In the nearly three
years I’ve had to wait since the end of the superb first season of HBO’s reinvention
of Perry Mason, I’ve had time to reflect on the original series (aided,
I should add by some helpful commentary by John Oliver this past year). I may
have written in an earlier article that Raymond Burr’s version of Mason was a
cliched procedural, a product of the 1950s. I’ve come to think that it’s
possible that maybe there was something subversive about the original that may
make so many think twice about the series they’ve spent more than a half a
century either loving or reviling.
Is it possible that the
original Perry Mason was, in a very subtle way, an indictment of the
criminal justice system at the time? Think about it before you reject the idea.
For over nine years, the police more or less arrested an innocent person for
murder and every aspect of the criminal justice system worked so that they were
facing indictment and basically the world believe that were killers. Perry
Mason was the only person who had faith there were innocent, used the flaws in
the prosecution’s case to prove they had the wrong man, and then managed to
arrange things so that the guilty party confessed in court so there could be no
doubt the prosecution had blundered spectacularly. No one in the criminal
justice system ever admitted they’d made a mistake even after the confession,
they never went so far as to thank Mason, often the same cops were arresting
the wrong person the very next week and Hamilton Burger, despite the fact that
he had prosecuted an innocent person over two hundred times, never suffered any
career consequences for his actions and just kept on going through week after
week with no questions or apparent doubts about it. (Though seriously, if you’re
losing over two hundred times to the same attorney alone, you might want to
seriously consider sending someone else to do take the heat.) For over a
decade, Perry Mason was the only hope you had if you were being railroaded by
the criminal justice system, and its worth remembering that not long after the
show was cancelled, series like Dragnet would start the half a century
march towards the idea of the criminal justice system, especially cops and prosecutors,
essentially walking on water.
So not only was it
exactly the right time for the new version of Perry Mason to return in
the summer of 2020, if you view the original in the light that I’ve just said,
you can make the argument that there’s fundamentally no basic difference between
the new version and the old. The cops are still arresting the wrong people, the
prosecution is determined to railroad them, and will use the media whole-heartedly
to do so. The major difference in a key respect is that the new show is arguing
that what is going on is not a flaw in the justice system but how its supposed
to work. In the premiere of Season 2, a newly sworn-in DA Hamilton Burger
freely tells both Perry and Della Street: “There is no true justice. There’s
the only illusion of justice.” The cops are corrupt and working for the
highest bidder, the prosecution and the judges are in on the scam and the media
is doing everything in its power to hang the defendants in the public eye before
they do in reality. The poor and minorities are being used as easy scapegoats
at the mercy of the rich and powerful. This
has been the reality of our justice system for decades, and perhaps one of the reasons so
many disliked the first season was that the new version was actually saying the
quiet part out loud.
Of course, there are
other reasons, many involving the main regulars. Della Street (Juliet Rylance)
who was just Perry’s loyal secretary for decades has not only been the power
behind the throne (she was essentially keeping E.B. Jonathan’s practice alive
for years in Season 1) she is ambitious, intelligent, and perhaps worst in the
eyes of decades of ‘shippers’ a closeted
lesbian. Hamilton Burger (Justin Kirk) is aware of her secret because he is a
closeted homosexual himself and freely uses Della as a beard in public. Paul
Drake (Chris Chalk) the ultra-competent PI that worked for Perry for over a
decade is an African-American who starts out the show as an LAPD patrolman who endures
racism from his peers and resigns after the first season after he can no longer
face the rot at the department.
And Perry is not the
stoic idealist Raymond Burr played him as for over a decade. When we first met
him in Season 1 at the height of the Depression (the show started in 1931, when
Erle Stanley Gardener published his first short story about him) he was a cynical
PI, a veteran of the Great War, divorced, an absent father and drifting from
job to job. He believed in nothing but his next paycheck at the start of the
series, had to be convinced by his mentor and Della to work on the case, and
was utterly cynical about everything that he faces, both police officers and
even the people he worked with. He essentially managed to pass the bar because
Burger gave him the answers to the California bar exam. He spent much of his
time in his first case unable to deal with his client the more she deteriorated
over the stress of both the trial and the loss of her child. Nor did his work
lead to her acquittal – there was a
mistrial because a colleague of Perry’s bribed one of the jurors to cause a
hung jury. It was not until after this we learnt that Perry was better than he
gave himself credit for – he’d convinced two of the other jurors of his client’s
innocence.
The problem is, as
season 2 begins, Perry is just as lost as he was at the beginning of the
series. He has drifted more towards civil work than criminal, mainly because
the trial took so much out of him. He gets no pleasure out of his job any more
and continues to snap at anyone who tries to help, including Della whose still
walking him through every step of the process. And it’s not until halfway
through the first season we know why he’s in more pain – Emily Dodson, whose
acquittal he managed, has committed suicide after months of sending
increasingly desperate letters to Perry that he couldn’t bring himself to
respond too. Halfway through the season premiere, we see him on a motorcycle racing
as fast as he can towards a guardrail, and we know that he is, if anything,
more self-destructive than he was when he got started.
None of this would work
without the incredible performance of Matthew Rhys in the title role. For six
seasons he was the co-lead of arguably the greatest shows of the 2010s The
Americans, playing Philip Jennings, a Soviet spy in 1980s D.C. Rhys was superb throughout the series because
as much as he believed in his cause, season after season it was clear that he
was haunted by the actions he had to take, lying, usually seducing women who
were key to targets out of duty and increasingly dealing with the fallout. (He
spent much of the second half of the series essentially seducing the teenage
daughter of a State Department official and you could tell it sickened him
rather than tantalized him.) In the series finale, he confessed that he had
never been a good spy. Philip Jennings was not an antihero in the same way
contemporary characters such as Walter White or Marty Byrde were; he was doing
bad things but it was out of a sense of loyalty to a cause and he questioned just
how far his handlers wanted him and his family to go.
