Is His Dark Materials For Adults – Smartphones, mysterious CGI cities and horrific violence are on the rise when Jack Thorne’s steampunkish adaptation of Philip Pullman returns to screens
John Parry/Jopari (Andrew Scott), Will Parry (Amir Wilson), Lyra Belacqua (Dafne Keen) and Mrs Coulter (Ruth Wilson) in the second series of Her Dark Things. Photo: Charlie Surbey/Marco Grob/BBC/Bad Wolf/HBO
Is His Dark Materials For Adults
Dressed in a purple dress and crypto-fascist boots, Ruth Wilson, with blinding eyes that cause violence, is my kind of Mrs. Coulter. At the beginning of the second episode of BBC One’s Dark Materials (which includes several parts of The Tooth, the second book in Philip Pullman’s trilogy), Coulter presides over a meeting of the spineless cardinals of the Magisterium. “You know,” he said – like Mrs Thatcher facing the glass, everyone was disappointed and man – “I look around this room and I see disappointment.”
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Only he, a former president who administered spiritual lobotomies to children, separating them from their demons, had the courage to do what was necessary. If that means torturing a woman with the scariest pincers ever seen on television, so be it.
Katya, the witch, in her cell. Unfortunately, Katya knows things. He knows how to travel around the world and possibly where Coulter’s estranged daughter – our heroine Lyra Belacqua. And so the submarine is on the edge of one world and portal to another as the floating steampunk Abu Ghraib. “I’m trying to help you,” Coulter blurts out, removing her wedding ring and coldly placing it on the metal table of her torturer, “not out of charity, but out of kindness. One It’s not very good.” Then, While Katya is still silent, Coulter puts the tweezers under the skin to tear a piece of pine from her shoulder (here it looks like a sprig of thyme), which counts for the woman special power. Like Samson after Delilah’s haircut, Katya is nothing special after Coulter’s hair.
Blake says that Milton, in creating the temptation of Lucifer, unwittingly belongs to the devil’s party. In the same way, Pullman created a monster more beautiful than all the flying queens, fighting bears, Indiana Jones-like aeronauts, cute children, and scientist-scientists whose stories there are. Certainly Jack Thorne, one of my favorite TV writers (The Fades, now on BBC iPlayer, is well worth your time), appreciates Coulter’s performance together. of Iago and Lady Macbeth, with the introduction of his most pantomime Cruella. of Ville. In Thorne’s hands, you never know what he will do next, although when he whispers to Father MacPhail that he intends to kill the Magisterium’s shadowy, gossipy politician, Cardinal Sturrock, in a Machiavellian coup, no one surprised.
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We are now in untroubled waters. A 2007 Nicole Kidman-Daniel Craig film adaptation of the first book in the trilogy was decided after it did poorly at the US box office, without sequels. It’s also called the Golden Compass, probably because it’s hard to say “Two tickets to the Alethiometer, please.” The BBC, on the other hand, saw the epic show from the opening of the tokay cup to the final moment when Lyra’s ghost turned into a pine tree. This gave director Tom Hooper the freedom to imagine what Pullman’s world would be like, and most of all what he wanted to do well. For example, Cittàgazze, the town Lyra runs away from and meets Will, who is also running away from his parents to another world, is a CGI mix of the Tuscan hill town and Mont Saint-Michel in Normandy.
When I interviewed Pullman, he said the film version was “rocky.” Less is usually more. Someone should have told the composer that here the lush, melodic score has become the musical equivalent of The Boy Who Cried Wolf, which leaves us in no doubt that the show’s timing is biting. This is as useful as the music shows. That’s a shame, because the two leads, Dafne Keen as Lyra and Amir Wilson as Will, are such good actors that they don’t need to be loud enough to convey the tension.
Thorne took some liberties with the adaptation. Why did Queen Ruta Skadi and not Serafina Pekkala kill Katya to prevent her from teaching Coulter? Then there was a moment of confusion when Will prepared his smartphone to take a picture of the Angel Tower in Cittàgazze. Smartphones, purists say, are not in books. It’s not yet clear if this will pay significant dividends, but I admire Thorne’s writing and trusting him to do something about this seems anachronistic. However, questions remain. My phone barely works outside the M25, so how can I get a signal in this alternate reality? How will he pay? I can’t wait to see how it goes. Lyra Belacqua, the young actress of Her Dark Things, spends a lot of time in HBO’s new emotional epic asking adults to explain what happened to her and the people around her, and that’s because how Adults may try to change the subject or be rude to tell Lyra that she is not ready to know.
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“As annoying as it gets, that’s not a question I need to answer,” one told him. “I can’t ask you to trust us Lyra. I hope we can gain your trust.”
His Dark Things begins by treating his audience like adults treat Lyra. Based on a series of novels by Phillip Pullman (one of which has already been adapted into the 2007 film Golden Compass), the show has many secrets that no one wants to share. And hope the audience will believe the story and be patient.
Unfortunately, the earlier stages did little to gain this confidence. The story feels thin, as creator Jack Thorne (Wonder) focuses on revealing the details of the changing world. But the building world also does a very difficult job of explaining how things work and what the stakes are.
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The show takes place in a typical version of England, reminiscent of the 1950s, although the technology is very different. (For example, a glowing plane.) All humans are accompanied by “ghosts,” an external manifestation of their soul that uses talking animals; For a child like Lyra (Dafne Keen), her demon changes form and transforms into the final version when she reaches adulthood. The world is ruled by the Magisterium, a religious order that forbids any knowledge that would contradict its teachings.
Most of them were explained by the show cards in the opening moments of the premiere, and Thorne often made them seem like they were all necessary for the show. Not them. For example, it is not clear how much the Magisterium’s authority is, or how much influence it has on the daily lives of people. Lyra grew up in a college that was somewhat protected by the Magisterium’s authority, but even that was unclear. When his uncle Asriel (James McAvoy) presents his discovery of a substance called dust to the professors at school, they feel that his research is unbelievable. and doubt. But the show never developed beyond the original concept, even as characters associated with the Magisterium continued to infiltrate and control the dust.
I have not read the books, but I know that in them the Magisterium is a blatant version of the Catholic Church, which has never given its power to Europe. Thorne and everyone involved in making the HBO series, by contrast, have gone to great lengths to say that the show doesn’t attack religion, or even the idea of religion in general — no way. doubt because that is not good for business. (No one ever made a sequel to The Golden Compass, partly because the church opposed it.) Without this analogy, the Magisterium is just a shadow organization whose leaders follow the shady process because the hero has to face some kind of struggle. .
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Even the ghosts, which should be easy to understand the difference between our reality, are not well represented. Some are a perfect match temperamentally with their people, while others are polar opposites. In one episode, Lyra is surprised to encounter a monster far away from humans, but the scene is pointless as the show waits until later to explain that humans and monsters are always close. of the body.
Some of the movie is revealed by Lyra’s lack of vision, but not all of it. Most adults—except the Egyptians, a low-income group who travel in houseboats—have a strange feeling. This means that much of the show is presented without any indication of why things are happening – or even what is happening. The early plot, such as it is, involves the abduction of Egyptian children by a mysterious group of Gobblers, but even that is the first on the edges of the series. There is little value reserved for the arts.
Fortunately, there are many
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