Martin Carr reviews episode five of Carnival Row…
New alliances are forged, old friendships severed and amorous intentions stoked as we reach the half way mark of this gothic faery fable. Old memories are intruding on the present, secrets long kept are being revealed while the bodies continue stacking up. There is a melancholy inevitability about existence in this world of extremes.
Street theatre takes on a romantic hue as this conjurer of storytelling magic weaves his spell for the bystanders who remain enthralled. Leaving those of a less lofty disposition to strip this purveyor of those friendships and that livelihood. Carnival Row is gaining momentum and it is these supporting characters who provide texture, context and perspective when faced with the more fantastical elements.
Elsewhere sacrifices of another nature are being endured as Imogen and Ezra break new ground in terms of class relations. Once again these scenes are punctuated by telling silences, misunderstandings and good mannered yet awkward remarks. As situations escalate and these people of good breeding prostitute themselves for personal appearances, it becomes apparent how transparent the enterprise has become. Meaning that any genuine change of heart beyond the agreed proposition between Agreus and Imogen is both disappointingly clichéd and distracting.
Meanwhile in political circles the fires are being fuelled, Longerbane is being mourned and Breakspear Junior is renewed with another infatuation. This plot twist is also obvious but the means of introduction is good and both performances engaging enough to carry it off. As the two opposing political factions fall for each other across a crowded ante chamber, it is only guaranteed to add further fervour to the familial squabbling.
As Philo draws closer to the truth his past has begun invading the present as a line of questioning leads him home. Flashbacks and haunting Irish litanies trickle down through an enchanting soundtrack, painting images of loss, learning and long lost memories. Bloom is reserved, introverted and circumspect during these scenes imbuing pathos and genuine regret. This patchwork quilt of narrative intent has become bewitching and it is the merging of varying topics which prove so alluring throughout.
Carnival Row remains resolutely neither one thing nor another whilst still managing to pander to mainstream audiences. Peppered with social commentary both subliminal and otherwise it would be foolish to write this faery fable off as just another Middle Earth cash in.
Martin Carr
