Based on the Philip K. Dick novel, The Man in the High Castle is an interesting twist to history where Germany wins the war. Japan gets a share too; the West Coast of the United States, while Germany rules the East.
The viewer is immediately introduced to the concept which is depicted by the stunning visuals (CGI/illustrations) of the opening credits, complete with the Edelweiss soundtrack. HOOK!
Tension is immediately thrown in, making it clear that an ailing Hitler spells disaster for the Japanese, whose territory would be usurped by Hitler’s cronies in the event of his death.
The lead character (Juliana Crain), played by Alexa Davalos, is given a film by her sister who is then killed. She is told of the importance of this movie and soon figures out there are several others just like it which are being produced by someone known as “the man in the high castle.” Her boyfriend and others are tortured to reveal her whereabouts whilst she continues on her journey to get this movie to the mysterious character who makes them.
What makes this series truly spectacular is its premise. It’s one of those, “I wish I thought of this first” moments when the first episode ends and you’re sitting there watching the credits roll while ruminating on the potential of the series and how it might all culminate. The screenplay, cinematography and direction support what the concept posits in the most sublime method of them all; complete denial of anything but the premise itself as if an alternate reality is the only one known to us. In fact, after a few episodes, this parallel version of facts became the truth to me, as the viewer. A couple more episodes, and I was truly spellbound. LINE!
Not only is the storyline hard enough to execute, but it is also done by means of a screenplay that doesn’t borrow from any part of our current reality — which, in my opinion, is what makes this series a true work of art. Only an artist’s mind can believe so fiercely in an abstract construct of reality, that it finally breaks down into a series of events that must be told as if they were all part of actual history.
If you’re a sci-fi buff, you’ll love it because it is purely notional at its very roots. This is the same reason you’ll love it if you’re into art and drama, period films and film noir or even plain old fiction thrillers.
Parallels will be drawn naturally (the series’ “neutral zone” has its obvious connotations, for instance) and the persistent thought of “what if...” inciting deeper empathy by bringing the holocaust back into the future will hold any viewer’s attention long enough for unadulterated addiction to sink in .. and SINKER!
— The writer is a coffee roaster, vaping enthusiast, cinema buff and seeker of unique stories.
