Tucci plays a cocky prisoner in Inside Man, while David Tennant plays a lovely vicar with a secret. Their stories come together smoothly in Steven Moffat’s humorous and typically substantial mystery.
I’m curious how Anthony Hopkins feels about becoming a serial murderer for all time, not just for a certain age. It’s been 31 years since he gave us Hannibal Lecter in The Silence of the Lambs when he sucked his teeth and stared down the lens directly into our livers, speaking in the light, Larry Hagmanish drawl that made everything he uttered 300 times more horrible. He remains unrivaled, and it is difficult to emerge from his boiler-suit shadow.
Stanley Tucci is afflicted by numerous parallels with the great man/awful character in Steven Moffat’s new drama Inside Man (BBC One). He portrays Jefferson Grieff, a soft-spoken, extremely intellectual prisoner sentenced to death for the murder of his wife. People flock to him seeking insight into their stuck situations, and he likes playing with them until he deigns to present his uneasy visitors with remedies.
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The latter is inferred in a manner that can only be defined in terms of another great man/awful character, Sherlock Holmes, whom Moffat himself revived in a way that will most likely be difficult to match for the next several decades. Tucci tries hard to make him his own man, but the true originality is found elsewhere.
Grieff’s story first coexists with an apparently unconnected plot happening in an English town, centered on lovely vicar Harry (David Tennant) and a – crucially – unsweet maths instructor Janice (Dolly Wells). We meet her while she is escorting a young, inebriated man (Harry Cadby’s distinctive combination of creepiness and aggressiveness) who is frightening young journalist Beth Davenport (Lydia West) and other ladies on a tube carriage. This steel core, and probably this journalist, are about to make Harry’s life extremely difficult.
Vicar Edgar (Mark Quartley), Harry’s unstable teenage verger, gives him a flash drive that contains photographs of child sexual assault. Due to a series of unfortunate events, Janice sees it and assumes it belongs to Harry’s son Ben (Louis Oliver). He is an extremely unrewarding adolescent, but Harry adores him and attempts to persuade Janice that she is incorrect without compromising Edgar. This is a flaw in the story. I’m sure a lot of people, like myself, were yelling at the screen, “Betray the pedophile!” But we all know how fiction works, so we put in a little more effort to suspend disbelief and keep going.
A fight breaks out between Harry and Janice, and she collapses unconscious in the cellar. Harry closes and locks the door behind him. And the program deviates from Grieff’s statement that we are all killers – we simply haven’t met the perfect person yet.
The weaving of the storylines begins when Beth visits the prison to interview Grieff for a piece and subsequently asks his counsel regarding the missing Janice. Only the first two episodes of four were made available for review, but the mystery is certainly going to grow.
Moffat’s usual fare is Inside Man. Rollickingly confident, beefy, humorous, and astute (if not quite as clever, on a line-by-line basis, as it appears).
Janice is brilliantly played by Wells, who was cast here following her outstanding performance in Moffat’s previous effort, the wonderful Dracula, and is hopefully now a permanent part of his rep company. The ineffable weirdness and unwavering moral authority she brings to the captive lady gives the whole scene an anything-could-happen air that keeps you on the edge of your seat, even though nothing genuinely bad has happened. Tennant is no longer frenetic or spitty, which is a comfort.
Tucci sells his little arrogant, slightly foreboding piece of the script effectively, while his sidekick, Dillon (Atkins Estimond), a serial murderer (“I went to a therapist – I really opened up!”) provides some excellent comedic relief. She quit her job”) from the next cell. Consider Doug Judy from Brooklyn Nine-Nine with a deadly edge. If you’re not a fan of Moffat, watch it just for Dillon. I’d be amazed if you don’t get drawn into the rest of the romp, but I’d like to think you had this much fun.