Martin Carr reviews the third episode of Carnival Row…
There is something unique about episode three which circumvents traditional narrative expectations and mixes mythology with historical events. Flashes of fantasy seep through the snowy terrain as Anoun is brought to life and Burgue soldiers approach a holy temple. A brief hat tip to Two Towers is acknowledged while other details open up references by cinematic and otherwise later on. This flashback segue which accounts for all bar five minutes of the running time is more than backstory and feels weighty, expansive yet accessible.
Our central protagonists make an appearance and certain dictates are fulfilled for story purposes while the central driving force behind Kingdoms of the Moon happens elsewhere. More than anything Carnival Row is turning into a televisual discussion around opposing opinions. Science and industry versus religion and the individual underpin any lighter elements giving this series an increasing gravitas. At first glance things appear unconnected, all grandiose show with no tell, yet slowly Carnival Row is revealing itself as more than the sum of singular parts.
Historical touchstones include World War I battles, Nazi invasion and mechanised methods of murder which hark back to World War II. On first impressions it seems the Fae are steeped in learning, cherish accrued knowledge and hold stock in individual achievement, whereas The Burgue and Pact lean heavily on industrialised advance. In other words this is a retrofitted ideology taken from the time of Austen and Eliot, where debates over science versus the individual raged unrelentingly in academic and political circles.
On that basis it could be argued that Carnival Row is addressing modern day political issues, roles of the individual and what part society plays in that. Going on that rationale the exceptional production design, fragmented structure and slow burn character building makes sense. A social commentary piece observed through the prism of fantasy narratives is not only disarmingly engaging, but educational and informative without feeling overtly preachy. A subtlety which is appreciated as the love story between Philo and Vignette gains focus and both actors are given room against that backdrop to breathe life into their creations.
Bloom takes advantage of his Middle Earth legacy which feeds into those reactions when he first approaches the Fae holy place, whilst Delevingne proves continually impressive elsewhere as Vignette. Other mythical creatures also make their first appearance here and that is unfortunately where things fall down slightly as the FX work is substandard and draws attention which is unfortunate. However this is a minor niggle when placed in context alongside everything else, as Carnival Row finally lays down a creative statement of intent.
Martin Carr
