A mysterious culture, closely pulled by its past and traditions, but firmly isolated from the rest of society, is a cornerstone of mystery tales. So is the man, intrigued, frightened and seduced by the unfamiliar. This is the basic arrangement for Monday night’s The Third Day, a six-part HBO miniature presentation. Jude Law is staring as Sam, the first man we encounter, who has stopped along a deserted road in the center of a frenzied telephone call. We soon discover that in his home he has issues, but in his history he is still on his way to complete a ritual linked to sorrow. He meets a young girl in distress and wishes to support her and take her home, so he goes to Osea Island. Sam, you guessed, finds it weird, distracting, deceptive, full of mystery.
There are two sections to the story. We will follow Sam ‘s story for the first three episodes, called the “Summer,” and follow him and then follow him for 3 episodes called Winter. It would not be fair to describe how everything comes together in one novel: Helen (Naomie Harris) and her daughters — who are also located in Osea Island [the island of Ocea].
The Third Day is an important and boring mystery early on. The question is why did that person do it? About what does he talk? What is elusive, elusive? — That ultimately they will have to answer to satisfy themselves. In the first five series, several of these questions have been answered and are regularly related. The problem is that their story is not so interesting, nor is it outside of the … Well, the usual reasons for a bleak local culture.
It reminds of several other tales of people who are struggling in towns from where they can actually skate posthaste before you can almost visualize the flow map for where it all is headed at the beginning and at the end it will not have to travel far away from the board.
The Third Day: Law is a talented actor who has grown his reputation from an extremely young age, and definitely one of his less glamorous features. (Let us face him, however: he still is one of the most symmetrical players in our faces.)
In a way that makes her beauty tragic (like in The Talented Ripley), or turns his charisma into something more disgusting (like in Spy) it is often more interesting. Sam is definitely a man with a suffering past who gives law plenty of space to emotion, but is his character particularly complex? I am not certain. I am not certain. It often feels like the Third Day is lost, with the dumb feeling that the envelope is awaiting you, in which you must feel welcomed by the characters’ fate.
Emily Watson is a good protective mother, she is amused as one of the city people with a Red Flag to keep in mind and Katherine Waterston, as a woman who explains to Sam that she came to Ocea to learn it, is just the right thing to normally. It may have been smart, perhaps in order to shift the point of view, to select some other characters rather than Sam to bring the first three episodes.
It is difficult to knock an exhibition which knows and carries through his mood (in that case, heartbreaking fear). Genre pieces sound like they are genres to which they belong, and this is unfair to them. There is something about these five instalments that just never really takes off (I want to tell you if the sixth is solving the problem but who knows?). There is the atmosphere, but the revelations are rather disappointing. You want a mystery resolution to be expansionary, not just a question with multiple choices in which the answer can eventually be circled.