This new spin on Scott Turrow's book is three times as long as Harrison Ford's 1990 erotic thriller yet twice as muddled, dull and confusing.
is an obvious example of what they have in mind. The 1990 adaptation of Scott Turow’s best-selling legal thriller — starringas a prosecutor charged with killing his mistress — wasn’t meant to be high art, but it was nonetheless made by and for grownups. Writer/director Alan J. Pakula was responsible for, among other classics. Ford was one of our great movie stars, and the supporting cast was littered with great character actors like Brian Dennehy, Raul Julia, John Spencer, and Bonnie Bedelia.
Turow’s plot this time is in the hands of TV legend David E. Kelley. At the time the movie came out, Kelley was in the midst of an acclaimed run as showrunner of the hit. Lately, he’s reinvented himself as the TV business’s go-to man for these kinds of tony literary adaptations, like, Kelley has made the odd choice to fill more time by simplifying the story. Several notable characters have either been removed entirely, or combined with others.
But these other changes strip away a lot of the nuance and narrative engagement that was there on the page and in the Ford movie, and sections of the season can drag as a result. About the only area where the show seems to take advantage of the added running time is with Barbara, and in its elaborate depiction of her feelings about her husband, the affair with Carolyn, and the harsh spotlight the trial has cast on her and their kids.
Gyllenhaal, meanwhile, has tried his best to avoid typecasting, playing characters on a wide range of morality and temperament, from upright rocket boy Homer inis probably closer to the Louis end of things.) Gyllenhaal, Kelley, and directors Anne Sewitsky and Greg Yaitanes take advantage of that versatility — and that history — to leave open the very real possibility that our hero is in fact the perpetrator of the crime for which he’s on trial.
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