Commentary Magazine


The Adams Family

I’ll leave judgments about the historical veracity of HBO’s new miniseries, John Adams, to those with some expertise in the field (at least one historian seems to think it’s not perfect, but not bad either). The real question is: Is it worth watching? And judging from the two episodes that aired this week, the series is (slightly) less than the sum of its parts. The good news, however, is that the parts are generally excellent.

Strong performances anchor the series. Paul Giamatti plays the title character, a lumpy, bald Boston lawyer who finds his way to greatness after successfully defending the British soldiers involved in the Boston massacre. Giamatti is characteristically frumpy here, but he lends Adams an interesting blend of arrogance and anxiety as well. He’s a patriot, yes, concerned for his country, but also about his own family, life, and legacy. It’s a showcase for Giamatti, but Tom Wilkinson (as Ben Franklin), Laura Linney (as Abigail Adams), David Morse (as George Washington) and Stephane Dillane (as Thomas Jefferson) also make quite the impression as well.

Meanwhile, from the costumes to the extravagant sets, everything on the production side is superb, but the standout element is the photography, which looks positively stunning in HD. Director of Photography Tak Fujimoto is a longtime Hollywood hand (I first recall noticing his work in 1991’s The Silence of the Lambs), and his visual trademarks are evident in nearly every scene.

He’s got two main modes behind the lens—the participant and the voyeur. The first mode is primarily used in the larger setpieces, most notably in the series’ opening sequence, which depicts the Boston Massacre; a handheld camera follows Adams as he stumbles through the streets and into the bloody scene, running side-by-side with the man as if his partner. It puts viewers inside the scene, makes them part of it. The more intimate scenes, mostly between Adams and his wife Abigail, are typically shot in low light, and often from another room, or behind an object. The effect is of peering in on history from the outside, watching an American founder from the outside.

The series’ weaknesses come mostly in the script by Kirk Ellis, which, at least at this point, has failed to bring the many other fine elements together. There are many strong moments, especially between John and Abigail (a nighttime monologue in which Adams, laying next to his silent wife, thinks through his dilemma—and those of the country—is particularly touching). But too many scenes feel overly scripted, as if the characters were simply spouting miniature editorials. I have no doubt they were eloquent men, but surely they stumbled once in a while? And in both of the inaugural episodes, there is far too much reliance on courtroom-style drama, as the series would really rather be Law & Order: American Revolution. Still, it’s by far the best thing on TV right now, and anyone with even a passing interest in the subject would do well to check it out.

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