Gugu Mbatha-Raw stars in an exciting thriller that could go deeper
Amnesia plots are a television staple often derided as a convenient method of slowing down or speeding up a story. Soap operas have used this device for decades, and amnesia can be difficult to implement without veering into ridiculous territory. Fortunately, “Surface” does not extend credibility also far in its premise, and the central performances strengthen this framing. Some leaps (pun not intended) are made, but the twisted thriller is an entertaining exploration of identity. By the end of the eight-part first season, there are still more questions to be answered, which is proving to be frustrating. Still, there’s still plenty to enjoy in the latest offering from Apple TV+ that uses its location in San Francisco and continues to keep you guessing.
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“Who do you trust when you can’t trust yourself?” is one of the big questions at the heart of “Surface”. Five months have passed since Sophie Ellis (Gugu Mbatha-Raw) woke up in the hospital after suffering a traumatic head injury. The last thing she remembers is almost drowning, but everything that came before is not just a blur; it is completely blank. Losing one’s long-term memory is an extreme consequence of this accident, which is believed to be a suicide attempt. After all, she apparently chose to jump off the ferry she was traveling on, and everyone involved in her recovery agrees that’s what happened. Of course, there is more to this backstory.
Beginning this journey after Sophie is semi-reacclimated to her swish surroundings emphasizes that while her physical injuries have healed, she is still processing what has been called a suicide attempt. The cause of her unhappiness conflicts with the picture painted by her loved ones. “But if my life was so perfect, why did I try to end it?” is a question that everyone around her refuses to address. The reasons why someone would make this choice are limitless, and the conversations surrounding Sophie’s mental health are thoughtful and handled with sensitivity. However, I was surprised that on the screeners shown, there are no content warnings or phone numbers pointing viewers to resources like the Crisis Text Line and the National Suicide Prevention Lifeline — something “The girl from Plainville” did.
As with other Hello Sunshine productions such as “Big Little Lies” and “Small fires everywhere,” the concept of a picture-perfect life is torn apart by long-buried secrets, but one big difference is that Sophie is as much in the dark as the audience. Whereas both Reese Witherspoon-starring shows focusing on suburban family life, the San Francisco location and lack of children ensure it’s not a case of the star retreading old ground in his executive producer role. And unlike these titles, “Surface” is not adapted from a bestselling novel.
Manager Sam Miller (“I can destroy you,” “Luther”) quickly establishes the destabilizing feeling of losing everything you ever knew through flashbacks, stilted conversations and sessions with therapist Hannah (Marianne Jean-Baptiste). At times, the edges of the screen are out of focus and the audio is distorted, adding to the unsettling tone. A fog enveloping the city reflects Sophie’s state of mind, and Miller amps up the atmosphere with the setting. Despite her unique circumstances, Sophie pushes back against the image of her life that everyone is eager to have her believe. The walk-in closet packed with designer dresses, shoes and expensive jewelry is enviable. Still, this doesn’t elicit much of an emotional response because her old tastes have disappeared along with those memories. Costume designer Sara Byblow conveys this through the one dress Sophie keeps coming back to and the fact that she’s most comfortable in all-black running gear.
On the street full of colorful three-story townhouses, it’s notable that the Ellis residence is black to match the void in Sophie’s mind. Photographs of a smiling Sophie and her successful venture capitalist husband, James (Oliver Jackson-Cohen), is part of the Architectural Digest-ready decor that aims to prove just how happy this marriage was. Instead, it looks like props from a life she doesn’t recognize. This couple has it all on the outside, from the expensive property (they also have a vacation home in Marin) to an active social life. To varying degrees, there is an element between the face we wear in public and the one we reveal in public, but Sophie lacks this separation. “Surface” is not simply a case of putting the pieces of her life back together, but an exploration of the self. The series from the creator Veronica West (“High Fidelity,” “Dexter: New blood”) is at its best when it digs into these existential elements.
“What if I didn’t jump?” is another question that Sophie keeps coming back to, and the circumstances surrounding what happened before she ended up in the water are part of the mystery. Jackson-Cohen as the husband is effective casting as it plays to the actor’s strengths by conveying subtle threats that can explode at any moment. Roles in “The Ghost of Bly Manor,” “The invisible man” and “The Prodigal Daughter” have all embodied Jackson-Cohen’s ease in sliding between charm and intimidation. Yet it is not a matter of repeating these steps. The man is always the first suspect, and the holes in his story are a red flag. However, there is a vulnerability to his portrayal, which further adds to the complexity of this dynamic. Yes Graynor is always a welcome sight and takes on a best friend role that isn’t quite what it seems.
Sophie may not know her secrets, but another man in her life is ready to peel back those layers. Stephen James plays the other person in this love triangle, and I can’t go too much into his character Thomas without diving into spoiler territory. His perspective is at odds with the story told by her husband and the group of friends she struggles to connect with over fancy dinners. James gave a brilliant performance in the first season of the twisted Hitchcockian “Homecoming,” which also follows a character whose memory is unreliable. Here he is more in control, but he still only knows specific facts – although his chemistry with Mbatha-Raw is undeniable.
A steady symbol is the Golden Gate Bridge, looming in the background like a harbinger of doom, and I found it impossible not to think of the 2003 New Yorker article that gave the Sleater-Kinney song “Jumpers” its name. While some of “Surface” was filmed in Canada, the exterior location scenes in San Francisco are crucial to elevating the overall aesthetic and mood. The Bay is often in the background when Sophie goes on daily runs that are both a method of escape and her mind’s way of pushing her past into her head – even when she is not sure why she has ended up in a certain place. It all adds to the unfolding mystery, and the episode called “The Myth of California” is intrinsic to the allure of this expensive city and how Sophie embraces and avoids these surroundings.
It does not go unnoticed that Northern California is one Alfred Hitchcock film location booklet (with “dizziness,” “The birds” and “Shadow of a Doubt” set in San Francisco), and Sophie fits two different archetypes that often appear in the iconic director’s work. At times she is the innocent good girl trying to hold on to something tangible, but a darker side suggests a morally ambiguous nature favored by a femme fatale. Mbatha-Raw is equally adept at both, deftly walking the line thrown up by the amnesia plot.
Any frustration that arises is due to the occasionally palatial pace, and while the mystery initially unfolds at a decent pace, there are also delays. Amnesia narratives often have built-in problems, now further complicated by our extensive social media trails. Even though Sophie doesn’t have a deep digital footprint, that doesn’t mean no one else in her circle will. However, this Instagram/Facebook route to getting to the bottom of things is being ignored. Of all the stretches in plausibility, this is the one I struggle with the most.
“Surface” is a smart psychological thriller that gets stuck later in the season as it tries to keep up with the myriad twists and turns. The repeated shots of Sophie running down similar-looking streets give the impression that she’s a mouse in a maze she can’t escape from – sometimes that’s what watching her journey feels like. However, the exploration of identity and why we make particular choices ensures that the framing of this series isn’t just a cheap gimmick and worth scratching beneath its shiny exterior. [B]