Writers: Josh Appelbaum, Scott Rosenberg & André Nemec (based on an original screenplay by Matthew Graham)
Director: Gary FlederCast: Jason O'Mara (Detective Sam Tyler), Harvey Keitel (Lt. Gene Hunt), Michael Imperioli (Detective Ray Carling), Jonathan Murphy (Detective Chris Skelton), Gretchen Mol (Annie Norris), Lisa Bonet (Maya Daniels), Michael Mulheren (Patrolman), Clarke Peters (Captain Bellow), Michael Bertolini (Colin Raimes), John Cenatiempo (Sizeable Ted), Mike Star (Nelson), Ken Marks (Scientist), Seamus Davey-Fitzpatrick (Young Colin Raimes), Phyllis Somerville (Mrs. Raimes), Carrie Getman (Dora Keene), Ramsey Faragallah (Raimes' Lawyer), Aru Banks (Boy Two), Austin Basis (Willy Kramer) & Francisco Burgos (Boy One)
"I am a little nauseous, to tell you the truth. But youwould be, too, if you took the last flight in from 2008."
-- Sam Tyler (Jason O'Mara)
It will probably never beat the British original in terms of poetic beauty, but there's every chance an American remake could succeed on its own terms. After a derided L.A-set pilot from David E. Kelley that necessitated sweeping changes to production, cast and location, the producers behind October Road (Josh Appelbaum, Scott Rosenberg and André Nemec) offer their take on the BBC's timeslip '70s cop show…
Ironically, I feel like I'm stuck in a time-loop when discussing Life On Mars' premise. But, for the few people still requiring some guidance, here goes: modern-day New York detective Sam Tyler (Jason O'Mara, held over from the first pilot) is trying to catch serial-killer Colin Raimes (Michael Bertolini) with the help of his colleague/girlfriend Maya Daniels (The Cosby Show's Lisa Bonet). After Maya herself is kidnapped by Raimes, Sam is hit by a car as he rushes to help her... and wakes up in 1973, where he's accepted by the local police department as a new transfer.
Is he mad? In a coma? Or back in time? Well, if you've seen the UK original, you'll have your answer -- although the US producers insist their remake will take some unexpected deviations to sustain the concept. A wise move, as the BBC version arguably pushed its luck with a mere 16 episodes. There's certainly nothing in "Out Here In The Fields" to suggest a radical reinvention is underway, though -- as it still seems likely Sam's in a coma (a man on TV speaks to Sam like a doctor addressing a patient), but I'll withhold judgment for now...
To put aside knowledge of the BBC original is impossible, so it's best to address the differences and similarities between the two shows. Unlike the disastrous pilot from David E. Kelley, this version is far more successful at developing a heartbeat and resonance. The historical accuracy is much more detailed (even surpassing the original show, thanks to a larger budget) and '70s NYC already promises to be more captivating and immersive than grotty '70s Manchester.
But maybe that's missing the point; as Life On Mars originally thrived on revealing how depressing and un-PC England was 30 years ago. In comparison, NYC still looks hip and cool (only with more afro's); not quite the same cultural backwater. If it wasn't for Sam's imperative to get back to 2008 and rescue his girlfriend, you suspect he might embrace the era and start acting out Starsky & Hutch fantasies.
The cast are a mix of good, promising and poor. The two leads pose the biggest challenge for the longevity of this series. Irishman Jason O'Mara isn't bad, but he's a more capable and handsome character compared to John Simm's benchmark. Americans like their leads with chiselled good-looks and confidence, but it that as interesting in this fish-out-of-water context? I'm not suggesting the remake needs to totally copy the BBC version to work, but the US Sam Tyler doesn't seem half as awkward or perplexed by these events. He actually takes things in his stride, and doesn't seem particularly bothered half the time.
For many, Hollywood legend Harvey Keitel is the star attraction, making his TV debut to play Lieutenant Gene Hunt; the archetypal old-school cop whose methods and attitude clash with Sam's enlightened 21st-century views. Keitel's presence is an obvious draw, but it soon becomes apparent that the American producers have missed the primary appeal of Life On Mars…
The series was never really about the time-travel; it was about two men from different times forging a bond based on mutual respect, despite their obvious differences. Sam learned old-fashioned values and gut instincts from Gene; Gene learned tolerance and cutting-edge skills from Sam. Along the way, Gene became a surprise pin-up for middle-aged women and a cult hero for men (who enjoyed seeing a bloke assert his masculinity in an age of the metrosexual). Meanwhile, the general public were reminded of simpler times when Britain's cops weren't hogtied by paperwork and human rights issues.
In Life On Mars US, the 69-year-old Keitel isn't going to send any female hearts fluttering, and he lacks Glenister's imposing presence and charm. You spend most of this episode hoping Keitel doesn't break a hip (indeed, a lot of the action is pushed O'Mara's way) and the ying-yang relationship between Gene and Sam looks wrong. The first time we saw Glenister's Gene Hunt, he strode out of his office like an angry bear and punched Sam in the gut. The first time we see Keitel's Gene Hunt, he walks out of his office like a confused pensioner, fanning himself like a geisha!
While the central duo's sputtering dynamic is cause for concern, the supporting characters are generally very good. "Henchmen" characters Ray Carling and Chris Skelton appear (having been inexplicably ditched from the first pilot), played here by Michael Imperioli (The Sopranos) and Jonathan Murphy. Imperioli makes a particularly strong impression despite limited screentime as Ray, eclipsing his British counterpart Dean Andrews with ease. Meanwhile, Murphy tones down Marshall Lancaster's decision to play Chris as a brainless twerp, being merely quiet and sweet.
Gretchen Mol (The Notorious Bettie Page) takes on Annie "No Nuts" Norris (the feminist police officer originated by Liz White), and the talented actress manages to subdue memories of that original performance. That said, I always believed White and Simm could be lovers, but Mol and O'Mara don't make the same connection here. Still, Mol is perkily attractive and might develop some chemistry with her lead in the future.
The episode's plot remains largely unchanged from the BBC pilot, with just a few deviations and embellishments -- mostly unnecessary, although I enjoyed the denouement heart-to-heart Sam has with a little boy who will one day become his girlfriend's kidnapper. I always thought this scene was a missed opportunity in the original episode. The pilot is also bookended by the World Trade Center to symbolize the time-jump from '08 to '73 – and it worked very well, avoiding the potential to be a cheap trick.
Indeed, the WTC inspired my overriding thought when considering the main difference between the UK and US versions of Life On Mars. For Americans, the premise has developed a clearer wish-fulfilment angle, with audiences being taken to a time when home soil terrorism and global financial turmoil were unthinkable and the Twin Towers stood proud as emblematic pillars of capitalism. For Britons, the show was never about visiting a rose-tinted past (or else it would have been set in the sexy '60s). We enjoyed seeing a not-too-distant past where the police were a force to be reckoned with, not a service to be ignored. In the US, the disparity between then-and-now policing (in terms of attitude) isn't quite as stark, so the show is more about giving people a weekly hit of nostalgia for those prosperous, relatively safe and secure times.
Overall, I certainly enjoyed this episode and it was a notable improvement over the unaired pilot, if still nowhere near as convincing and beautifully acted as the BBC version. But, seeing the concept evolve and diverge from the original should be interesting, and there's a chance the disappointing chemistry between O'Mara/Keitel and O'Mara/Mol will be set right. Time well tell...
9 October 2008
ABC, 10/9c
