As a seasoned viewer with a penchant for shows that tug at my heartstrings and tickle my funny bone, I found myself utterly captivated by the delightful charm of “A Man on the Inside.” Having spent years observing the intricacies of human behavior, I can confidently say that this series strikes a beautiful balance between the poignant and the playful.
A week following the sensational TV event where either Logan or Jake Paul fought Mike Tyson, breaking viewership records (regardless of my personal feelings), Netflix is now offering a far more empathetic depiction of the struggles associated with aging and the threats posed by elder abuse.
You might find it common among television critics to humorously rename Mike Schur’s creation, “A Man on the Inside” as “Only Robberies at the Nursing Home“. However, this isn’t a criticism but rather a form of high praise.
Similar to “Only Murders in the Building,” “A Man on the Inside” offers a humorous exploration of individuals who alleviate their solitude by immersing themselves in a well-loved genre. This series serves as an ideal platform, simultaneously catering to its leading man’s popularity and the exceptional acting talent within its ensemble cast.
It’s also exceptionally unique as it’s a full-length adaptation of a movie where the transition to a series seems completely warranted. Expanding the narrative doesn’t just cater to an existing fanbase, but instead enriches the story itself.
In a way, it’s advantageous that Schur opted to remake a work which isn’t traditionally considered Intellectual Property. The film A Man on the Inside is inspired by the 2020 release The Mole Agent. However, one might question how much audience a typical Chilean documentary, even an Academy Award-nominated one like this, typically attracts. It’s an amusing thought that the increased visibility for Maite Alberdi’s film could be Netflix’s way of making up for winning the Oscar that year with My Octopus Teacher, a movie that many consider to be among the weakest ever nominated in the documentary category. But that’s beside the point.
In the series titled “A Man on the Inside“, Ted Danson portrays Charles, a former San Francisco engineering professor who’s been growing increasingly introspective since the passing of his wife a year prior. His daughter Emily (Mary Elizabeth Ellis), who has had a mild yet somewhat tense bond with her father, encourages him to venture out and try something fresh.
Next, Charles spots an advertisement in the newspaper. “Required: Investigation Aide. Seeking males between 75 and 85 years old. Essential qualification: Ownership of a phone.
It was discovered that the notice originated from private investigator Julie (Lilah Richcreek Estrada), who works on behalf of her client, Evan (portrayed by Marc Evan Jackson). Evan is concerned that his mother’s prized necklace has been taken, and he requires an individual skilled enough to infiltrate the Pacific View Retirement Community for a month, with the goal of recovering the jewelry and identifying the thief.
As a gamer myself, I’m at an age where I can handle complex plots and enjoy a good challenge. I’ve figured out how to send photos from my phone like it’s child’s play. Lately, I’ve found myself drawn to the world of espionage, as evidenced by the John le Carré novel I’ve been engrossed in. Spy games are my new obsession!
Following some training sequences and a chat with facility manager Didi (Stephanie Beatriz), Charles settles into Pacific View, ready to interact with the staff and residents who exhibit a range of emotions such as excitement, melancholy, boredom, and overexertion. Some are lonely, while others are sexually active. Essentially, they’re multifaceted individuals, and it’s Charles’ responsibility to identify the suspects and unravel the mystery. Oh wait, mysteries are what they solve in Only Murders in the Building. Given his fondness for spy tales, this assignment is right up Charles’ alley. However, it soon transcends mere work.
I found Alberdi’s documentary to be powerfully moving yet structurally disconcerting. The intricate planning required to sneak the title character mole agent and multiple cameras into the senior home kept me mindful of the artificial nature of scenes intended to be authentic. Although the narrative was engaging, and the characters were well-developed, the frequent reminders of its production process made it challenging for me to accept its label as a “nonfiction” piece.
The creative team, led by Schur and boasting numerous writing and directing credits from shows produced by Schur like ‘The Good Place’ and ‘Parks and Recreation’, can now freely abandon any false facade and focus on meticulously constructing a nuanced mood instead.
In this program, there are jokes about aging that are quite apparent and wide-ranging. However, they adhere to specific guidelines. While the show may encourage laughter at elderly individuals struggling with modern technology like phones, or their fondness for loud candies, it doesn’t portray them in a disrespectful or pitiful manner. Instead, it presents a mature depiction of aging on television.
90% of the time, the series “A Man on the Inside” doesn’t seem to mock its characters due to their age, and it rarely comes off as condescending or cruel. This isn’t surprising given that Mike Schur’s worldview is generally quite compassionate, particularly towards most characters except Councilman Jeremy Jamm.
Moreover, this comedy carries a persistent undertone of sorrow and unease. The character, Charles, is grappling with the loss of his wife who succumbed to Alzheimer’s complications. The series and Charles himself give deep consideration to the gravity of dementia, a theme that resonates profoundly from both the show and the documentary, reflecting real-life situations. Similarly to a transitional home, characters pass away and health deteriorates.
After five, ten, or twenty people leave, it becomes something you get used to seeing in your daily life, Charles.
Frequently, “A Man on the Inside” aims to evoke laughter and tears from its audience. While walking the tightrope of emotional manipulation versus overt sentimentality can be perilous, the show usually manages to keep things balanced appropriately. You’re seldom left in doubt that it’s trying to tug at your heartstrings, but when those moments make you tear up, they often feel genuinely earned – especially considering there are only eight episodes to establish connections.
The film A Man on the Inside gains an edge through its lesser-known yet potent advantage: the casting directors Allison Jones and Emily Buntyn. Stephen McKinley Henderson’s captivating portrayal of Calbert, Charles’ backgammon companion, is a testament to the richness of characters that these experts can bring to life. If this film were merely a buddy comedy featuring Danson and Henderson exploring various San Francisco locations without any additional plot, I would find it enthralling enough to watch endlessly.
It’s delightful to witness Sally Struthers displaying both playful antics and profound emotions. It’s heartening to recognize Margaret Avery’s captivating stardom, appreciate Susan Ruttan’s ability to excel in comedy or drama, and observe that familiar faces like Getz, Lori Tan Chinn, and others can take center stage as well.
In Hollywood, aging doesn’t have the same implications as it does in everyday life in Chile. It’s challenging not to suspect that despite many cast members being in their 70s, they often appear more youthful than expected. Yet, should we blame Ted Danson for finding it difficult to accept him as a 76-year-old, let alone a retiree, when the last decade of his career has been incredibly active and fruitful?
The narrative of “A Man on the Inside” heavily depends on Danson’s skill in portraying Charles’ exuberance over spycraft, his hidden sadness, and his transformation as he embraces a new environment. Notably, he is both humorous and suave, embodying a character who could effortlessly attract all the female residents in a retirement community.
His interactions with Ellis are delightfully sweet, while those with Estrada, who plays a spiky character brilliantly, add great comedic spark. If you’ve only known Beatriz from Brooklyn Nine-Nine, she might surprise you in this role – though for those familiar with her real-life persona, her performance here will simply highlight her versatility. The sixth episode showcases this versatility particularly well.
Following eight gripping episodes, I find myself in a unique position where I’m comfortable with either wrapping up “A Man on the Inside” neatly or setting the stage for another season. It’s much like the intriguing series “Only Murders in the Building,” where there are open-ended possibilities, but also a risk of overstepping boundaries with any attempts at repetition. Yet, I can’t help but feel eager for more adventures.
For those viewers who find the show enjoyable but yearn for a bit more humor, remember to tell off Netflix’s Autoplay feature and watch each episode right up until the very end of the credits. If you’re familiar with Schur and his crew, you’ll understand they appreciate humorous names.
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2024-11-21 11:25