I’d probably be one of a few reviewers who might say, “Yeah, sure, why not try out Mammals,” that avoided traditional narrative in favor of something more thematic. Now skim through this place first as later I’ll explain what it’s about. It worked somehow and I left the theatre feeling more interested in the show than not.
The main theme running through the veins of Amazon’s new six-episode series headlined by James Corden and Melia Kreilling isn’t all that new: relationship, marriage, monogamy. We’ve seen it countless times with so many other on-screen relationships. So how does Mammals deepen our understanding of life and love compared to other TV shows and movies we’ve watched? The exceptional execution displayed by Marriage Story immediately comes to mind.
Jez Butterworth is twice an Olivier and Tony Award-winning playwright who appears to want his audience to enjoy Mammals holistically rather than get high off it as if it were a cheap thrill; or alternatively put, a one-night stand.
To that end, forget about what you think stories ought to be like and see for yourself once you jump into Mammals. Butterworth has made an oddball romantic comedy-drama where sad grief tension love friendship deep betrayal are but co stars to others flimsy meaningless talked about above lead actors – fate and magical realism. Though some viewers may take long before they actually “get” that part.
Mammals follows Jamie (Corden), a Michelin star chef whose life is turned upside down when he discovers shocking secrets about his pregnant wife Amandine (Kreilling). Jamie seeks answers from his brother-in-law Jeff (Colin Morgan). But even that proves to rattle the status quo as Jeff becomes all too aware of the emotional canyon that exists in his marriage to Jamie’s sister Lue (totally underused Sally Hawkins). Meanwhile Lue drowns in her own fantasy world, which to me at least suggests that perhaps there is no such thing as “true love” after all.
Amandine’s tragic losses have forced her back into playing the violin, something that clearly doesn’t please Jamie. He is hoping to unearth whatever he can about Amandine’s secrets and much as possible. By the time we get to see his little flashbacks, we’re shown how Jamie met Amandine and how they eventually wanted to go on a life journey together. They are however not perfect couple – nor are they perfect humans for that matter. Imperfect, often flip, they seem to be running behind some impossible goal.
The series largely remains tearful when it returns to present day because of Corden. Acting-wise he’s fine and has a knack for tortured souls. You decide if you like the character or not; sometimes “sure”, other times “well you are annoying”. Unfortunately this is television and as Corden who has also had his fair share of curious scandals lately becomes more frantic at every turn one wonders when all this drama will reach its much needed climax stage this season.
Mammals suddenly hit me with some truth bombs on that score. It isn’t once more a piece of writing with a typical plot sequence. When the consequences of all actions are revealed, they could upset both Jamie and Jeff’s families. Can we trust our eyes? No. Not least from the show itself.
Stephanie Laing (Physical, Made For Love) is the director of Mammals. Throughout the episodes, Laing has successfully managed to maintain a brooding mood. A great deal of emphasis is placed on facial expressions – expressionless looks, crying eyes are shown frequently. It is not always bad to have this kind of thing here; especially for something that often puts its weight behind destiny and what seems impossible in its development as well as having more light-hearted moments would have been nice at times. We just see them in retrospect only. Maybe those needed extending too. They always make us feel closer to “happy” people whose side we’re meant to take trouble away from.
A lot of Butterworth’s writing does work but someone who has seen his previous plays like The Ferryman may expect more out of it. Don’t think about it too hard. There is one standout scene later on which deals with monogamy conceptually that I really liked though—really good stuff there! Monogamy is such a beautiful idea,” one character confronts another with these words before adding: “but you must admit… sometimes it feels impossibly damn hard… when you ask one man to represent all mankind… So he’s the guy, she’s the girl—The one and only?”
Scenes like those are intended to be an “a-ha” moment for viewers who look back over previous episodes they’ve watched through their minds’ eyes now and then Overall, Mammals certainly leaves you thinking and awaits a wild end scene that will surely cause tremendous discussion in social media platforms;“Do not draw confines”. Not really about marriage, but you. Be bigger than the petty side of yourself and beyond your fantasies.
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