Lars Kepler’s internationally bestselling crime novel The Sandman wowed critics when it debuted in 2012. The New York Times called it a “grisly” Scandinavian noir, likening its terrifying serial-killer villain, Jurek Walter, to the deliciously diabolical Hannibal Lecter. To readers who have read the book, the parallels are obvious: both are incarcerated serial killers whose psychological hold over others makes their presence in the story feel claustrophobic and chilling.
What adds to the chill is the city of Stockholm, Sweden. In another genre, Kepler’s description of the city would have been picturesque and romantic. In the wake of Walter’s crimes, there is only despair.
The Sandman is one of the most thrilling crime novels I’ve ever read. That makes it even more disappointing to say that, after watching the first seven episodes of co-showrunners John Hlavin and Rowan Joffé’s middling Apple TV adaptation, Nocturne, I couldn’t help feeling that the showrunners and Apple fundamentally misunderstood what made the novel so brilliant in the first place. Nocturne follows Jonah Lynn (Liev Schreiber), a retired homicide detective who moved to Pennsylvania for a quiet life after losing his wife and child.
But retirement doesn’t last long: Michael Frost (Landon Valentin), a young boy presumed dead, suddenly reappears, throwing the Fairhaven police into chaos. Alongside his surrogate daughter, FBI agent Saga Bauer (Zazie Beetz), Jonah sets out to discover what happened to Michael — and whether Michael's missing sister, Felicia (Abigail Dognahy), is still alive. Meanwhile, Jurek Walter (Stephen Graham) terrorizes staff and patients alike in the Restricted Housing Unit at Riverside.
As in the novel, Jurek’s influence stems not from the threat of violence typical of inmates in the prison's most restricted area, but from his hypnotic way of speaking to people. In our very first scene with Walter, it’s quickly established that even his silence carries weight. As in the novel, Hlavin and Joffé spend a good amount of time in the first two episodes setting up questions about Jonah, Saga, and Jurek to whet the audience’s appetite.
Schreiber’s performance as Jonah is quiet but intense, much like his portrayal of the brooding fixer, Ray Donovan. As in many crime procedurals, the gruff ex-cop is a familiar genre fixture, so Schreiber’s commanding presence and performance feel expected. Unfortunately, Schreiber doesn’t do enough with the role to make Jonah feel particularly inspiring or exciting, which makes Jonah's role as the main protagonist, and arguably the heart of the show, feel one-note at best.
Extract — continue reading at the source.
