In 2003, UK Intelligence Officer Angela Burr (Olivia Colman) is a first-hand witness to the murderous aftermath of over 100 children near the Iranian border (she sees lung tissue seep from the mouths of these youngsters, thanks to a mustard gas specifically designed to prevent them from wearing gas masks). This unimaginable event motivates her to bring down a man named Richard Roper (Hugh Laurie), who after learning of this same event, decides to exploit the properties of this horrific gas by selling it to the highest bidders.
Ten years later, Roper is still outmaneuvering Burr in a global game of cat-and-mouse despite Burr's throwing dozens of satellites at the problem. Then, in the first of several critical milestones, Burr unknowingly hits pay dirt when she places a casual, yet critical phone call to Jonathan Pine, the night manager at a Cairo hotel (Tom Hiddleston) in an effort to interfere with yet another one of Roper's terrorist transactions in Cairo. Her efforts, too late, result in more tragic death.
Fast forward to 2011 and Hiddleston's Jonathan Pine has moved on to another night manager position at a highly-exclusive, luxury Swiss resort. When evil-genius Richard Roper coincidentally checks in one cold winter night, Hiddleston recognizes his name and associates it with the Cairo event. Shaken, he places a call to Burr, who is still sustaining her efforts to bring Roper to justice. After a clandestine meeting, Burr enlists Pine as a deep-cover asset to infiltrate Roper's organization. Though a hotel manager is hardly qualified for such a dangerous operation, Hiddleston's character just happens to be a former, two-tour Iraq solider (giving him a few necessary skills that will come in handy later on).
After a reluctant decision to help Burr, Pine's initial assignment is to place himself into Roper's debt by thwarting the kidnapping of Roper's young son. The idea for achieving this first of many mini missions -- is both spell-binding and horrifying in its uniquely innovative, very unexpected, high-risk execution. It is this event that also triggers the rest of the story in a series of dramatic twists and turns that keep us completely engaged.
Though The Night Manager is another take on good versus evil, against glamorous James Bond style music and images of elegant hotels, island resorts, yachts and champagne - it is executed through masterful direction and unique story lines supported by the acting talents of Hugh Laurie and the fabulous Elizabeth Debicki (who plays Laurie's girlfriend). Debicki does some of her best acting as she learns to mobilize fear into strength. She also uses great skill to reveal glimpses of vulnerability and terror through a convincing act of confidence and cunning. This is an actress to watch.
David Harewood, who is always good, plays Burr's equally-committed American counterpart (the two of them had a previous fling, though it's not pivotal to the story, hence fairly out-of-place. British acting veteran Tobias Menizes (from Game of Thrones) is excellent as always, this time as one of Burr's MI6 associates (who would later deliver an exquisite Prince Philip to Colman's Queen Elizabeth -- in The Crown). To say Menizes has range is the century's understatement.
Like most spy tales, the story logic depends on its audience overlooking some fairly big flaws, starting with the assumption that a hotel night manager, with no spook training at all, has the necessary skills and fortitude to participate in such a sophisticated operation. When Roper's front man (played by Tom Hollander) suspects our night manager is a fraud, he puts all his cards on the table in full view. Any good solider would keep this information to himself and use it to his advantage. Though Hollander's bad judgment is supported by excess drinking and an obsession with sex, it is nevertheless a bit painful to witness such a big oversight as his many "I'm onto you" speeches become repetitive and monotonous. The plot also involves the corruption of several MI6 executives, who oddly have no contingency plans in place when things start to unravel.
All of these flaws could have been used to create even more dramatic conflict, hence in my view were missed opportunities. My suspicion is that veteran director Susanne Bier, certainly aware of this, believed playing them out would add even more complexity to already-tangled web (perhaps throwing its viewers into sensory overload). The usual time-and-money constraints likely played a role as well.
Bier is easily forgiven when Hiddleston engages a brilliant contingency of his own (in real-time) after learning his cover is about to be blown, sending the series into its exciting tailspin.
Overall, Bier, who has boatloads of experience in this genre moves the series to the top of its game aided by the flawless performances of its stars: Laurie (who is especially steely), Hiddleston and Colman -- who all get lost in their characters. A stunning soundtrack by Victor Reyes (who composed the score for Grand Piano) is key to moving the story along.
Like any script that revolves around the destruction of a businessman who trades in terror, there are several critical dependencies, and you need to pay attention to the names and positions of the players, especially the corrupt government officials. Minus the benefit of having read the book, I found myself rewinding a few scenes to avoid missing important details. It was well worth it however in a series that will keep you completely on the edge of your seat.
