MobLand vs. The Gentlemen: Is Guy Ritchie's Latest A Hit or Miss?

*This review is based on the first two episodes of MobLand*

Unexpectedly, as enthusiasts were gearing up for a potential lengthy gap before The Gentlemen‘s second season, a fresh production by Guy Ritchie, titled MobLand, has suddenly appeared on the scene.

It seems that way based on my experience, but in reality, the creation of MobLand has been ongoing for quite a while. Initially, it was conceived as a spin-off from Liev Schreiber’s series Ray Donovan, later transforming into an independent project under various potential titles.

This project isn’t solely attributed to Guy Ritchie like “The Gentlemen” was; instead, it originated from Ronan Bennett, who is known for creating “Top Boy” and “The Day of the Jackal.” In this case, Ritchie serves as an executive producer and director.

Despite the degree of Ritchie’s participation, his influence is evident everywhere in this work – an intense crime saga exploring various layers of London’s society, primarily focusing on a complex and troubled family. However, let’s consider how it compares to his past creations.

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During its growth phase, MobLand was temporarily known as “The Fixer.” In reality, this potential title might have been a more fitting choice for it.

In this series, Tom Hardy portrays the character of Harry Da Souza, a troubleshooter for the notorious Harrigan clan, which is headed by Pierce Brosnan as Conrad.

It seems that Conrad’s wife Maeve, portrayed brilliantly by Helen Mirren, holds significant power, often being the one consulted for critical decisions.

Apart from them, significant family members are Brendan (Daniel Betts), who is also known as Conrad, and Kevin (Paddy Considine). Conrad has a daughter named Seraphina (Mandeep Dhillon). Kevin is married to Bella, and they have a son named Eddie (Anson Boon). It’s Eddie who sets the main story in motion for the series.

The situation centers on an impending possibility of a gang conflict arising between the Harrigans and the Stevensons, a competing gang headed by Richie Stevenson (Geoff Bell).

While much of it isn’t particularly groundbreaking, there’s no denying that the character whose plotline stands out most is Hardy’s Harry. It’s fascinating to watch someone excel at their work, especially when that work involves organized crime. This is a common phenomenon in TV shows.

From the start, we can pick up clues regarding his connection to the Harrigans, and these mysteries are likely to be gradually unraveled in future episodes (as only the initial two have been released for preview).

In this role, Hardy delivers a captivating leading act without outshining his fellow actors, rather enhancing their performances. His portrayal is subtly nuanced, an unexpected quality considering the dramatic setting, adding depth to the overall performance.

Additionally, the side characters are delivering remarkable performances. Paddy Considine once again gives a commendable effort, while Anson Boon, leveraging his experience playing Johnny Rotten in Danny Boyle’s Pistol, delivers an appropriately manic portrayal of Eddie.

Next, we arrive at Brosnan and Mirren. Undeniably, they are seasoned and captivating performers, and they shine in this role. However, it cannot be ignored that their portrayal of an Irish accent may be somewhat disruptive.

In brief interactions, they manage well enough, but when prolonged dialogues are required, it soon becomes apparent that they haven’t yet fully grasped these complex situations.

Specifically, Brosnan finds difficulty, and a lengthy monologue he delivers to the rest of the family falls flat. It’s intriguing to consider if a brief alteration in his background story might not have been beneficial.

The plot follows a familiar pattern – a crime boss trying to maintain control while being pushed by his wife reminiscent of Lady Macbeth. So far, it feels routine, but after two episodes, it’s tough to make a definitive judgement. If the narrative veers away from the expected course, it might become intriguing; otherwise, it could quickly turn into something quite monotonous.

Fortunately, the series exhibits a similar wit and tone to Ritchie’s work. It frequently injects humor into the scenes, notably in those depicting Harry’s frustration over his occasionally absurd responsibilities.

In simpler terms, the factor isn’t as significant as in a series like The Gentlemen, where its mix of tones was crucial to its success. Whenever it seemed too heavy or predictable, it would break the tension with a clever nod. For a genre that has been extensively explored, this approach was surprisingly refreshing.

In this series, humor and lighter moments occur less often and aren’t as effective – some even fall flat altogether. Unfortunately, there simply aren’t enough of these instances, so I hope that as the story unfolds, we’ll see more comedic elements and laughter being incorporated.

Additionally, there’s a concern that the show might indulge in its own extravagance. With an impressive roster of top-tier actors assembled and a lengthy run of 10 episodes, it’s not usually a series that stretches out for long, but in today’s context, such an extended duration feels somewhat unexpected.

Additionally, there is an overwhelming abundance of characters. By the end of only two episodes, we find ourselves intrigued by figures like Harry, Conrad, Maeve, Kevin, and Eddie, among others.

As for Brendan and Seraphina, it seems they haven’t been given significant roles yet, and considering the abundance of characters like Joanne Froggatt and Jasmine Jobson, who have not yet been discussed, it appears uncertain if their roles will grow more prominent in the future.

As a devoted viewer, I’m thrilled to share that, despite minor reservations, the initial pair of episodes from MobLand have proven to be highly engaging. They are filled with entertaining scenes and captivating performances that leave me yearning for more. Each episode concludes, leaving me eagerly anticipating the next installment!

Currently, the issue lies in its lack of distinctiveness, making its star-studded ensemble seem more like a publicity ploy rather than an organic part of an engaging gang storyline that generally offers decent entertainment.

As more productions in this genre are becoming equally popular as police procedurals, shows like The Penguin, This City is Ours, and Gangs of London are all fighting for attention. It remains uncertain if MobLand possesses enough originality to make a mark among them.

Surely, Ritchie has a history of taking such actions. The Gentlemen seems like an original, creative production with ties to Ritchie’s past projects, but there aren’t many TV series that are directly analogous. However, the question remains: can Ritchie and Bennett pull it off in this instance? After two episodes, it’s still too early for a verdict.

2025-03-28 11:04

MobLand vs. The Gentlemen: Is Guy Ritchie’s Latest A Hit or Miss?

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