Chris Connor reviews The Death of Bunny Munro…
Nick Cave is known the world over for his music, especially his work with The Bad Seeds, and film scores with Warren Ellis. Perhaps it’s not as well known that he is also an accomplished novelist and his second novel, The Death of Bunny Munro, originally published in 2009, now forms the basis for a much-anticipated Sky Original six-part series with Matt Smith in the titular role.
The series is set in and around the Brighton area, where Cave has called home for many years, and sees Smith as a lothario and con artist who absconds with his son following the death of his wife. Smith is charisma personified as the charming but dangerous Bunny. He is self-centred and incredibly egotistical, thinking only of himself and his next scheme. Certainly not a natural environment for Bunny Junior.
The series lives and dies with Smith’s performances and he continues to prove there is far more to him than Doctor Who, following his roles in The Crown and House of the Dragon. He is electrifying here and is ably assisted by Sarah Greene as Libby, whose spectral presence hangs over proceedings as we flit between the duo’s trip through Brighton and Bunny and Libby’s initial relationship. Rafael Mathé is a real find as Bunny Junior, holding his own against Smith, sharing fine chemistry.
There is so much to appreciate in the show’s style as it keeps us guessing where it is going next. The Brighton locations wonderfully accompany the seedy, dark story, while the soundtrack is a treasure trove of indie gems and deep cuts from the likes of The Cure, Primal Scream, The Fall and The Waterboys. Cave and Ellis are on scoring duty, adding a moody, typically impressive sonic backdrop.
The Death of Bunny Munro is a thrilling adaptation of Cave’s novel, bringing it to life with plenty of panache, led by a blistering leading turn from Matt Smith and a fantastic supporting cast. There is a frantic, off-kilter quality to it that keeps the audience on the edge of their sofa. Fans of Cave’s novel and Smith will be delighted with its translation to the small screen, full of chaotic energy and charm. It’s a perfect vehicle for Smith’s magnetism.
Chris Connor
