GMG - Las Vegas Weekly

2017-04-20 - Las Vegas Weekly

Las Vegas Weekly

Issue link:

Contents of this Issue


Page 61 of 71

argaret Atwood's 1985 dystopian novel The Handmaid's Tale has enjoyed renewed popularity in the current political climate, and while Hulu's TV- series adaptation has been in the works since before the most recent election, it nevertheless has a very timely and potentially disturbing tone. It's still an entertaining science-fiction story, but much of the attention it's bound to get will come from the way it connects to and comments on the present day. The thing is, Atwood's novel was just as relevant in 1985, and it has joined the ranks of classics like 1984 and Brave New World because it isn't tied to a single time period. The dystopian society of Gilead, a religious dictatorship that takes over the northeastern United States, has recognizable roots that go back decades, even if the show updates some of its signifiers to 2017. Flashbacks detail the downfall of American civilization, but they're almost superfluous to understanding the rigidly composed world of Gilead, in which the woman known as Offred (Elisabeth Moss) is forced to serve as a handmaid, a surrogate womb for a powerful couple in a world in which almost everyone is infertile. Show creator Bruce Miller and director Reed Morano (who helmed all three of the episodes available for review) create a stunningly oppressive world, and the design of the sets and costumes is particularly gorgeous, with every visual element contributing to Offred's sense of being trapped and helpless. Like too many prestige TV series these days, Tale is paced maddeningly slowly (the result of taking 10 hourlong episodes to adapt a novel that was made into a single feature film in 1990) and too often belabors its most dramatic and intense moments. Even so, those moments are frequently powerful, thanks to Moss' mesmerizing performance and a concept that is both timely and frighteningly timeless. The handmaid's Tale creaTes a disTurbingly relevanT dysTopia Wednesdays, Hulu. Premieres April 26. aaabc The handmaid's Tale M aabcc The immorTal liFe oF henrieT Ta lacKs April 22, 8 p.m., HBO. Rebecca Skloot's best-selling 2010 book The Immortal Life of Henrietta Lacks repre- sents an effort to shine a light on the black woman whose cells, "donated" to science without her knowledge or consent, provided the basis for dozens of breakthroughs in modern medicine thanks to their ability to remain alive in a laborato- ry setting. Skloot helped bring Lacks' life story to the public, so it's a bit ironic that in the movie based on Skloot's book, Lacks herself is a minor character seen only in flashbacks. Although Oprah Winfrey gets top billing in director and co- writer George C. Wolfe's adaptation, Rose Byrne as Skloot is really the main character. Skloot befriends Lacks' volatile daughter Deborah (Win- frey), who serves as her guide in learning about the life of the woman who gave so much to science. But that woman (played by Renée Elise Golds- berry) gets only a handful of scenes, and the movie turns into the story of a journalist's struggles to write a book. It's often hokey and overstated, with Winfrey giving a broad, showy perfor- mance. By the end, you get the idea that Henriet- ta Lacks was very impor- tant, but as a person, she remains distant. Maybe there's a book that could address that. –Josh Bell liFe iTselF EvEn Oprah strugglEs with thE immOrtal lifE + B y J O s h B E l l THE FUTURE IS NOW A birthing ritual in Gilead. (Hulu/Courtesy) 62 0 4 . 2 0 . 1 7 l a s v e g a s w e e k ly

Articles in this issue

Archives of this issue

view archives of GMG - Las Vegas Weekly - 2017-04-20 - Las Vegas Weekly