Angela's failure to catch Roper red-handed leads to the closure of her department but a call from Jonathan sends her and Joel to Cairo, where Roper is hoping to close a deal with Freddie Hamid, boyfriend of the dead Sophie. Thanks to Jed Angela is able to secure documents incriminating Roper and Jonathan gets closer to avenging Sophie. But Roper is now suspicious of both Jed and Jonathan, making demands on them both and if Jonathan is to bring him down, save Jed and exonerate Angela he must use what he has to complete his taskWritten by
don @ minifie-1
The Arabic on the secret document handed to Jonathan in the hotel lobby is not written correctly, as the letters are all separate rather than joined up. See more »
Richard Onslow Roper:
It's a very rare thing, Jonathan Pine, for me to trust a person. But you were special. I knew it the first moment I saw you. Saved my son. Risked your life. Should have known something was wrong.
I don't know what you're talking about.
Richard Onslow Roper:
Corky knew it, of course. Tried to make me see. Poor old Corks. You killed him, I suppose. To save your own skin. Yes? He was a good man, Corks. Loyal man. Now he's lying in a ditch on a Turkish mountain because of you. Well, for his sake and for mine, I can ...
[...] See more »
The Night Manager is a character driven mini-series adapted from the novel by John Le Carre, that swept away three Golden Globes on the acting category and was nominated for the best series too.
As much as simple the plot is, despite of its genre, it doesn't unnecessarily grows convoluted or even attempts to make impossible possible. And such simplistic reasons is why it connects with the audience instantly and stays true to its tone throughout the course of it.
The adapted screenplay by Farr is smart as it glorifies each little moments with equal dignity keeping the audience enchanted in its self-created tense bubble that doesn't pop but explodes. Addition to that, it not only is edited perfectly but each character's perspective is accounted in perfectly for it to justify the actions.
It is rich on technical aspects like sharp sound effects, stunning live locations, alluring costume design and metaphorical cinematography that seeks viewers' attention through it.
Beir; the director, is ahead of her game and the viewers, for her description of a sequence is not only electrifying but thought-provoking too; she is in your head from the start. The performance objective is the ace in the hole for the series, since the casting pays off more than well, as Hiddleston, Laurie and Colman have genuinely invested their heart into it.
Pragmatic conversations, three-dimensional characters, tense environment and stellar performances are the high points of this mini-series. Beir's world in here is bolder, faster and scarier than it may seem and no matter how many times the makers play their "close call" theme, it never gets old, it never gets dull.
The Night Manager isn't shady or twisted as one's usual spy thriller and is instead beautiful on visual aesthetics and neat on terms of projecting the questionable morality where "the dirty work" is left upto viewers' imagination; a slick move.
An adequately handled finale of the season especially since all the characters get their own stand-out moments and factors in effectively with a close call agenda rather than pulling out a rabbit from the hat, which is always safe and smart to do so as it works like a charm.
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