Taking liberties with Leonard makes for solid ‘Shorty’
Before you say, “Who needs another version of ‘Get Shorty’?,” take a gander at the 10-episode adaptation of Elmore Leonard’s sublime novel premiering on the Epix subscription channel on Sunday, Aug. 13. It’s a beaut.
The credits for the Epix “Shorty” make it clear that the series is based “in part” on Leonard’s novel, which is not only true, it also explains why aspects of the show won’t begin to revive your memories of the 1995 film. For one thing, Chili Palmer is nowhere in sight. Instead, meet Miles Daly (Chris O’Dowd), a hitman for a ruthless, bejeweled casino owner named Amara de Escalones (Lidia Porto). Miles and his partner, Louis Darnell (Sean Bridgers) get their hands on a movie script written by a suddenly deceased screenwriter who owed a lot of money to Amara. Miles gets the idea that they could get the movie made and use it as a way of laundering money for Amara. Amara likes the scheme and wonders if they can get John Stamos for the lead. She likes John Stamos. They take the script to Rick Moreweather (Ray Romano), a Hollywood bottom-feeder who specializes in cheap, grade Z movies.
Along the way, there are lots of inconveniences, including a rivalry between
Amara’s operation and a gang looking to muscle in on Amara’s territory because the feds are watching her every move. Amara’s box-of-rocks nephew, Yago (Goya Robles), inadvertently lets gang members into the casino counting room, and gets his face bashed in while the “bad guys” abscond with $50,000 in receipts.
Miles is also struggling in his personal life. His long-suffering wife, Katie (Lucy Walters), would like to raise their daughter, Emma (Carolyn Dodd), in a household where dad’s business can never be discussed.
While creator Davey Holmes takes plot and character liberties throughout the three episodes sent to critics for review, he preserves the dark comic sensibility of Leonard’s vision. The Epix series becomes a neo-Nathanael West satire of the film industry, which, of course, is as ruthless and immoral as the crime business.
The performances are sublime. O’Dowd’s conartist likability smooths over some of the overly convenient plot points in Holmes’ script. Romano, Bridgers and Robles are unforgettable in their respective roles.
But for my money, Lidia Porto steals the show. Sashaying around dusty Pahrump, Nev., with a fur throw tossed over her Joan Crawford shoulders, turquoise jewelry around her neck and on most of her garishly manicured fingers, her hair teased and sprayed into a dramatic cockscomb, Amara is a woman who was victimized once in her life, but only once. Porto delivers a magnificently comic performance.
Also in the magnificently comic category is the great Alan Arkin, making a cameo as More weather’s father. Arkin’s son, Adam, is the show’s co-executive producer, so he probably had his private number.
The premiere episode fires on all cylinders. While the second and third are very good, they plateau a bit. One reason for that is that Holmes wants us to care a lot about whether Miles can get his wife and daughter back. Keep trying, but we came for the buffet.
David Wiegand is an assistant managing editor and the TV critic of The San Francisco Chronicle. Follow him on Facebook. Email: dwiegand@sfchronicle.com Twitter: @WaitWhat_TV
While creator Davey Holmes takes liberties, he preserves the dark comic sensibility of Elmore Leonard’s vision. The series becomes a neo-Nathanael West satire of the film industry.