It's been said a good film needs to have at least five, superbly-executed scenes. The Night Manager's superb director and cast certainly pass that test.
Ten years later, Roper is still outmaneuvering Burr in a global game of cat-and-mouse despite Burr's throwing dozens of satellites at the problem. Then, in the first of several critical milestones, Burr unknowingly hits pay dirt when she places a casual, yet critical phone call to Jonathan Pine, the night manager at a Cairo hotel (Tom Hiddleston) in an effort to interfere with yet another one of Roper's terrorist transactions in Cairo. Her efforts, too late, result in more tragic death.
Fast forward to 2011 and Hiddleston's Jonathan Pine has moved on to another night manager position at a highly-exclusive, luxury Swiss resort. When evil-genius Richard Roper coincidentally checks in one cold winter night, Hiddleston recognizes his name and associates it with the Cairo event. Shaken, he places a call to Burr, who is still sustaining her efforts to bring Roper to justice. After a clandestine meeting, Burr enlists Pine as a deep-cover asset to infiltrate Roper's organization. Though a hotel manager is hardly qualified for such a dangerous operation, Hiddleston's character just happens to be a former, two-tour Iraq solider (giving him a few necessary skills that will come in handy later on).
After a reluctant decision to help Burr, Pine's initial assignment is to place himself into Roper's debt by thwarting the kidnapping of Roper's young son. The idea for achieving this first of many mini missions -- is both spell-binding and horrifying in its uniquely innovative, very unexpected, high-risk execution. It is this event that also triggers the rest of the story in a series of dramatic twists and turns that keep us completely engaged.
Though The Night Manager is another take on good versus evil, against glamorous James Bond style music and images of elegant hotels, island resorts, yachts and champagne - it is executed through masterful direction and unique story lines supported by the acting talents of Hugh Laurie and the fabulous Elizabeth Debicki (who plays Laurie's girlfriend). Debicki does some of her best acting as she learns to mobilize fear into strength. She also uses great skill to reveal glimpses of vulnerability and terror through a convincing act of confidence and cunning. This is an actress to watch.
David Harewood, who is always good, plays Burr's equally-committed American counterpart (the two of them had a previous fling, though it's not pivotal to the story, hence fairly out-of-place. British acting veteran Tobias Menizes (from Game of Thrones) is excellent as always, this time as one of Burr's MI6 associates (who would later deliver an exquisite Prince Philip to Colman's Queen Elizabeth -- in The Crown). To say Menizes has range is the century's understatement.
Like most spy tales, the story logic depends on its audience overlooking some fairly big flaws, starting with the assumption that a hotel night manager, with no spook training at all, has the necessary skills and fortitude to participate in such a sophisticated operation. When Roper's front man (played by Tom Hollander) suspects our night manager is a fraud, he puts all his cards on the table in full view. Any good solider would keep this information to himself and use it to his advantage. Though Hollander's bad judgment is supported by excess drinking and an obsession with sex, it is nevertheless a bit painful to witness such a big oversight as his many "I'm onto you" speeches become repetitive and monotonous. The plot also involves the corruption of several MI6 executives, who oddly have no contingency plans in place when things start to unravel.
All of these flaws could have been used to create even more dramatic conflict, hence in my view were missed opportunities. My suspicion is that veteran director Susanne Bier, certainly aware of this, believed playing them out would add even more complexity to already-tangled web (perhaps throwing its viewers into sensory overload). The usual time-and-money constraints likely played a role as well.
Bier is easily forgiven when Hiddleston engages a brilliant contingency of his own (in real-time) after learning his cover is about to be blown, sending the series into its exciting tailspin.
Overall, Bier, who has boatloads of experience in this genre moves the series to the top of its game aided by the flawless performances of its stars: Laurie (who is especially steely), Hiddleston and Colman -- who all get lost in their characters. A stunning soundtrack by Victor Reyes (who composed the score for Grand Piano) is key to moving the story along.
Like any script that revolves around the destruction of a businessman who trades in terror, there are several critical dependencies, and you need to pay attention to the names and positions of the players, especially the corrupt government officials. Minus the benefit of having read the book, I found myself rewinding a few scenes to avoid missing important details. It was well worth it however in a series that will keep you completely on the edge of your seat.
It's been said a good film needs to have at least five, superbly-executed scenes. The Night Manager's superb director and cast certainly pass that test.