It’s
tempting to compare Ten’s new imported US series Cane
with the hugely successful mega-soaps of days gone by, Dynasty
and Dallas. But in fact this show has more in common
with Seven’s family melodrama Brothers and Sisters.
Indeed, apart from changing the characters from Anglos to Latinos,
the oestrogen to testosterone and the family business from food
to rum, this could be almost a carbon copy of the Calista Flockhart-starring
show.
It’s actually far more subdued than either
Dynasty or Dallas ever were; but that’s
also where it really falls down. The show is so subdued, it risks
inducing sleep in viewers. There’s so much talk about the
business, about family, about loyalty and about sugar cane, there’s
precious little time left for any real action.
The show revolves around the Duque family, a clan
of rum-making Cuban-Americans who’ve settled in south Florida.
The patriarch is Pancho (Hector Elizondo), who has built the rum
business up from scratch since arriving in American after the
Castro revolution. Now, Pancho is advancing in years, and he decides
to restructure the business. This proves a boon for his adopted
son Alex Vega (Jimmy Smits); but a bust for his natural son Frank
(Nestor Carbonell). Naturally, tension between the brothers ensues.
This is fuelled in part by Frank’s affair with Ellis Samuels
(Polly Walker), a driving force in the rival Samuels’ sugar
business who has eyes on acquiring the Duques’ substantial
sugar cane holdings; and in part by Alex’s suspicions and
hubris.
In
a way, this is a very brave show for its US parent network CBS,
focussing as it does almost entirely on Latino characters. This
of course has a particular resonance in the US (accentuated with
little subtlety in the pilot episode when one character remarks,
“We’re all Americans here”). For an Australian
audience however, that resonance is largely if not entirely missing.
Cane is hamstrung however not so much by
its themes as it is by some very indifferent plotting. The writing
team not only pull just about every cliché in the business
out of the hat, but it moves so ponderously, it’s difficult
to even stay awake while watching it. Yes, there are moments of
excitement, but the labyrinthine family dymanics and the constant
harping on about “the business” undermines any real
momentum the show might have had.That’s not to say there’s
nothing to like here. The tropical locales (albeit mainly shot
in California, not Florida) are attractive; as are the majority
of the largely-unknown cast. If you’re into shows like The
Sopranos, there’s a sprinkling of crime elements thrown
into the mix; and fans of that show will also warm to the struggle
between power and decency that’s grafted on here.
Cane isn’t going to be an easy sell
for Ten, which I guess explains their decision to run it during
the non-ratings period. While its very specific cultural references
will be difficult to translate for local audiences, that might
prove the show’s saving grace. Next to the white-bread,
Laura Ashley themed world of Brothers and Sisters, this
series is positively exotic. If only the plot was a bit more substantial
and less talky, it could be a winner.
Phil James
To see a promo spot for
Cane, click the play button below:
It’s
tempting to compare Ten’s new imported US series Cane
with the hugely successful mega-soaps of days gone by, Dynasty
and Dallas. But in fact this show has more in common
with Seven’s family melodrama Brothers and Sisters.
Indeed, apart from changing the characters from Anglos to Latinos,
the oestrogen to testosterone and the family business from food
to rum, this could be almost a carbon copy of the Calista Flockhart-starring
show.
In
a way, this is a very brave show for its US parent network CBS,
focussing as it does almost entirely on Latino characters. This
of course has a particular resonance in the US (accentuated with
little subtlety in the pilot episode when one character remarks,
“We’re all Americans here”). For an Australian
audience however, that resonance is largely if not entirely missing.