a great performance as lawyer Gibson. As he, Geursen (Tim Spite) and Chisholm battle the courts and public opinion to free Dougherty, the story repeatedly flashes back, showing us how an innocent New Zealander came to be sitting in prison.

We see David, as the crusading trio always call him, finding out about the attack and the accusation while working at the rail-yards in 1993. We see him voluntarily going into the police station to “clear up a misunderstanding”, offering to give blood and take any tests to prove his innocence, then being arrested; kick-starting a frustrating journey, full of setbacks and crushed hopes, that would take the rest of the decade and more to finally resolve. Relative newcomer Cohen Holloway (Eagle vs Shark) gives a brilliant performance as Dougherty, capturing the battered hope, nervousness, and growing obsessive compulsions of the wrongly accused.

We see him sitting quietly behind a screen in the court as his adolescent neighbour says her attacker was “David from next door”, his disbelief and overflowing emotions when the jury returns a guilty verdict. We see his aging father pushing for the original appeal, cornering Dougherty’s trial lawyer with information on improved DNA testing and the many inconsistencies in the victim’s evidence. We see his father stricken with cancer, then dying, then Dougherty’s appeal failing due to an ESR scientist hypothesising that even though DNA evidence clearly pointed to another offender, maybe Dougherty’s DNA was still somewhere in there as well.

One of the most laudable aspects of Until Proven Innocent, a production that deservedly earns praise across the board, is the tone the filmmakers take with what could be easily sensationalised subject matter. The film has a brooding atmosphere, a creeping sense of unease. There are many quiet, understated, thought-provoking moments - scenes with little dialogue, where actors and subtext are allowed to shine, the story radiating not from words, but looks and gestures.

Care is generally taken not to demonise any of those involved in the miscarriage of justice. The victim is portrayed delicately, as a child making an honest, even understandable, mistake in horrible circumstances. Human touches resonate throughout the film, from the actions of prison guards, covering Doherty’s handcuffs as he visits his dying father or distracting him with card games as he nervously waits the retrial verdict, to the look Doherty and the victim share after he finally hears the words “Not Guilty”.

The film ends with that 1997 retrial verdict, but Doherty’s ordeal continued for several more years, as Gibson, Geursen, Chisholm and other supporters had to battle an obstinate Minister of Justice to get an apology and compensation. Even after he was released, Dougherty became a target of overzealous interest groups, who blanketed an area he moved to with pamphlets identifying him as a child rapist, despite inscrutable evidence of his innocence. He finally received an apology and compensation in 2001, eight years after the attack and false accusation.

Two years later, in a satisfying if unusual footnote in such miscarriage of justice cases, the real rapist was finally caught; almost a decade after Dougherty was imprisoned for the crime. When NZLawyer spoke to the real-life Murray Gibson, he said “The most satisfying about the whole thing for us really was that the DNA profile that we were able to produce [from the more advanced testing they undertook] ultimately led to the conviction of the real assailant.”

Gibson, who is very flattered to have “such a distinguished actor” as Peter Elliot portray him in the film, lists three main lessons he would like everyone to learn from the case: that we need a separate Review Commission, as suggested by Sir Thomas Thorp, to investigate potential miscarriages of justice from all angles, not just legal procedure; that we need a separate storage facility for DNA reference samples, and that we need to realise organisations such as the ESR do occasionally make errors.

As for the man whose story was first publicised by Chisholm in the Sunday Star-Times, and has now been dramatised for television, Gibson says “He’s doing reasonably well, he’s in employment, and he’s keeping his head down”.