Martin Carr reviews the second episode of Carnival Row…
Bloody murder, family ructions and underground splinter cells push up the ante with intent as episode two lights a fire beneath Carnival Row. By intertwining mythology with the citizens of this Burge there is a melding of fact, fiction and historical breadth which underpins essential drama. Bound and naked in an undisclosed location the son to a political leader sits shamefully shivering devoid of conscience, bereft of backbone and cossetted by unearned wealth. His fate hangs in the balance whilst the father points fingers, grasps at assumptions and puts faith in those closest to him.
Elsewhere relationships are developing between opposing people of class. One is purposely private and lacking airs or graces whilst nearby others let such things define them. Assumptions are once more made, prejudices concocted and karmic scales tipped back in response. Meanwhile the middle ground is being occupied by a conflicted policeman with a psychological debt long past due. Episode two is heavy on atmosphere, rich in intrigue and opens itself up to dramatic effect, promising denizens in dark alleys and pestilence aplenty.
Rather than carrying on any single story Carnival Row has now identified itself as a series of burgeoning potential, flamboyant characterisation and murderous intentions. Orlando Bloom fits like a glove with his Tolkien back catalogue immediately giving him audience appeal. He maybe lifting elements from any number of foggy London whodunits, but Bloom is nothing if not reliable as Rycroft Philostrate. Cara Delevingne is perhaps the more surprising as she gives Vignette real back bone, tangible rage and a realistic Irish lilt which never lapses.
As for other cast members they need more screen time if they are to rise above the restrictions of bit part players in this gothic melodrama. Archetypes have their place but mere back room threats fail to bring anyone else beyond the confines of pantomime villainy. Makeshift autopsies, loyalty tests and an ever expanding range of mythical species realised in rich FX work is unlikely to create a dramatic diversions. As ever Carnival Row craves narrative substance and a smattering of something more original than monsters beneath the bed.
With a Lord of the Rings adaptation not only written but cast any fantasy series between now and then will be considered a dry run. If this builds to something substantial, undeniably memorable and emotionally layered then Amazon will have proved their point. Unfortunately Internet naysayers need few reasons to stick their knives in if the reverse proves to be true.
Martin Carr
