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Serpent Tahar Rahim magazine shines like an icy killer | TV and radio

 


In American Heiress, his brilliant 2016 book on the kidnapping and trial of Patricia Hearst, Jeffrey Toobin makes a clear ideological distinction between the ’60s and’ 70s, suggesting that the two decades had mistakenly merged into the psyche. American. The sixties were full of hope, the seventies bitter; the 1960s were about success, the 1970s about failure; the 1960s were sporadically violent; the 1970s are omnipresent, he writes. All revolutionary optimism had certainly curdled in 1975, when The snake (BBC One) launches his brilliant murder adventures on the trail of Asian hippies. After all, nothing says new year, new you love intense drama about a brutal serial killer.

Inspired by real events, The Serpent tells how Charles Sobhraj, who killed young Western travelers in 1975 and 1976, was brought to justice, even though justice is light on the ground in this first episode, which largely focuses on the atmosphere. We meet Sobhraj for the first time in 1997, living freely in Paris, while he plays with an American journalist who interrogates him. There are those who would say you got away with it, she said, as he sat there impassive.

If this is the central question of the Serpent Sobhrajs nickname, because he was so good at straying from the law, although it also describes the performance of Tahar Rahims, who is cold-eyed, coiled and ready to pounce. on any weakness, then it is not buried under many layers. We are shown that he was able to get away with it because long distance communication was difficult for travelers at the time; because the hippies have been dismissed as blameless and irresponsible; because embassies and local authorities seem to have poor communication with each other; and because he was magnetic and convincing and had the help of his partner, Marie-André Leclerc.

Jenna Coleman plays against her usual warm type as the impenetrable Leclerc, who offers little in the way of what’s going for her. Leclerc is an intriguing and mysterious collaborator. Having met a young Dutch couple in Hong Kong, where they sell gems, Sobhraj and Leclerc invite the couple to Bangkok to stay at their place and party. The timeline runs between their meeting, their trip and the investigation led by Herman Knippenberg, a young diplomat at the Dutch Embassy, ​​who is determined to find out what happened to them, even if his diplomatic peers have no interest. to get their hands dirty. .

This timeline leap, frequently explaining that we are either two months early or two months later, is unnecessary and a bit confusing. I can see this is meant to create tension, to dive back and forth into what happened to the Dutch couple as Knippenberg finds out more about how and why they disappeared, but he struggles to maintain the necessary sense of dread. , although we pretty much know how it worked for them from the start.

The story of American traveler Theresa on her way to a Buddhist monastery in Nepal is much better and more compelling, having one last wild life adventure before she gets there. Alice Englert, who stood out in Ratched, is impressive as a young woman that Sobhraj is interested in. It’s eerie from the moment she appears on screen, happily seeing her old life with one last night of parties and sex. As you know, Americans don’t thrive in this part of the world, Sobhraj tells him wickedly as she makes the terrible mistake of trusting him, for a brief and ultimately tragic moment.

It is excellent for creating an atmosphere, although sometimes at the cost of history. The heat, the booze and curfews, the smoking, the sideburns and the costumes all come together to give a vivid picture of the idealism of those who still pursue the hippie dream into the 70s, and the meanness with which Sobhraj manipulates and cuts through. He’s able to target those long haired bums, those shy hobos at work and those stupid fucking hippies.The Australian attaché is particularly outspoken on that front as they were vulnerable to a con man and a killer like Sobhraj, at the time. , in this environment. (The attaché is just as blunt to poor Knippenberg, or, as he calls it, your fucking little mouse with hooves). Billy Howle is as strong as the harassed Dutchman, amid a regularly outstanding cast; Rahim and Coleman are brilliantly scary.

I’m not sure, however, the Serpent had anything else to say. It tells the story, makes Sobhraj’s life look pretty glamorous, in the midst of all this murder, and makes it pretty clear that these young people have had their futures stolen in the most cruel way. But that’s not a thriller, nor a lot of why-they-dunnit: anyone who knows the story will have an idea of ​​where it lands. He looks around the room, and pulls the good strings, but, in the end, it left me a little cold.

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