Martin Carr reviews the first episode of His Dark Materials…
Available in forty languages and following on from the recent release of the second novel in his Book of Dust trilogy, Philip Pullman comes to television. Opulent in scale, polished in production and contemporary in appearance His Dark Materials sets tone and character quickly. Directed by Tom Hooper best known for The King’s Speech it represents a fifty million pound investment into Pullman’s world which is only marginally mainstream.
By corralling a solid cast Hooper uses old fashioned storytelling to comment on religious oversight and personal freedoms whilst unpacking essential character elements. Ancient power struggles between church and state sit alongside talk of heresy, acts of murderous intent and kidnapping. By skilfully adapting the complex narrative screenwriter Jack Thorne also offers glimpses of things to come without drying out Pullman’s source material. Social strata is subtlety revealed whilst more essential information filters in. Egyptian settlements beyond the walls of Jordan College are introduced carefully alongside daemons. An intrinsically linked and unique animal which is both companion, characteristic and personal reflection of us.
Industrial airships, sedated academia and fabled prophecies are offset by Dafne Keen’s Lyra who is all innocent wile and precocious intellect. By placing Keen in the central role who many will remember from Logan they have made a smart choice. For someone so young she is in possession of an on screen intelligence which belies her age or experience. Opposite James McAvoy’s Lord Asriel in early scenes there is a real sense of chemistry as both actors work to bring things alive. Accents are spot on while her take on the character will be instantly recognisable to fans of Pullman’s work. A trait which carries on through McAvoy’s Asriel who instantly grounds this adaptation through performance.
Surrounded by Jules Verne levels of invention His Dark Materials feels fully realised, richly detailed and totally engaging from the outset. Characters come and go with regularity but they come from such a compelling piece of literature with such an undeniable lineage that nothing feels superfluous. Unlike George R.R. Martin, Philip Pullman will complete his opus before this adaptation is complete and no doubt be on hand to offer advice throughout.
With seven hours of season one remaining and a second run already greenlit there is a sense that this world is slowly being etched for us. From the safety of isolated academia to the hallowed halls of an ever watchful Magisterium His Dark Materials feels established yet organic. In time Pullman’s story will surely prove itself much more than an old fashioned fable with purpose but that was always his intention.
Martin Carr
