Executive Arts Editor
Television is littered with crime dramas, and while the rather uninspired name “True Detective” would appear to represent yet another sterotypical cop show, the result proves anything but.
With his first venture into television, author-turned-T.V. writer Nic Pizzolatto demonstrates the talent of an industry veteran in Home Box Office’s new premiere, “True Detective.” Pizzolatto’s philospohical writing proves thought-provoking and distinctive, going hand-in-hand with the show’s Hollywood-level actors and somber setting.
Designed as an anthology series, the first season of “True Detective” follows detectives Rust Cohle (Matthew McConaughey) and Martin Hart (Woody Harrelson) in Louisiana. The duo investigates the murder of a young prostitute, exploring the many different aspects of the poverty-stricken setting for leads and the possible connection to a satanically-influenced serial killer.
Pizzolatto’s writing shines brightest in dialogue, as Cohle constantly goes off on tangents that vary from discussing flaws within religious institutions, and even more encompassing, the pointlessness of existence. One moment where Cohle and Hart attend a tent preaching evolves into a discussion over the ability of religious institutions shaping the views of the uneducated and poorer classes. Such cynicism proves to be the show’s foundation, as it helps to sell the bleak tone and constantly introduces intriguing topics.
As Cohle, McConaughey is stoic, with a grim expression and attentive, ominous stare that always appears to be scanning Cohle’s surroundings. These nuanced details are unsettling, while McConaughey’s ability to never break character furthers this feeling. His acting here not only demonstrates his range, as he is generally limited to playing a smooth-talking ladies’ man, such as his roles in “Magic Mike” and “The Wolf of Wall Street.” More importantly, this sells Cohle as such a unique and haunting character, as it is one that would just come off as absurd in the hands of a more inexperienced actor.
Almost the entirety of the show, thus far, follows the detectives looking into possible leads and interviewing suspects, which in any other show would be bland and expected; here, it is made intriguing. Each lead the detectives follow brings them somewhere new, such as a sleazy bunny ranch or the home of a Ku Klux Klan associate. This set-up proves brilliant, as it allows Pizzolatto to continue the central narrative, while constantly expanding his pessimistic Southern setting.
While so many shows are generally confined to New York and Los Angeles cityscapes, “True Detective” feels both refreshingly and authentically Southern. This is accomplished through the show’s filming in New Orleans, as the region’s distinctive mangroves and marshes evoke the feeling of being in a swampy Southern setting. The scattered, dilapidated homes and the many factories in the skyline cement the feeling of poverty.
“True Detective” is cynical, foreboding and thoroughly phenomenal. This Louisiana crime drama may only be three episodes in, but already the acting and writing stand as some of the best in the medium.
“True Detective” airs every Sunday at 9 p.m. on HBO.
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