In Treme, Khandi Alexander is exceptional as LaDonna Batiste-Williams, a woman fighting to reopen her bar and find a lost relative in post-Katrina New Orleans.
Photo by Skip Bolen, courtesy of HBO.
Review by Ken Korman
Apart from a certain football game that took place in Miami, nothing in recent times has caused as much anticipation among the people of New Orleans as HBOs new TV series Treme. More than a year has passed since the film crews and equipment trucks first invaded our streets, and one thing is for sure: Nearly everyone in town already seems to have an opinion about Treme, or at least some well-reasoned concerns. Will the show trivialize the citys culture? Can it accurately portray the aftermath of the storm and New Orleans subsequent rebirth? Will Kermit and Shorty finally become national stars? And if Treme becomes a Sopranos-sized hit, can we all live with a huge and permanent wave of well-meaning, boudin-seeking tourists?
It may take a while for the shows full impact to become clear. But Sunday, April 11, the long wait ends when HBO airs the Tremes 80-minute pilot. And the news is very good: A close viewing of the series first three episodes reveals a fully realized work that succeeds where so many other films and TV shows about our city have not. With help from an extraordinary cast and crew, Treme co-creators David Simon and Eric Overmyer have managed to capture something of the undefinable essence of New Orleans. All hometown cheerleading aside, Treme may be the most powerful and engaging TV series to come along in years.
Beginning three months after the storm and proceeding in weekly installments that approximate real time over that winter, Treme delivers a kaleidoscopic view of post-Katrina New Orleans through the lives of characters often based on real New Orleanians. Images of flooded streets and physical destruction thankfully are kept to a minimum, seen mostly in the rapid-fire credits sequence that opens each episode. But the interlocking stories tell the tale. The restaurateur struggling to withstand her diminished customer base, the Mardi Gras Indian Chief searching for his storm-tossed tribe, the Tulane professor who cant discuss Katrina without exploding in anti-government rage these and many other storylines come together in a vivid portrait of a city unmistakably in crisis.
Simon and Overmyer have covered this sort of turf before. They worked together on Simons earlier and much-celebrated HBO series The Wire, which mounted a similarly complex view of Baltimores crumbling urban landscape. But unlike those of The Wire, Tremes characters seem to breathe real air right out of the gate. The ensemble cast, featuring Wendell Pierce, Clarke Peters (both of The Wire), Kim Dickens, Steve Zahn, John Goodman and others, deserves a ton of credit for bringing well-written characters to life and delivering on Simons and Overmyers dreams of authenticity.
As convincing as those words and performances are, its the music that pushes Treme over the top. Music flows in and out of Treme just as it does on the streets of New Orleans. The debut episode reaches an artistic peak about half-way through in a wordless three-minute sequence cut to Louis Primas gorgeous Buona Sera as it wafts out of the WWOZ studio and out across the city. People laugh and fight, play with their kids or savor a drink on the porch, all in the most magical place on earth. Its almost enough to bring a tear to your eye, whether you fought that hurricane with your own two hands or breezed into town just last week.
Who knew the details of our daily lives could become the stuff of such high drama, even high art? Oh, thats right. We all did.