In that sense, you can
see that Rhys’ Mason is a descendant (or is an ancestor? The timelines are
tricky) for Philip Jennings. Mason finds himself doing much of what he does
because he has no cause to follow, no true path. At the start of the second
season, the law is providing no more satisfaction to him that being a detective
was. When Burger utters the line I gave above, Mason responds: “Who the f---
wants to be a part of that?” And in a way, that’s as clear a reason as when two
Latino migrants are accused of murdering a millionaire son come to his office in
the previous episode that he not only sends them away initially, but later in that
episode agrees to represent them. The Perry Mason in this series no more believes
in the justice system than himself. He needs to believe in something and that is
why he believes in his clients when no one else will. It’s as much for his
survival as it is for theirs.
At this point in my
review I realize I’ve expended a lot of energy on every part of Perry Mason
but the storyline and the technical aspects. To be clear, both of them are
worth watching if they had been on a series that had nothing to do with Perry
Mason. The story follows Brooks McCutcheon, the son of an LA millionaire who is
essentially a wastrel and a disappointment to his father. His reach constantly
exceeds his grasp, in the Pilot he is trying to get a major league baseball
team for Los Angeles, something that he built a stadium for before he made sure
the league wanted him. (There is a fair amount of joking by baseball saying
that Los Angeles ‘isn’t a major league city.” Brooks was clearly ahead of his
time in that regard, but as we now that institution was as cynical as every
other aspect of life.) At the end of the season premiere, McCutcheon is found dead
in his car.
Two young Latino
vagrants are rounded up and arrested for the crime before the title sequence of
Season 2 airs. When talking about the case with Paul, his old partner (Shea
Whigham continues to steal every scene he’s in), Perry has doubts about the narrative
and the evidence presented. “I can see your mind working,” Paul says, and that
night he breaks into the locker with the car and works it out in his head. The
next day, he goes to see the clients and works out very clear that they couldn’t
have killed McCutcheon and asks about the evidence. One of the key elements – a
gold coin of McCutcheon’s we saw him flipping in the premiere – was found in their
shanty-town ‘home’. They say found in the garbage and planned to hock it. “I
would have done the same thing,” Perry tells him. It’s 1932. Anybody who found
it would.
The second season leans
even more into the reality of the depression, and the haves and the have-nots.
Shots of Della Street going to the Gonzalez’s home contrast with her attending
a fundraiser with Hamilton among those we would now call the ‘one percent.’
Paul, who was never able to find as much work as he hoped after Perry walked
away from criminal cases, has moved into his brother’s home with the rest of
his family. The first two episodes feature the head of a grocery department absolutely
determined to run any competitor he has out of business, including taking his
store as payment. Perry and Della earn the money they’ll need to mount a defense
to help this man ‘expand his enterprises’. (I wonder of if Wal-Mart started
this way?) A major storyline involves a ship where people gamble all night
while the cooks are working with horrible produce.
All of the performances
continue to be top notch, from Rhys on down. In addition to all the actors I’ve
already mention, the series continues to be a fine outlet for extraordinary character
actors, from Sean Astin and Hope Davis (infinitely more interesting then her
character on Your Honor) Eric Lange, who continues to exude sleaze for
the second straight season as a cop on the take, and Gretchen Mol, showing up as
Perry’s former wife, trying to find the best for their son who we met for the
first time last night.
There have been some
complaints about the second season, some meritorious, some far less so. One of
the more foolish of the latter is that this show is more mystery than courtroom
drama which, if you watched the original, you should know far too well that Raymond
Burr was not an attorney the same way that say, Bobby Donnell or Mike Kuzak
were. A more legitimate one is that the
series is a bit darker than some would like and that its not clear whether all
of the storylines will pay out. I can’t exactly argue with the former charge
and I have my own doubts about some of the romantic subplots brewing. I’m not
entirely certain for the reason for Della Street’s lesbian dalliance (except
perhaps to mirror that she is cracking under the burden of trying to do too
much in private) and while I do want to see Perry happy with someone, I remain
unconvinced that this prospective relationship with one of his son’s teachers
is the way to go.
That said, I’m still
overjoyed at the return of Perry Mason. This is the kind of series HBO,
Peak TV and the crime drama all need at the same time, and they are all present
in a superbly acted, written, and directed series. In an earlier article I said
that too many ‘flashier’ HBO dramas get award recognition from the Emmys even
though they are unworthy and that comes at the cost of other HBO dramas. I’m
pretty certain this will be the case this year: Last of Us and House
of the Dragon are already huge critical and popular success, Succession will
no doubt dominate no matter what the final season is like, and who knows what
the Emmys will do with The White Lotus. But there is something I find infinitely
preferable about a series like Perry Mason a series that, at its core,
is far closer to the original shows that started the revolution, is more
faithful to its source material than some might believe it to be, and doesn’t
try to be anything greater than it is.
HBO is going through a
transition – both Succession and Barry will be gone by the end of
2023, it will be awhile before Season 2 of either House of The Dragon or
Euphoria come back and who knows when the next installment of The Last
of Us will come. It remains to be seen if there will be another season of Perry
Mason; part of the reason it took so long for the second season was (in
addition to everything else) it took some convincing to win Rhys back for
another stint. I really hope both he and
the network can be convinced for a third season and beyond. Hell, it’s not like
there’s any shortage of source material.
My score: 4.5 stars.
No comments:
Post a Comment