Realizing that Angela Burr has seen the list of contacts Roper is suspicious of betrayal but, after Jonathan has confessed his true identity and purpose to Jed, promising to help her escape with him, she pretends that she accidentally left the list lying around, pointing the finger at Corkoran, who will soon be in no position to deny it. In London Angela finds herself blocked by the Permanent Secretary's department and is told by Dromgoole that America needs the weapons sold by Roper. She receives intelligence from Jonathan which she hopes will allow her to catch Roper red-handed but he is one step ahead of her.Written by
don @ minifie-1
The picture taken at the refugee camp of Richard Roper (Hugh Laurie) with the boy in his arms is the same as the first picture shown in the intro of episode 1. However, that picture is reversed and Jonathan Pine (Tom Hiddleston) is not in it, as he is in the picture from this episode. See more »
The business jet shown in the flight footage is a Learjet, whereas the jet shown on the ground when the characters disembark is a Challenger 600 series. 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.
A fine example of exceptional writing, perfect editing and excellent execution that is not only supported but celebrated by the stellar performances from Hiddleston and to top it off the background score too in here helps elevate the momentum a lot.
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