EPISODIC REVIEW: "The Staircase" Episodes 1-3 And The Many Faces Of The Truth
10/12 ForReel Score | 4/5 Stars
This spring season has seen a flood of miniseries based on highly publicized and scandalous true crime documentaries, podcasts, or news features. It feels as if studios and filmmakers alike have worries for where the entertainment industry is headed and instead of coming up with new ideas, they have decided to upcycle already popularized stories. Shows like The Girl From Plainville, The Dropout, and Inventing Anna all are interesting series, but they add little to the source material and come off as Emmy bait. HBO MAX’s latest entry into the ring, The Staircase, overcomes this difficult feat and makes space for new perspectives while escalating the drama in a shocking and tantalizing way.
Adapted from the 2004 docu-series of the same name by Jean-Xavier de Lestrade, The Staircase investigates the story of the mysterious death of Kathleen Peterson, played by Toni Collete (Muriel's Wedding). Her husband, Michael Peterson (Colin Firth, A Single Man), claims after a night of drinking she had slipped and fallen down the stairs. But one fall can’t explain seven lacerations and the buckets of blood found at the scene, so the police department almost immediately began to investigate Michael with the belief that he bludgeoned his second wife to death. As the investigation unfolds, the layers of lies and secrets paint a damning story in the eyes of public opinion.
Michael is a secretive man who has very carefully crafted his image, but is also quite familiar being caught up in a web of lies, such as saying he received a Purple Heart in combat. Other private matters like his sexual relations with young men and manipulation of Kathleen into financially taking care of the family, paint him red with guilt far before the trial. Firth is brilliant in the role. Taking risks, he encapsulates the complexities of being paralysed in dissociative grief, yet full of anger as his public persona crumbles.
Collete is given less to work with, however, she still offers Kathleen a voice and shows who she is behind the guise of a victim. She has an undying love for her family and never complains. It is as her position at work becomes more tenuous, she comes to the realization that her home life is not satisfying. Having an affluent life, living in a large house, throwing extravagant parties, and Kathleen is the one to make it all happen. She works herself to the bone only to be belittled and labeled as a clumsy drunk. Supporting everyone financially and emotionally then receiving little to no recognition, Collete exposes those cracks and the devastation is left on her.
Other stand outs are Odessa Young (Assassintation Nation) as adoptive daughter Martha Ratliff and Parker Posey (The House of Yes) playing Freda Black, the assistive district attorney. Martha is paralized with fear that she’ll lose the only parental figure she has left. She and her sister Margaret’s mother, Michael’s first wife, was also found dead at the bottom of a staircase, which Michael claims was due to a brain aneurysm. Martha cannot grapple with the idea that the man who raised and cared for her, could have taken the life of her step-mother. The stress emanates out of Odessa as she fights her gut instincts and stands by Michael. Posey nails her character to the letter. Not only does she look identical to Freda Black, but she has the mannerisms, facial tics, and thick southern accent down to a science. Show creator Antonio Campos (The Devil All the Time) specifically chose Posey as the prosecutor, having her in mind only, a role she felt honored to portray.
Campos methodically researched the story, focusing on many particular moments that can be construed differently. The first scene in the documentary of Michael walking through the house was the first they shot. Jean-Xavier said it was so uncomfortable that he wanted to give him another chance. Campos explores the multiple truths of the story. As Michael’s lawyer, David Rudolf (Michael Stuhlbarg, Boardwalk Empire) concoct their tale of events, the audiences are left to watch a graphic depiction of Kathleen’s death, bloodsoaked with pain and confusion. It’s hard to watch, along with the prosecutors' experiments of bludgeoning dummy heads to test their theories as well.
Taking place over three timelines, past, present, and the future, the masterful camerawork and editing keeps each period distinguishable. It’s a fluid progression of what former dramas influence the present, and what dangers are to come. The majority of the confusion is over the mass of characters, the five kids, aunts, uncles, biological parents, at times there are too many family members to keep up with. However, remaining honest to the deeply layered story, their inclusion feels necessary and helps develop the nature of family dynamic.
The first three episodes of The Staircase navigates through the shocking family drama and prepares for the spectacle of a courtroom investigation. Campos keeps the audience engaged with every shocking twist, slowly and methodically exposing every secret and navigates through dividing family loyalties. The Staircase is not one to miss.
Acting and Casting - 2 | Visual Effects and Editing - 2 | Story and Message - 1 | Entertainment Value - 2 | Music Score and Soundtrack - 1 | Reviewer's Preference -2 | What does this mean?