So just what was it about season two of HBO’s True Detective that caused such a monumental ruckus of ruthless criticism? Well, who can say. I imagine it had something to do with the dark, difficult and byzantine way that creator Nic Pizzolatto presents the material. Maybe it’s the fact that it had to follow the lightning in a bottle, southern gothic, out of left field mastery of season one. Simply just the shift in tone and setting? I’m reaching for straws here because the hate and rejection that this brilliant piece of television has amassed always flew over my head. This is deep, dark LA noir at its finest, most gorgeously dangerous and I love every challenging, impenetrable episode to bits.
The setting shifts from bayous of Louisiana, the amount of lead characters multiplies significantly and where there was once eerie folk horror and occult conspiracy we now find decadence, corruption most high and a focused, implosive inwardness in exploring each individual the narrative focuses on. Colin Farrell is unbearably intense as LA cop Ray Velcoro, a haunted addict who has fallen from the grace of both the department and his family, but isn’t down for the count quite yet. Vince Vaughn is emblematic of every career criminal trying to go straight as Frank Semyon, a stubborn small time kingpin with dreams of scoring big in California real estate. Rachel McAdams is haunted as Ani Bezzerides, a cop with a tragic past and the deep set trauma to prove it. Taylor Kitsch is Paul Woodrough, a pent up special ops veteran turned state trooper who rounds out this quartet as they’re faced with the kind of miserable, insurmountable odds one always finds in the best kind of film noirs. There’s an unsettling, decades old conspiracy afoot in the fictional yet uneasily realistic county of Vinci, CA, a brooding, festering menace that seems rooted in the now booming transportation system that has taken the economy by storm. Our heroes struggle to fight treachery, debauchery and excess run mad everywhere they turn, for their souls and California’s itself alike as the slogan for promotional material “We get the world we deserve” seems stingingly apparent throughout.
Farrell is my favourite as Velcoro, the anxiety ridden badass who displays the horrors of his past in the manic whites of his eyes and drowns them out with enough booze and blow to feed a city’s collective habit. He’s an antihero type, moonlighting as an enforcer for Vaughn but maintaining a fierce moral compass when all else is naught. Vaughn feasts on the stylized dialogue here and produces verbal poetry so good it hurts and you hit the rewind button just to hear his delivery again. His Frank is a hard, jaded piece of work with a soul hiding beneath the layers of anger and distrust for the world around him. McAdams’s Ani comes from a place of childhood trauma so unthinkable that they barely show it in hushed flashback, and it’s apparent in her caged animal body language, by far the actress’s most affecting work. Kitsch makes the slightest impression of the four and his arc didn’t seem as immediate as the others but he still did a bang up job in intense physicality. After the success of season one a host of excellent actors were drawn to this project, standouts here include David Morse as Ani’s commune leader dad, Kelly Reilly as Frank’s intuitive wife and second in command, Rick Springfield (!) as a shady plastic surgeon, Ritchie Coster as Vinci’s terminally alcoholic mayor, W. Earl Brown, James Frain, Ronny Cox, C.S. Lee, Lolita Davidovitch and the legendary Fred Ward as Ray’s bitterly prophetic ex-cop father.
Pizzolatto spins a very different kind of story here, one composed of long glances, deep shadows, arresting establishing shots of Vinci’s sprawling highway system, as dense and tough to navigate as the season’s central mystery, which isn’t one you get a sense of in just one, two or even three viewings. Impatience and frustration are easy to understand with this narrative, but one shouldn’t write off this piece so easily and I’m sure that’s what happened. A few people don’t have the time to invest in it, get hostile and throw some negative reviews out there and before you know it it becomes cool to hate and there’s folks throwing around words like ‘flawed’ before they’ve attempted a single episode, but that’s the way the internet works I suppose. Balls to them though, this is a deliciously dark, highly stylized, very emotional ride through a world whose themes, intentions and true colours aren’t readily visible until you descend several layers deep alongside these compelling characters. It’s thoughtful, pessimistic yet just hopeful enough to keep a candle lit in all that darkness and has some of the most beautiful acting, camera, dialogue and music work I’ve seen from anything. Masterpiece.
-Nate Hill
