Like many others, I heard about David Simon et al doing Generation Kill as an idea long before it was made and while The Wire was still being screened. Interested, I read the book and enjoyed it as a piece of journalism and I understood what it was that perhaps attracted those behind The Wire to this in particular. When it came to watching the miniseries myself I had to mind myself in a couple of ways. Firstly I was careful that I didn't have my mind made up in regards how I felt it should be but, more importantly I had to make sure that I didn't start watching it with the decision already made that it was "brilliant".
I do not mean to criticise others but there is the temptation for Wire fans to love anything associated with it sometimes before the thing in question is yet to be seen. I forced myself into this mode because I am prone to that quite often deciding I know what something is before I have seen it. Much like The Wire, Generation Kill has a slow start and a pace that is a lot more patient than the setting (and trailers) would have you believe. To some this will be a problem but to me it just added to how convincing it was that we didn't have huge action sequences and much in the way of shootouts (in an action sense). This is not to say that there is no action, because there is, but it is delivered in a realistic way that is regularly shocking or tense but not really exciting in the Hollywood sense. If anything a lot of it is matter-of-fact in the presentation, while the content is shocking. One good example of this is the incorrect levelling of a village in episode 3 it just happens suddenly and totally, but an ambush on a bridge is perhaps a better example of the series when a fire-fight occurs. It is frantic, chaotic and disorientating and the viewer is in the middle of it much like the reporter.
Speaking of chaos, throughout the miniseries you can see what about the story attracted Simon etc to it. Much like The Wire we have a war that is going badly with those at the top protecting themselves and keeping distant from the reality, middle-managers are left to make the toughest calls as the pressure comes down on them from above to solve the problems and all the time those on the ground have the best perspective but no power only frustration and, in some cases, apathy. It does this really well because, despite what we get to see, at no point could it be accused of being "against the troops". Instead it points to unseen authority figures much higher up the power structure than our point of view allows us to see. It never blunders this point home though and it stays away from going after specifics or scoring easy points; in managing this what we get is a much more engaging story because it leaves the viewer to form an opinion without the heavy air of anger or judgement.
The "story" structure helps this. The obvious adaptation is to do it from the pov of the reporter character and, with his introduction I had assumed this is where it was going as it is a common device. It doesn't do this though and instead has an effective ensemble feel build around a loose focus on one unit in particular, led by Brad Colbert. The slight downside of this is that the show could be accused of having no "plot" because in truth it doesn't have a specific flow other than being embedded with the characters I suppose it could be called an apt point that the narrative certainly doesn't have an "end" (although the series does to a point albeit a rather obvious one that channels but never fulfils the spirit of The Wire's season conclusions).
The Wire always had good performances across the board and on the whole Generation Kill manages to do the same thing. The obvious star is the cool and charismatic Skarsgård who is a real rock at the centre of the show. Equally impressive though is someone who I disliked in his character when he was in season 2 of The Wire but who is a lot more natural and engaging here Ransone. Tergesen brings little because the material isn't there for him and mostly he feels a bit out of place almost too recognisable for such a role. I go though as performances are roundly solid from Sands, Lush, Huertas, Kelly and others. Some didn't quite work as well Nenninger seemed to struggle to make something of Capt America, he tries but it was a big ask to make him more than the character that came across in the book. The production standards are high here, with the effects being convincing and the sets worked really well (only one moment in the final episode, driving under the swords statue, didn't feel real).
Generation Kill will not garner the praise directed at The Wire and nor should it really because it is not quite that good, mainly down to the nature of the material and the short run. It is however, still very good. Built on similar themes as The Wire, Gen Kill builds a convincing world and allows the viewer to draw the conclusions that are obvious. The acting is mostly good even if many people have limited character in their parts and the production values are high. Very engaging and impressive piece of work from the equally good book of the same name.
I do not mean to criticise others but there is the temptation for Wire fans to love anything associated with it sometimes before the thing in question is yet to be seen. I forced myself into this mode because I am prone to that quite often deciding I know what something is before I have seen it. Much like The Wire, Generation Kill has a slow start and a pace that is a lot more patient than the setting (and trailers) would have you believe. To some this will be a problem but to me it just added to how convincing it was that we didn't have huge action sequences and much in the way of shootouts (in an action sense). This is not to say that there is no action, because there is, but it is delivered in a realistic way that is regularly shocking or tense but not really exciting in the Hollywood sense. If anything a lot of it is matter-of-fact in the presentation, while the content is shocking. One good example of this is the incorrect levelling of a village in episode 3 it just happens suddenly and totally, but an ambush on a bridge is perhaps a better example of the series when a fire-fight occurs. It is frantic, chaotic and disorientating and the viewer is in the middle of it much like the reporter.
Speaking of chaos, throughout the miniseries you can see what about the story attracted Simon etc to it. Much like The Wire we have a war that is going badly with those at the top protecting themselves and keeping distant from the reality, middle-managers are left to make the toughest calls as the pressure comes down on them from above to solve the problems and all the time those on the ground have the best perspective but no power only frustration and, in some cases, apathy. It does this really well because, despite what we get to see, at no point could it be accused of being "against the troops". Instead it points to unseen authority figures much higher up the power structure than our point of view allows us to see. It never blunders this point home though and it stays away from going after specifics or scoring easy points; in managing this what we get is a much more engaging story because it leaves the viewer to form an opinion without the heavy air of anger or judgement.
The "story" structure helps this. The obvious adaptation is to do it from the pov of the reporter character and, with his introduction I had assumed this is where it was going as it is a common device. It doesn't do this though and instead has an effective ensemble feel build around a loose focus on one unit in particular, led by Brad Colbert. The slight downside of this is that the show could be accused of having no "plot" because in truth it doesn't have a specific flow other than being embedded with the characters I suppose it could be called an apt point that the narrative certainly doesn't have an "end" (although the series does to a point albeit a rather obvious one that channels but never fulfils the spirit of The Wire's season conclusions).
The Wire always had good performances across the board and on the whole Generation Kill manages to do the same thing. The obvious star is the cool and charismatic Skarsgård who is a real rock at the centre of the show. Equally impressive though is someone who I disliked in his character when he was in season 2 of The Wire but who is a lot more natural and engaging here Ransone. Tergesen brings little because the material isn't there for him and mostly he feels a bit out of place almost too recognisable for such a role. I go though as performances are roundly solid from Sands, Lush, Huertas, Kelly and others. Some didn't quite work as well Nenninger seemed to struggle to make something of Capt America, he tries but it was a big ask to make him more than the character that came across in the book. The production standards are high here, with the effects being convincing and the sets worked really well (only one moment in the final episode, driving under the swords statue, didn't feel real).
Generation Kill will not garner the praise directed at The Wire and nor should it really because it is not quite that good, mainly down to the nature of the material and the short run. It is however, still very good. Built on similar themes as The Wire, Gen Kill builds a convincing world and allows the viewer to draw the conclusions that are obvious. The acting is mostly good even if many people have limited character in their parts and the production values are high. Very engaging and impressive piece of work from the equally good book of the same name.