4.0 out of 5 star rating
As a long-time fan of British comedy and murder mystery shows, I must say that Ludwig has certainly piqued my interest. The series seems to be a delightful blend of the familiar and the fresh, with its engaging characters, witty dialogue, and intriguing plotlines.
When the news broke about David Mitchell appearing in the upcoming BBC series Ludwig, many might have presumed it was a fresh installment of a half-hour comedic production.
This impression certainly will have been bolstered by the show’s high-concept set-up, involving a classic identical twin switcheroo.
Actually, Ludwig isn’t strictly a comedy as one might assume. It’s actually a blend of comedy, drama, and detective elements. The balance leans slightly more towards comedic drama rather than dramatic comedy.
If you’re fond of Peep Show, That Mitchell and Webb Look, Back, or any other comedies by Mitchell, this particular selection might not entirely meet your expectations.
However, how does the actor adapt to this fresh genre? Surprisingly, he thrives extraordinarily well. Although it might not resemble the kind of show his fans are accustomed to, Ludwig seems to fit the role perfectly.
As a cinephile, I find myself immersed in the enigmatic character of John Taylor, portrayed by Mitchell. This intriguing individual embodies a blend of anxiety, sarcasm, and keen observation, which makes him fascinating to watch. Known professionally as ‘Ludwig’, he’s a secluded puzzle creator who leads a somewhat contented life in isolation from the world.
One fine day, all of a sudden, I received an unexpected call from my dear sister-in-law Lucy. She had arranged for a cab and urged me to journey to her residence in the scholarly town of Cambridge.
Upon arriving, he discovers that his identical twin brother, who is married to Lucy, named James, has disappeared without a trace. He’s left behind a mysterious note for Lucy, indicating he will not be coming back.
Since James is a detective and has gone missing, Lucy suspects it’s connected to the case he was working on. She only trusts John, so she decides not to report James’s disappearance. Instead, she asks John to pretend to be James’s brother in order to gain access to the Cambridge police station, where they can look for more information hidden in James’s notes.
Indeed, things don’t always unfold as expected, and John, who initially seems overwhelmed, ends up working on murder investigations alongside James’s team. It turns out, however, that John proves to be quite adept at this line of work.
This setup is incredibly outrageous, a kind that requires the exceptional comic timing and skill of an actor like Mitchell to pull off effectively. If played without a hint of humor, the entire production might collapse due to the absurdity of its premise.
Rather than under Mitchell’s leadership, the show takes a surprising turn – it’s when the series embraces its ridiculous concept that it really outperforms.
In the initial episode, it’s delightful to see John struggling to fit in, yet managing remarkably well due to the fact that no one could possibly guess he wasn’t James. This leads to some amusing, albeit sharp-witted, humor. Moreover, the central enigma is intriguing enough to maintain an engaging pace throughout.
This week’s case, logically and appropriately, takes a secondary role. With so much to handle concerning the broader storyline, there’s not much opportunity to delve into the suspects, their reasons, or the typical aspects of a murder mystery scenario.
To be frank, I don’t find this setup unfavorable at all. Each week presents a new case, which provides a structured narrative, much like a TV sitcom. These cases often serve as a pretext to place John and his fellow officers in diverse scenarios.
This piece has been experimented with numerous times previously, creating a warm, familiar ambiance that’s rather inviting and enhances its overall appeal. The crimes portrayed are relatively minor, focusing less on victims, the criminal’s psyche, or the repercussions of the incident. If you’re familiar with Death in Paradise or Father Brown, you’ll find it easy to follow along.
As John grows increasingly skilled at portraying James and becomes more accustomed to his character and setting, the show seems to deviate somewhat from its unique appeal and stray away from its Unique Selling Proposition (USP).
In numerous aspects, John transforms into an unconventional detective with social discomfort, yet boasting exceptional intelligence that leaves his team baffled. Over time, they grow to appreciate him, albeit reluctantly. This pattern is quite familiar.
Initially, John’s role is heavily focused on his puzzle-solving abilities, with minimal concern for exploring motivations or dealing with the true nature of the job. However, as he gets more accustomed to portraying the character James, this particular aspect becomes less prominent.
It makes sense, of course, works for narrative cohesion and helps to aid the character’s development. It just also makes proceedings that little bit more generic.
Nevertheless, these minor story issues can be easily dismissed when the humor is this effective, the premise is this enjoyable, the personalities are this captivating, and the performers are this talented.
Specifically, Mitchell seems tailor-made for this position. He embodies a blend of Mark Corrigan’s awkwardness and high-energy frenzy, infused with his own witty sarcasm, as demonstrated on Would I Lie to You? Yet, there’s also a more dramatic edge to him, making it feel like the role he was born for. Clearly, Mitchell is thoroughly enjoying himself in this part.
Simultaneously, most of the other characters resemble the typical eclectic group of detectives found in a murder-mystery series, yet they are distinctly brought to life through the skillful acting of a talented ensemble.
Izuka Hoyle, Gerran Howell, Dorothy Atkinson, and Ralph Ineson form a powerful core cast, with Dipo Ola shining particularly as Russell, the intriguing partner of James (and John). Ola’s character, filled with an enigmatic allure, often serves as both a confidant and a contrast to Mitchell’s leading character.
Maxwell Martin’s character, Lucy, plays a crucial part in the storyline, and she excels in her role without a doubt. It can be challenging to strike the right balance for her character, as she often appears solo on screen, but what truly matters is her chemistry with John, which not only feels authentic but also serves as the core of the plot’s emotional depth.
As a passionate movie enthusiast, I can’t help but appreciate the impressive lineup of guest stars in this series. Legends like Derek Jacobi and Felicity Kendal grace our screens, while comedic talents such as Allan ‘Seapa’ Mustafa and Karl Pilkington add their unique charm to the mix, making each episode a delightful blend of talent from both past and present.
By watching the first few episodes, you’ll likely have a good sense if “Ludwig” appeals to your tastes. It’s a unique mix of fresh and familiar elements, with aspects that are absurd yet familiar to some viewers. For certain individuals, it might veer too far in one direction or the other based on their personal preferences.
If you’re open to giving it a try, Mitchell and their team have crafted a unique and entertaining series that shares similarities with classic murder mystery shows but still manages to stand out. This show is engaging, addictive, and impossible to turn away from.
As I eagerly await each new episode, I fervently hope that writer Mark Brotherhood continues to infuse the series with unexpected turns and outlandish elements, keeping it vibrant and ensuring it doesn’t succumb entirely to the weekly case formula.
Should this be the case, enthusiasts of Mitchell’s comedy and detective dramas might find themselves consistently excited about a potential new offering each year ahead.
Ludwig is coming to BBC One and iPlayer on BBC One and iPlayer at 9pm on Wednesday 25th September.
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2024-09-23 13:35