Manhunt Series Review: The Perfect Combination of Thriller and Historical Series on Apple TV+
Cast: Tobias Menzies, Anthony Boyle, Hamish Linklater
Created By: Monica Beletsky
Streaming Platform: Apple TV+
Filmyhype.com Ratings: 4.5/5 (four and a half stars)
Manhunt confirms that on the small screen, Apple TV+ responds blow for blow to the competition, also offering a series of very high quality in every sector. At the center, is the assassination of President Abraham Lincoln and the hunt that broke out across the country to get their hands on the attacker, John Wilkes Booth, but soon the series becomes a powerful mix between the spy genre and the historical reenactment of one of the most controversial and delicate phases of American politics and history. A product of the highest level and one that lovers of both genres absolutely cannot miss. How is it possible to kill the president of the United States during a public event with hundreds of people present, and get away with it? The question that torments Secretary of State for War Edwin Stanton (Tobias Menzies, already magnificent Prince Philip in the third and fourth season of The Crown, as well as Edmure Tully, last heir of the house of the same name Game of Thrones) is neither far-fetched nor rhetorical.
As did John Wilkes Booth (Anthony Boyle, also in the acclaimed and almost contemporary series Masters of the Air), a very famous actor, to openly shoot Abraham Lincoln at the Ford Theater in Washington, on an evening in which we were embracing each other with joy for the victory of the states of the Union against the Southerners five days earlier? Is this the “right” question on which the narrative is built Manhunt, is a surprising tale of the days immediately following the presidential assassination, as the country recovers from years of civil war. And it risks falling into a new conflict again, perhaps even worse. There is the shadow of a conspiracy, a great, very secret conspiracy, behind the ease with which Booth escapes and hides for too many days, twelve, before being captured. Stanton is convinced of this and soon the men who investigate with him, question and search in search of names, and above all evidence. What happened on April 14, 1865, was not only a very serious murder but the death in the birth of a new America which sees in the equality and fairness of all its citizens, including slaves, the purest expression of the country as it had been thought of since its origins.
Manhunt Series Review: The Story Plot
Manhunt features then-Secretary of War Edwin Stanton (Tobias Menzies) as its main protagonist. The Civil War is coming to an end, the Union forces have now won, General Lee is about to surrender at Appomattox, and President Lincoln (Hamish Linklater) goes to Ford’s Theater in Washington on the evening of April 14th together with his wife Mary (Lili Taylor) to attend a play. It will be there that the actor and Southern sympathizer John Wilkes Booth (Anthony Boyle) will kill him and then fortunately escape. Stanton immediately sets out on Booth’s trial, he senses that there is a bigger and more mysterious plan behind the attack, that that actor, narcissistic and deranged, could not have acted alone. Meanwhile, however, the new President Andrew Johnson (Glenn Morshower) does nothing to put the leaders of the former Confederation on trial, nor to respect the political plan of emancipation for African Americans.
Between mysteries, double-dealing, and betrayals, in a divided and bloody country, Stanton will find himself acting as the balance in one of the most dramatic moments in American history. Manhunt, created by Monica Beletsky, is based on the book by James L. Swanson, “Manhunt: The 12-Day Chase for Lincoln’s Killer”, and is a series that competes with the largest productions in terms of grandeur and meticulousness of historical reenactment Hollywood. Broadening our gaze beyond the workers (costumes and sets are crazy), even the direction, as well as the narrative structure, is of the highest order, net of a complexity that is almost natural to expect in a conspiracy and espionage story of this scope and ambition. We can’t trust anyone, Stanton in particular, as he proceeds with his investigation, realizes that there are many more enemies in the shadows than he thought.
Manhunt brings us face to face with real characters and events from American history, the gaze perhaps sometimes goes too far for modernity at some moments, but it is an extraordinary journey into the complexity of the political and social chessboard of a country in which past and future collide. Nor does it deny the possibility of going further down, showing us the point of view of ordinary people, in particular African Americans, still considered second-class citizens, as well as making us feel the uncertainty and pain of a nation that is she found herself orphaned by the man who had led her to victory against slavery. In this, the series also becomes an operation of historical memory and civil history, reminding us how and why the United States was never able to overcome that war and the division it brought.
