As a seasoned movie enthusiast who has witnessed the rise and fall of many a captivating character, I must admit that Black Doves left me somewhat underwhelmed. Don’t get me wrong – it’s not a bad series by any means, but it pales in comparison to Sarah Lancashire’s electrifying performance in Happy Valley.
Warning: This article contains spoilers for Black Doves.
Last year, it seemed like everyone was talking about actress Sarah Lancashire, and I recall this distinctly because I wasn’t ready for the intense buzz that followed the release of Happy Valley’s third season.
Since I was only 16 when Sally Wainwright’s crime drama initially aired, and 18 when it took a lengthy break, please understand that our paths simply didn’t cross during those times; we just happened to be sailing past each other at sea.
Nevertheless, I can respect the enormous cultural footprint that the show made when it roared back to life: mesmerising critics, invading newspaper front pages and scoring stellar ratings for the Beeb in the process.
In a variety of ways, Lancashire received much praise for her depiction of Catherine Cawood, such as winning her third BAFTA and receiving a special acknowledgment award at the NTAs. The thrilled audience even shouted her name with fervor and admiration.
Up until now, her career had been quite successful, but the excitement surrounding Lancashire at this time seemed like a significant shift; it appeared as though even greater achievements lay ahead.
In light of the exceptional series I’ve previously enjoyed, I find myself somewhat underwhelmed as I delve into Netflix’s Black Doves, a spy thriller, which feels like a step down from my past entertainment experiences.
Let me clarify: The show itself is quite impressive. It’s another stellar contribution from underappreciated screenwriter Joe Barton, featuring captivating and trailblazing characters portrayed by Keira Knightley and Ben Whishaw.
As a cinephile, I find myself immersed in the captivating world of Helen Knightley, a woman who juggles the delicate roles of wife, mother, and undercover agent for a clandestine organization. Simultaneously, Sam Whishaw’s character, an openly gay assassin, is assigned to train her. Over time, their professional bond evolves into a profound friendship and mutual trust.
As a cinephile, I’ve got to say that the rapport between the characters in this film feels genuine, endearing, and strikingly original – a stark contrast to the more conventional portrayal of Lancashire’s character, Reed, who seems to embody the stereotypical spy boss.
Unfortunately, there’s a sense that this mysterious character seems to resemble a well-established character type rather than a real person, much like how Judi Dench portrayed her stern yet complex handlers in the James Bond movies, or Margo Martindale did on The Americans.
In this performance, Lancashire seems incredibly charming and sharp. He skillfully delivers Barton’s dialogues with chilling accuracy and a touch of witty humor. However, it remains to be seen if there is any real depth or substance hidden beneath these cleverly crafted phrases.
After expressing my admiration for both the performance and the character herself in my Black Doves review last month, I’ve found myself gradually losing interest in Reed following the season finale and subsequent reflection.
Throughout the initial season, it becomes evident that Reed exhibits a cunning and relentless approach to espionage, demonstrating an ability to compromise the loyalty of those she holds dear, should such actions serve her objectives at any particular juncture.
What we don’t really understand is the ‘why’ of it all. What could possibly have driven her to be so detached from her humanity? What motivates her loyalty to this fictitious organisation, which doesn’t appear to have any overriding ethos or mission?
Since Black Doves has been renewed for a second season, Barton may explore these themes in more depth later on. On the other hand, some believe that not every detail needs to be explained explicitly.
For instance, those who criticize the Star Wars prequels often argue that characters such as Darth Vader and Boba Fett seemed more intriguing when their backstories were still largely unknown to us.
Black Doves has crafted characters like Helen and Sam so deeply that by the finale of the season, Reed appears somewhat underdeveloped in comparison.
In one key moment towards the end, Reed calmly outlines the entire series narrative to a shocked Helen. To everyone’s surprise, she finishes with a touching remark that hints at her having feelings and compassion, implying she is more than just mechanical.
However, after six instances of harshness, deception, and subtle hostility, this particular event seems utterly unearned.
In the end, the characters portrayed by Kathryn Hunter as Lenny and Tracey Ullman as Alex in Black Doves display greater complexity, even though Alex appears less frequently than Reed on-screen.
This seems to indicate that the showrunner, Barton, intentionally designed Reed to be a stable, unwavering figure amidst a chaotic criminal world.
After witnessing the intricate performance that Sarah Lancashire gave in Happy Valley, it’s surprising and somewhat disconcerting to find her character reduced to a seemingly flat role at this point, even though her witty comebacks can still be quite amusing.
On Christmas Day, it’s possible to see a young, unknown woman at Reed’s house – possibly his daughter. This intriguing development might bloom into a significant plot point in the next season, but as of now, we’re eagerly anticipating Lancashire’s next major role following Happy Valley.
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2024-12-06 00:04