SYNOPSIS
It’s Stranger in a Strange… no, not “Land” but rather Time.
After a car crash that leaves him unconscious, 21st Century Brit police detective Sam Tyler awakens to find himself back in the 70s. Is he in a dream? Hallucination? Purgatory?
Sam (John Simms) attempts to regain his footing while searching for clues which might explain his circumstance and return him to the present.
CRITIQUE
If you’ve seen the short-lived U.S. version (2008-2009) of this unusual British show, you’ll definitely be interested in seeing the original. If you’ve never even heard of Life on Mars, you’re in for an even bigger treat. (Minor spoilers unavoidable.)
DNA tests and reliable computers remain thirty years in the making. Steeped in 21st Century police techniques, Sam’s daily ordeal finds him trying to bend his forensic knowledge to work within a relatively prehistoric setting.
Yet the toughest challenge by far is simply working alongside fellow officers. These timeclock-punchers would rather put in a minimal day’s effort… not even to close cases per se but rather for working up a bunch of colorful drinking stories.
The most obnoxious of them all is the boss, Gene Hunt (Philip Glenister). Even by 1973 standards Hunt is Neanderthal; a violent lout who — when it gets in his way — is contemptuous of the law itself. Scratch his surface and underneath you’ll find a man who will bend ethics to conform to his strict moral code. Working philosophy: if the perp being “interviewed” in the back room isn’t guilty of the crime, he’s still guilty of something else.
Hunt’s disdain for Sam’s methods provide the central conflict around which the show revolves, and it’s a nuanced dance indeed. Glenister takes what might’ve amounted to a one-dimensional role (see the American remake, of which I’ll refer to later on) and brings a fully-realized human being into the mix.
On Sam’s side is the only person in whom he has really entrusted with his secret, the station’s only WPC (Woman Police Constable) Annie. She may not believe Sam 100% (who could?) but she does believe in his struggle for an informed and fair Justice System. Annie is more of a one-note character; though it should be pointed out that her presence isn’t milked for sex appeal. Kudos for that.
As the protagonist Simms carries the ball splendidly, balancing his inner confusion with a larger duty. He’s not a hero in any traditional sense; nor always right. Sam Tyler exists to prove that a person, if inclined, can learn and grow under almost any circumstance. A most unlikely [underlying] premise for a TV show, you will certainly grant.
It’s not “freshness” that makes Life on Mars so watchable. While the concept of a time-traveling protagonist is far from new (Time Tunnel, Quantum Leap, anyone?) this series is structured in such a way that it emphasizes the lead’s dilemma fitting in rather than struggling to find a way out. Sam remains perplexed as to the “why” such an occurrence came to be. Yes, he questions his sanity… but never his true self. In this way LOM echoes 60s British series The Prisoner, minus the allegory.
I mentioned the U.S. adaptation. In brief, “our” version was pretty good but it always lacked a realism that the original brings to the table so easily. Harvey Keitel’s portrayal of Gene Hunt was almost as brutal in both manners and technique but he never quite got the depth of Hunt’s character. Jason O’Mara was an affable lead, though apparently chosen for his square jaw and twinkling eyes rather than a resemblance to a real cop. The overall disposition of our Life on Mars was, in a word, sunnier. (This didn’t make it any more palatable to American audiences. The show was cancelled after Season One.)
In any event, both versions use humor to balance the unnerving aspects of the story but where we went for one-liners, the Brits go for character. Admittedly, the original may actually be funnier than I suspect because it’s steeped in a colloquial slang that’s often hard to understand, let alone appreciate.
THE VIDEO
Perhaps the 16:9 widescreen format belies the fact that the show occurs in a creaky old 4:3 universe, but the cinematography is spot-on. A very slight green tint permeates the footage, which isn't afraid to lean on the grainy side for effect. Clearly a creative decision, this visual approach subtly reminds viewers of the time period without hitting them over the head. No visible artifacts or banding.
THE AUDIO
Television has finally come of age. Unlike 1973 (when LOM is set) the audio tracks present fully-realized, theatrical quality sound. If you've ever rented a 70s-era TV show you may have noticed obvious overdubs during exterior scenes and thin the ambient b.g. tracks. None of that business here! Audiences have come to expect 2.0 stereo or 5.1 surround sound. Life delivers on these counts with crisp and discreet audio.
This is a good thing for more than just hardcore audiophiles; the English accents here are often thick and peppered with slang. Disappointing, however, is a lack of recognizable classic rock tunes on this DVD release (some music has been changed from the UK broadcast) that would seal the 70s connection with authenticity. (This is where – I hate to bring it up again – the domestic version shines. Undoubtedly the US producers spent a third of their budget on licensing fees for truly memorable rock songs.)
THE EXTRAS
Audio Commentary on Every Episode: Features select cast and crew discussing the episode, show itself and what-have-you.
Take a Look at the Lawman: Interviews with cast and production, plus behind-the-scenes footage.
The Music of Life on Mars: Interview with composer Ed Butt (of many jokes, we're certain). See audio comments. The original music is decent but hardly iconic. Or hummable.
Get Sykes: An interview with production designer Brian Sykes.
Outtakes: A lot of flubs, but just a few worthy of a gag reel.
Interview with Director Bharat Nalluri: Exactly that, albeit very brief.
FINAL THOUGHTS
With the dearth of reality-based shows on the air, it's both a relief and a pleasure for fans of dramatic TV material to discover something fresh. The time travel element adds an interesting spin to what amounts to a cracking good cop procedural show. Recommended.