Manhunt Series Review and Analysis
Is Manhunt also a political narrative? Yes. He is without hesitation, but he avoids rhetoric, avoids paternalism, and embraces a coldness and severity of gaze that becomes merciless. However, the most positive aspect is how with such a complex diegetic structure, in which flashbacks are frequent, and used creatively and unpredictably, the characterization of the characters remains at the highest level. Tobias Menzies, definitively launched thanks to The Crown, bears little physical resemblance to the real Stanton, he is a sort of mix between Sherlock Holmes and Oliver Stone’s Jim Garrison. However, he is very credible due to the fragility, the doubts, and the impotence that he often expresses. But Manhunt doesn’t embellish the story, and so the conspirators, regardless of age or sex, are tortured, starved, and threatened by Stanton.
Anthony Boyle, already seen in Masters of the Air recently, dominates with his Booth. Vainglorious, and ridiculous in his political infantilism, he is the spearhead of a conspiracy that has fascinated for centuries and has given rise to countless theories. Watching this series cannot help but bring to mind the underrated The Conspirator with which Robert Redford enlightened us on the trial of the conspirators in 2010, as well as Spielberg’s Lincoln, given the desire to inform us also about the complicated politics of that period. High and low, fast and slow, they take turns continuously, in a story that is also exciting for those who love classic espionage, given that it takes us inside the Secret Services of the time, no less insidious and dangerously ambiguous than they are those of our days.
Manhunt holds its own against other great series released recently, such as Shogun or The New Look. It also has a remarkable innovative force on its side, not only for the mix of genres it embraces but also for how it knows how to show us something new about a historical period that has been treated far and wide by the seventh art. Less stately and intimate than what Taylor Sheridan has given us in recent years on the same historical period, Manhunt is however more suitable for a generalist audience, net of the aforementioned atypical nature. It is difficult to predict if and to what extent this series will be able to compete for the most coveted prizes, but it certainly confirms how Apple TV+ is currently light years from its competitors in the field of seriality, with its ability to guarantee constant quality, to constantly raise the bar.
On a narrative level, Manhunt opens with a fast-paced episode, which makes us relive the exciting hours that preceded and followed Lincoln’s killing. Of course, the story is well known and there is no room for any real twist, but the direction still manages to convey to us the adrenaline-filled and exciting charge of those dramatic moments, using the language of the thriller in the best possible way. In the subsequent episodes, however, the tone changes and the series slows down: the “Manhunt” that gives the series its title does not reveal itself to be an adrenaline-filled race against time as in the case of other American “Manhunts”, but rather a story in conspiracy shades, staid and suggestive. Especially for us non-American spectators, however, the risk of feeling a hint of stagnation could be around the corner: the drop in pace is there, it is marked and is being felt, and could turn up the nose of those who were expecting a story with the most captivating tone.
The redemption comes only in the final act, which instead takes the form of a compelling procedural legal drama: the screenplay becomes clear and compelling again, the issues scattered throughout the various episodes come home to roost and the shadows that the story casts on the world contemporary can be glimpsed with greater clarity. However, what keeps the three phases together is a masterly historical precision and a very high level of technical attention to the image, which give the Apple TV+ catalog yet another title of quality. Despite its lack of homogeneity, Manhunt is based above all on the antithesis between Hamish Linklater’s convincing Abraham Lincoln and Anthony Boyle’s superlative John Wilkes Booth, also seen in the recent Masters of the Air (our review here). The dualism is anything but stereotyped: in Lincoln, we are also and above all discovering the human and private face, the dreams, the illusions, and the fragilities, while in Booth’s case what shines through is above all the intimate desire to find one’s place in the world and establish yourself.
