Stepping into the English crime-drama ‘MobLand’ starring Tom Hardy and Antonio González Guerrero for its first episode of the premier season, there’s an air of trepidation. The anxiety stems from the association with its networking partner, CBS, that has historically catered to a more mature audience. This network’s connection sometimes lends the productions an old-school vibe, creating a gap between the regular broadcast and the streaming versions. My enthusiasm was further dampened by my lukewarm response to Guy Ritchie’s previous streaming endeavor, ‘The Gentlemen’ on Netflix. Was I walking into an overblown drama filled with brutish linguists and the unavoidable fallout from their indiscretions? Surprisingly, Ritchie traded quantity for quality in delivering a tightly wound plot in this two-episode premiere, accompanied by sharp script work and an even crisper performance from Tom Hardy.
‘MobLand’ was initially conceptualized by Ronan Bennett as a prequel to the Showtime’s popular series ‘Ray Donovan’. The original plan was to delve into the backstory of the Donovan family, however, due to undisclosed circumstances, this idea was shelved. What was to be ‘The Donovans’ transformed into ‘MobLand’. However, the essence of Liev Schreiber’s shrewd, resourceful fixer Donovan seems evident in Hardy’s character. Hardy fills the shoes of Harry, a character responsible for maintaining the delicate balance amongst the infamous crime families of London. And nobody could do a better job, with Hardy deftly portraying Harry, a calculated and often the cleverest man in the room who masquerades this trait enough to pull his strings without alarming others.
Harry’s key role revolves around a notorious crime lord, Conrad Harrigan played by a notably slimy Pierce Brosnan. Conrad, the kingpin of London, navigates the underworld alongside his co-conspirator and partner Maeve Harrigan, brought to ruthless life by Helen Mirren. As the tension teeters on the edge in the UK with the escalation of a power tussle from a rival gang led by Richie Stevenson (an intimidating Geoff Bell), a nighttime extravaganza throws a spanner in the works. Conrad’s grandson Eddie (played by Anson Boon) and Richie’s son compound the existing feud by embarking on a drug-fueled night of debauchery which ends with a stabbing and the mysterious disappearance of Stevenson’s prodigal son.
Does Eddie carry the guilt of a horrendous act? As Harry puts the pieces together to untangle this web, another complication lands in his lap by the end of the premiere episode. This complication bears the potential to push every player in this game beyond the edge, directly into the sight of the law. Amidst all this chaos, Harry faces his own internal struggle. Personal issues intrude his professional life as his wife Jan (a brilliantly tormented Joanne Froggatt) reaches the end of her tether with Harry’s choice of career.
To no one’s surprise, Paddy Considine shines as Conrad’s son and Eddie’s father, complimented by Mandeep Dhillon portraying Conrad’s daughter. ‘MobLand’ delivers a concoction of familiar elements while still managing to stand out. It skillfully stitches together multiple engaging plotlines – power struggles within the Harrigan family, external threats from adversaries, and Harry’s domestic troubles – into an appealing package. Throughout, Ritchie maintains a delicate balance, ensuring the plot hums along without flaring into chaos.
‘MobLand’ has the potential of meandering into dull negotiations, reminiscent of a simmering crime narrative which occasionally dampens the spirit of the streaming world. However, the start that Ritchie and Hardy have put down here paints an impressive picture. After screening two episodes, I can’t wait to see what direction ‘MobLand’ takes, and what it cements as its foundation in the episodes to come.