With a small, tight cast, boundless mood and atmosphere, and
a narrative wrought with twists and betrayals, Taboo invades the U.S. on FX like a ship commandeered by a skeleton
crew of the damned. Taboo, like many pop-culture defining series of the last decade, is
adult, brutal, and unquestionably divisive.
Let’s take a plunge into the icy depths of these eight episodes, and see
if it’s the right experience for you.
Taboo is, at
times, masterful. It’s careful and
deliberate – unlike the many violent, adult dramas of today, it doesn’t assault
the senses with near constant brutality and action. The series begins with a host of mysteries
and intrigues, and ratchets up the tension through patient, ominous dialogue
and distinctly unsettling direction. Set
in the backdrop of London at the end of the American Revolutionary War, Taboo somehow manages to make trade and
border disputes downright riveting. The
embarrassed British Crown, the indomitable East India Trading Company, and the
fledgling nation of the United States all play key roles in the drama that
unfolds throughout the series, and grey areas abound – there are no “good guys”
in Taboo.
The audience is quickly introduced to the story’s primary
anti-hero, James Delaney, played by Tom Hardy.
Hardy is clearly comfortable in the role; from Mad Max: Fury Road, Legend,
to Bronson, Hardy is no stranger to
the brooding, but charming protagonist. Hardy
builds an interesting, robust character – even his speech patterns and gait
seem to have been developed solely for this role. It makes the character feel alive, if, at
time, a bit larger than life. Like the
titular Max, Delaney is a man haunted
by his past, surrounded by chaos in a world in which he doesn’t quite seem to
fit. Therein lies Taboo’s prime conflict – besieged on all sides by the powerful men
of Britain, America, and the Company, Delaney must carefully navigate these
dark waters while planning far ahead to secure his future. In a world full of hard men, Delaney is practically
titanium.
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| He knows things about the dead......and fashion. |
This fact belies the most important distinction to be made
about Taboo – despite its historical
backdrop, it is not a realistic
show. More Grimm’s fairy tale than
period piece, it’s full of round, but exaggerated characters, mysticism, and
elaborate, and arguably unbelievable plot points. This is sure to make Taboo divisive for many viewers.
It appears gritty and realistic on its face, but its fanciful nature
cannot be ignored. Accept this fact, and
there is much to enjoy in Taboo.
The score is limited, but effective. A few tracks are used throughout the series,
including one particularly gloomy track that combines classic strings with
anachronistic, nearly industrial sounding synths and builds throughout the
episodes during moments of menace. It’s
distinct without being overwhelming, which is precisely what a good score
should be.
Technically, the series does have a few misses. Occasionally the directing and editing can be
a bit obtuse, practically assaulting the viewer with foreshadowing or
symbolism. It is, however, consistently
beautifully shot, and like it’s deliberation with violence, even the use of
color is so deliberate that you might find yourself gasping the first time the
show leaves the drab, dreary streets of London.
Color! We nearly forgot you
exist! Not a criticism, Taboo’s strongest elements are used in
careful measure – violence, sex, color, even profanity are appropriately placed
for maximum impact. One exception – the
costume design is consistently ostentatious and bold, and fits the tone of the
show perfectly.
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| Something tells me this won't be the last funeral I attend on this series. |
The remainder of the core cast is largely without
misstep. Jonathan Pryce is once again
fabulous as the director of the East India Company, Sir Stuart Strange, he
deftly dominates several scenes throughout the series, and is a worthy
adversary for Hardy’s Delaney. Stephen
Graham of Snatch fame is a dangerous
criminal with a nearly incomprehensible London accent, and is more than capable
throughout. Finally, Oona Chaplin takes
on the role of Delaney’s half-sister and is the source of several intoxicating
scenes of psycho-sexual excess à la Coppola’s Dracula that make for some cinematically and thematically difficult
scenes. Again, Taboo, as the name implies, is perhaps not for the faint of heart.
At the close of the season nearly all the established
plotlines are wrapped up in tight expository bows. There is certainly the possibility for more
of Delaney’s story to be told, and if it does return, I, for one, will welcome
its arrival.
Score
-Patrick B. McDonald