The famous assassin is pervaded by a narcissistic streak that goes far beyond adhesion to the Southern cause: Boyle’s Booth wants at all costs to become a symbol and enter the history books, and this will lead him to mistakes and questionable choices, unequivocally sealing his fate. The picture is completed by the excellent protagonist played by Tobias Menzies, who, halfway between a tragic hero and a film noir detective, will try to win an impossible battle and truly do justice to Lincoln. The skill and charisma of the versatile stars of Rome, Outlander, The Crown, Game of Thrones, and The Terror are always beyond question and seal the success of the series in the best possible way.
Abraham Lincoln (Hamish Linklater, already awarded for the Netflix horror miniseries Midnight Mass) is the driving force of the great change, driven by shareable ethical and moral reasons, and for this very reason, it is destroyed. In the very first episodes, fireworks illuminate the nights following General Lee’s surrender; the elusive colored lights pierce an otherwise very black sky, without stars, giving the hope of a near and better tomorrow. Following the assassination, there will only be a fleeting sky, rarely included in the shots, to create a leaden, suffocating atmosphere. In the very rare appearances, trees or buildings cover a large part of it, and it is still a milky, colorless sky, without splendor. The horizon of the times to come promises to be dark, without a vision like that of Lincoln and the faithful Stanton. Manhunt is an epic historical conspiracy thriller, with echoes of the Western genre. The antagonists, Booth and Stanton, challenge each other, and it is clear who represents good and who represents evil.
The two aim for a final duel, a showdown that will restore order, and creator Monica Beletsky is skilled at inserting this impractical element into reality, whether real or recreated. The series has in common with the western horse chases and the well-known problem of feeding the quadrupeds; we will not find the classic combination of prostitutes and saloons, but meetings at the White House and strong, determined, criminal, but also very fragile women. The myth of the frontier, so dear to the genre, is Reconstruction here. The renewal desired by Lincoln is a catalytic event, feared and rejected as often, in westerns, a new railway, a classic pretext for action. The clash in Manhunt is also between past and future, slavery and freedom, being reactionary or progressive. It is no coincidence that many Western films are set in this period, between 1861 and 1865, or the years of the American Civil War.
In Manhunt, the lyricism of some nocturnal scenes and the escape between rivers and woods is well contrasted with the brutal realism of the blood (a lot, a lot) and broken bones, just as the smoke from the steam train and the dust raised by horses and carriages are compared with the elegance of customs and manners, the care in describing domestic corners and daily behaviors and actions of the past. Booth and Stanton show us for the first time busy preparing in front of the mirror: daggers, pistols, diary, and boots for the solitary Booth; vest, bow tie, and the warmth of family for Stanton. A classic entrance on stage refers to the theatre, to the actors preparing before performing on the stage. On the other hand, the main event we are waiting for will take place, as we know, right there, in a theatre.
Booth is, as expected, a handsome and vain man, crushed by the inability to achieve the success of his father and brother, both actors and who aims more for fame than recognition of his skill. Every time he comes off the stage, his fans immediately notice his small stature: “You seemed taller on stage”, they promptly repeat to him. And Booth chews bitterly, thinking about how to restore his fortune. His dreams of greatness quickly sink into delirium, in which the world is a stage and he is the star designed to illuminate it: “Tomorrow I will be the most famous man in America”, he tells a stranger ten minutes before killing the president, but also “I always read my reviews” talking about a newspaper article that mentions him as a murderer. Self-proclaimed hero and symbol of the cause, the actor shares the escape with David Herold (Will Harrison), little more than a boy who has fallen into a huge game without really realizing it until it is too late.
He is a character capable of instilling tenderness, and his genuine horror in the face of blood and violence is also ours. Lincoln and Stanton, or “Abe” and “Mars”, as the two calls each other, live a professional and human relationship made of loyalty and trust, capable of deeply respecting each other even when they are not in perfect agreement. What further unites them is also the difficulties of both in the role of father, which underlies the absence of political heirs to pass on visions and powers. They are men who already live in the future, Lincoln and Stanton. Menzies portrays a Secretary of State for War who is perpetually at work, who believes himself to be tireless despite his health problems, and who is willing to do anything to capture Booth, to reach the final confrontation. His ability and perseverance in digging into the smallest details and reconnecting faces and events, never giving up, make him an investigator with a modern attitude in a world in which we can grasp all the backwardness that slows him down in the investigation.
