In the delayed season two premiere of the legal drama Perry Mason, Hamilton Burger, who is both a personal friend and professional nemesis to the show’s title character, makes an appearance. In the first season, Burger (played by Justin Kirk) was occasionally used to convey the ways in which this version of the character would differ from both the original Erle Stanley Gardner novels and the black-and-white TV series starring Raymond Burr. For example, he once cautioned Perry (Matthew Rhys) that “No one confesses on the stand,” which contradicts Mason’s previous iterations where he was known for his ability to coerce the true culprit into confessing under oath.
In the second season of the show, there has been a change in leadership, as the creators of The Knick, Jack Amiel and Michael Begler, have taken over from Rolin Jones and Ron Fitzgerald, who served as showrunners in the first season. The new showrunners allow the character Hamilton Burger to speak more positively about the noble principles that Perry embodies, which contrasts with the previous season’s portrayal of the character. Overall, the new showrunners seem to be less ashamed of producing a Perry Mason series than their predecessors, who seemed more cynical about using the familiar title to attract a younger audience who may not have been familiar with the show’s substance. Although the new season is still quite serious, it is better crafted and more engaging than before.
The second season of our legal drama benefits from the fact that Perry starts out as a lawyer, rather than a private investigator who needs to be coerced into appearing in court. Despite the flaws of the initial season, it at least concluded with Perry establishing himself in a law office, working alongside his reliable assistant Della Street (Juliet Rylance) and investigator-turned-policeman Paul Drake (Chris Chalk). This provides the new team with a stronger foundation on which to build their narrative.
The season takes place approximately six months after the previous one, even though it has been almost three years since the last episode. Perry is still reluctant to take on cases, as his first murder trial ended messily, causing him to abandon criminal law in favor of civil cases. Perry and Della are assisting a cutthroat grocery store owner, played by Sean Astin, in suing his competitors out of business when we reconnect with them. This does not last long, fortunately, since the duo becomes embroiled in another murder case, this time involving two Mexican-American brothers named Mateo and Rafael, portrayed by Peter Mendoza and Fabrizio Guido, respectively, as well as Brooks McCutcheon, a local philanthropist who is admired in public but questionable in private, played by Tommy Dewey.
The new producers have maintained the gritty atmosphere of the show, which is set in the early 1930s. The series features a plethora of men in hats, tough guys, and discussions about the potential and dangers of Los Angeles at that time. Perry forms a bond with Miss Ames (Katherine Waterston), who is his estranged son Teddy’s amiable teacher. At one point, she remarks, “You know what I like about this town? No one tells you what was — only what can be.”
Note: One aspect of the plot takes place several decades before it actually occurred, as the story includes a reference to the Chavez Ravine evictions of the 1950s, which resulted in the displacement of much of the city’s Mexican population to make room for the Brooklyn Dodgers to relocate across the country.
It’s peculiar that Rhys, who, in his travelogue series “The Wine Show,” appears to be one of the most upbeat and outgoing performers in the industry, keeps getting cast as these dysfunctional, despondent characters. However, he excelled at it in “The Americans,” and he continues to do so in this series, particularly as Perry struggles with feelings of guilt about the outcome of the previous murder case. Nevertheless, Amiel and Begler incorporate slivers of brightness into their protagonist’s dark circumstances. Perry and Della engage in more playful banter, he charms Miss Ames genuinely, and he amusingly struggles to eat Japanese cuisine for the first time. The show doesn’t transform into a comedic riot, but it no longer confuses self-indulgence with engaging drama. It is more conscious of some of its idiosyncrasies and stereotypes, such as a scene in which a judge informs our protagonist, “At some point, Mr. Mason, you must find all of your righteousness just a bit exhausting.”
In the new season, the show improves significantly in its treatment of Della and Paul, treating them as vital members of the team. Both characters face obstacles as they strive to establish themselves in a world where Perry’s success is primarily due to his being a straight white man. Della is attempting to become a lawyer herself while dealing with the constraints of being a discreet gay woman in this era. The show also has more fun with her friendship with Ham, who, though theoretically her opponent, is also in the closet, allowing them to act as each other’s beard. (Juliet Rylance’s experience as a lead on “The Knick” allows Amiel and Begler to write effectively for her.)
Paul, on the other hand, begins the season feeling frustrated that Perry is not utilizing him enough on the civil cases and is forced to take an unsavory job working for Perry’s former mentor, Pete Strickland (Shea Whigham, still enjoying himself), to extricate himself and his family from their living situation with his brother-in-law.
Paul Raci, who delivered a wonderful Oscar-nominated performance in “The Sound of Metal,” gets to play a different kind of role as Brooks McCutcheon’s influential father, Lydell. Depending on the person he’s dealing with and what he needs from them, he can be cold and menacing or warm and diplomatic, but he is always calculating and prepared. It’s a strong villainous turn in a show whose Season One antagonists felt somewhat ephemeral. While Season One featured Tatiana Maslany as a charismatic radio preacher, her performance was not well integrated into the plot. No one feels superfluous this time around, including the fantastic Hope Davis, who portrays an oil baroness with a keen interest in both Della and Ham.
While not perfect, the new season of Perry Mason is more cohesive, appealing, and justifies its existence better than simply being a cash grab. It still has room for improvement in terms of embracing the show’s title, as the most memorable cross-examination is conducted by Della rather than Perry. However, even when Perry and Della have to cut ethical corners, it makes them seem noble for trying to do so in a corrupt film noir world. Perry himself argues that it’s not justice that’s an illusion, but the system. Despite this, the duo intends to keep fighting against the system, and the second season of the show seems capable of continuing that fight for as long as HBO wants to make more episodes. All eight episodes of the second season will be available on HBO and HBO Max starting March 6.
Source: Rolling Stone
