This series started with a bang.
Not literally, but the pilot started this series in a strong, glorious manner. It introduced characters at a steady rate, set up the backstory and provided plenty of laughs and tear-jerkers along the way. It started with already sure yet humble actors and camerawork. A superb beginning, really.
While each episode has a flavor of its own, owed largely to various writers, some things remained the same. The confidence of the actors was pleasant. They did not appear to notice the camera was there, unless doing so was written in. The lighting was appropriate for the time of day. Most important, the characters stayed in character. There were few odd behaviors when writers switched. The mix of English and other languages, as well as intertwining dialects, gave everything a more natural feel and reminds that this is not merely a show put on by Americans, but is to show and capture the heart. Music was also important in all episodes. It set the stage and was a brilliant canvas, but not so bold as to block the colors placed on it through acting and dialogue.
The uses of color were intriguing. The bright tones in the city contrasted with the duller brownish colors in the country. There is one scene that caught my attention as it pertains to lighting actors. The detective and her client are investigating the scene of a supposed crime. It is an abandoned farm, dry and lifeless. Everything is gray or brown. The actors being brown-skinned themselves, there was little sense of intrusion. They meandered about, looking for evidence, and it felt seamless and natural. A white man could not have accomplished the same clam feeling, no matter how hard he tried. White was an invasive color in this scene.
If you are familiar with the method in which Sir Doyle records Holmes' adventures, you know that rarely is the reader given insight. Everything is explained in the end as you sit in wonder and astonishment. Not so with this detective. Many actions have a sense of predictability. This keeps the element of complete surprise down, and allows you to solve the mystery along with the detective herself. This can be enjoyable, but also frustrating when you see the solution before she does. At least, that is true for me.
Camera shots were a mix of angles and speeds. The transitions between scenes were smooth, sometimes to the point where you knew what you were going to see before you saw it. The overhead shots showed the wild beauty of Africa. Few were too focused or dramatized. It was pleasant.
While The No. 1 Ladies' Detective Agency does lose some power by the end with an increase in loose ends and a deteriorating plot line, it is still enjoyable and beautiful to watch. The chemistry between actors is fantastic. There are quite a few one-liners, and the cases are usually exciting. The music is wonderful. Give it a try and let me know what you think.
The uses of color were intriguing. The bright tones in the city contrasted with the duller brownish colors in the country. There is one scene that caught my attention as it pertains to lighting actors. The detective and her client are investigating the scene of a supposed crime. It is an abandoned farm, dry and lifeless. Everything is gray or brown. The actors being brown-skinned themselves, there was little sense of intrusion. They meandered about, looking for evidence, and it felt seamless and natural. A white man could not have accomplished the same clam feeling, no matter how hard he tried. White was an invasive color in this scene.