But, like the characters played by Jodie Foster and Matthew McConaughey in True Detective, they are always able to ask the right question to find the key to the problem. The numerous characters of Manhunt, as in a crowded painting, are brought into focus with brief forays into their lives that reveal the most peculiar details. Unforgettable, among many, is the personal story of soldier Boston Corbett (William Mark McCullough). The greats of history, divided on the question of the abolition of slavery, are accompanied by the stories of black supporting characters, including Elizabeth Keckley, the confidant of Lincoln’s wife (Betty Gabriel), and the courageous Mary Simms (Lovie Simone). The latter will prove to be a very important piece in the investigative activities, and her travails as a free young woman mark the ups and downs of the reconstruction project wanted by Lincoln and Stanton. Also prominently featured are Abe and Mars’ wives: Lili Taylor (American Crime, Outer Range), always up to every role entrusted to her, is Mary Todd Lincoln, perhaps unfairly known to history only for her mood swings, public outbursts, and excessive spending.
But with Taylor, we are in good hands, and with her interpretation there is no room for any caricature. Anne Dudek (Dr. House) is an intense and fascinating Ellen Stanton. The structure of the miniseries temporally follows real events, moving freely towards moments in the near or distant past from the main line. The passages over time are fluid and well-motivated, making us always pleasant. The viewer brings with him the advantage of omniscience: we don’t need this series to know the facts, and at any moment we always know more than any character on the scene, often thanks to a flashback placed at the right time, and all without affecting the typical atmosphere of a thriller, i.e. suspense. Another arrow well shot by the creator, capable of creating tension in what is already known. The miniseries is a happy adaptation of Manhunt: The 12-Day Chase for Lincoln’s Killer (2006) written by James L. Swanson.
The book, which currently does not have an Italian edition, collects rare archival materials and transcriptions and recounts the murderer’s escape moment by moment. The musical theme by Bryce Dessner is excellent, capable of underlining the moments of joy and triumph but knows how to bend into dark and austere tones when necessary. The theme song, a hymn of pain and hope that has its roots in the most poignant blues, is written – specifically for the series – and performed by Danielle Ponder, a rising star of contemporary R&B. In seven episodes studied and created with narrative meticulousness, Manhunt builds an all-too-solid bridge between past and present, clearly showing us how the United States is a nation still grappling with enormous internal problems, unhealed social and civil fractures, and even worse is an underground push towards internal destabilization today as yesterday capable of shaking a country that is still divided. An unmissable miniseries.
Manhunt Series Review: The Last Words
In seven episodes studied and created with narrative meticulousness, Manhunt builds an all-too-solid bridge between past and present, clearly showing us how the United States is a nation still grappling with enormous internal problems, unhealed social and civil fractures, and even worse is an underground push towards internal destabilization today as yesterday capable of shaking a country that is still divided. An unmissable miniseries. Although characterized by a narrative progression that is not always impeccable, Manhunt hits the mark and takes us into the deep shadows of America yesterday and today, transforming a famous page of history into an evocative conspiracy thriller.
Manhunt Series Review: The Perfect Combination of Thriller and Historical Series on Apple TV+ - Filmyhype
Director: Monica Beletsky
Date Created: 2024-03-15 12:41
4.5
Pros
- Dual Focus: Manhunt offers more than just a chase. It delves into the complexities of Reconstruction alongside the pursuit of John Wilkes Booth. This dual focus is seen as a strength by many reviewers
- Performances: The acting, especially by Tobias Menzies and Leslie Odom Jr., is praised for bringing gravitas and depth to the characters
- Historical Accuracy: The production design and costumes are well-regarded for creating an immersive atmosphere of the period
Cons
- Pacing: Some find the show drags, particularly given the limited timeframe of the real-life events it depicts
- Historical Fidelity: While well-produced, the show takes liberties with history, which may not sit well with purists
