As a passionate connoisseur of off-the-beaten-path mysteries and a devoted fan of gritty, engaging narratives, I must say that HBO’s “Get Millie Black” has truly captured my heart. Born and raised in Jamaica, much like the series’ creator Marlon James, I can’t help but feel a deep connection to the rich tapestry of characters and settings portrayed in this captivating drama.
A girl who vanished mysteriously. A detective driven by unexplainable memories from her turbulent past to find the missing. An unusual team-up; strict and critical superiors; a revelation that what appeared to be an individual incident is in fact linked to a broader scheme.
HBO’s “Get Millie Black” serves as a vibrant, energetic demonstration of how outdated storylines can be refreshed when you select a location that audiences haven’t grown weary of, create characters who authentically emerge from this setting, and maintain a balance between the developing mystery, escalating tension, and intricate plot details.
The five-part series seamlessly adapts Booker Prize-winning author Marlon James’s (“A Brief History of Seven Killings”) work for television, while providing a prominent acting role for Tamara Lawrance. It swiftly establishes itself in the enjoyable niche of lesser-explored mystery stories (comparable to AMC’s “Dark Winds” and HBO’s “True Detective: Night Country” and “The No. 1 Ladies’ Detective Agency”). This series demonstrates that I’m not growing weary of the genre, but rather dissatisfied with routine procedurals that restrict the genre to Chicago, New York, and Los Angeles.
Lawrence portrays Millie-Jean Black, a character born in Jamaica who was relocated to London during her teenage years, eventually rising through the ranks to become a detective at Scotland Yard. Despite her success, she harbors constant guilt over abandoning her gender-nonconforming sibling, Orville, who remained with their abusive mother. This guilt intensifies when she learns that Orville has passed away. Upon the death of their mother and facing some unfortunate events at work, Millie finds solace by returning to Jamaica, where she takes on a new role in the police force based in Kingston. During her stay, she uncovers a shocking truth – Orville is alive and goes by the name Hibiscus (Chyna McQueen), engaging in sex work within the vibrant LGBTQ+ community known as ‘the Gully’.
After finding a steady groove in her professional life alongside partner Curtis (Gershwyn Eustache Jnr), Millie struggles to find harmony in her personal life as she navigates the complexities of mending fences with Hibiscus, a man who unabashedly carries his own troubles. Tormented by memories of her old life and the city that once was, Millie finds solace in her work, hoping it will restore balance. When word reaches the precinct that a promising young girl (played by Shernet Swearine as Janet) has been missing for two weeks, Millie embarks on a journey across the city, from seedy nightclubs to the lofty homes of the local high society. The pursuit of justice in this case becomes increasingly elusive, made more challenging when an investigator (Joe Dempsie as Luke) arrives from London, also chasing the same suspect who has emerged as Millie’s prime lead.
James, born and nurtured in Kingston with a mother who was a detective, is committed to portraying this environment authentically, including the feeling of enforcing laws in a place where those laws were created to oppress the colonized populace. The play is particularly impactful when it delves into the experience of having one’s entire identity labeled as criminal, such as in Hibiscus’ quest for personal growth amidst a culture that forces her to live in a sewer, or the dynamic between Curtis and his partner in a nation where same-sex relationships face both social and legal backlash.
The skillful writing background of the author is apparent in directing ‘Get Millie Black’. Each installment features a different lead character as narrator, and the narration is rich with vivid metaphors and symbolism – there are numerous references to ghosts, yet relatively few actual apparitions. However, it maintains a grounded connection to reality through a central plot that’s raw, violent, and admittedly rather routine by the fourth of the four episodes shared with critics.
As a fan, I must admit that while some plot twists were predictable and the revelations followed a familiar pattern, James skillfully handles the genre with reverence. The dialogue sparkles, masterfully weaving theatrical wit, authentic Jamaican dialect, and the poetic essence of his writing into each character, making them all unique, even if their lines are limited. It’s intriguing that many actors in this production, led by Dempsie (Gendry from Game of Thrones) who is relatively unknown, lend an extra layer of realism to the story, enhancing my immersion in the narrative.
McQueen, in her first screen credit, plays Hibiscus with a defiance that prevents her from ever feeling like a victim or stereotype. She finds notes of humor and rage alongside her character’s internalized pain. The series also marks a compelling early role for Swearine, whose Janet starts out symbolically important but becomes increasingly crucial to the story. Lawrance, one of the leads in the “Education” chapter of Steve McQueen’s Small Axe, is tremendously confident as the still center to the unfurling wildness of the story. Her Millie is imperfect, damaged and human, not to mention quite adroit at code switching with her accent and vernacular.
Shabier Kirchner, the cinematographer known for working on Small Axe with Lawrance, is also involved in Get Millie Black, working alongside Kanamé Onoyama. In partnership with directors headed by Tanya Hamilton, they opt for an unconventional, non-touristy viewpoint, focusing more on neighborhoods and residential spaces rather than beaches and resorts. Despite James’ propensity for lengthy dialogue, the series maintains a swift pace – each episode lasts no longer than 47 minutes – and Carly Paradis’ score provides a consistent rhythm throughout.
I’m hoping that the final episode of “Get Millie Black” doesn’t tie up too many loose ends on HBO, as I’m not necessarily eager for the next case involving Millie Black, but I believe there are still plenty of ghosts left for her and Hibiscus to exorcise. With five episodes, this world feels like it’s just getting started.
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2024-11-20 17:28