Liverpool Sound and Vision Rating * * * *
Cast: Dafne Keen, Ruth Wilson, James McAvoy, Amir Wilson, Will Keen, Lewin Lloyd, Jade Anouka, Simone Kirby, Chipo Chung, Adewale Akinnouye-Agbaje, Jonathan Aris, Kobna Holdbrook-Smith, Jamie Ward, Sian Clifford, Alex Hassell, Lia Williams, Simon Harrison, Amber Fitzgerald-Woolfe, Nina Sosanya, Andrew Scott, Lin Manuel Miranda, Victoria Hamilton, Kit Connor, Joe Tandberg, Sope Dirisu, Lindsay Duncan, Kate Ashfield, Emma Tate, Patricia Allison, Tuppence Middleton, Sorcha Groundsell, Wade Briggs, Peter Wright.
There is either the right way to finish a television series, involving a climatic finish, of death and glory, or resilience, the pay of being that the hero stands and falls by their final decision, or there is the wrong way, and that, whilst occasionally leaving the viewer deflated, leaving them feeling deflated and questioning their loyalty to the time span in which the series has run its course, can install the honest understanding that not everything comes with a resolution we believe we are due.
Then, strangely comes the unknown third way, one that strides the two sides like a Venn diagram with one interconnecting piece, a finish, a conclusion that is neither here nor there, somewhat satisfying, partially sufficient, adequately pleasing, agonisingly lacking; and that ending, indeed for all its magnificent effects, some superb dialogue and actors on excellent form, comes as a raging storm in the final series of the television adaption of His Dark Materials.
God is in the details as Lord Asriel, played with conviction by the ever-faithful James McAvoy, goes into one last battle against The Authority, and as a side event that is perfectly agreeable, the image captured on screen is worth investing time within, the sheer colour of the moment is to die for, and yet it feels convoluted, not so much lifted from the novel, but as one from an expected reaction when confronted with not taking a side in a very real argument between state and church, between the free thinking and the shackle we have placed ourselves in on occasion. On both sides this is true.
There is a lot to enjoy, the growth of Lyra Belacqua, a continuing depth of emotion stunningly framed by Dafne Keen, the madness of maternal love and fear captured by Ruth Wilson, the deafening roar of religious zealotry and anger by Will Keen as Father High MacPhail, and even in the voices of the demons, especially the engaging Victoria Hamilton who stepped into the enormous shoes of the late and much missed Helen McCrory without a quarrel and with generous account of her vocal skill.
Perhaps it is in the realm of belief that the viewer may feel slightly caught out by the sense of pedestrian as the series came to its conclusion, after the first two were of such high quality that it could be forgiven that the inevitable lay off should come, just unfortunately not at the point it was required most.
His Dark Materials as an overall series frames the mood with delicate outpouring of drama and satisfied caution, however it finds its floundering as it slows towards its final end, no outrageous undoing, just a neatly sewn package which in truth it does not deserve to suffer.
Ian D. Hall