Perry Mason: One of the most compelling dramas of 2020 is finally back

REVIEW: One of the viewing delights of that first Covid winter of 2020 was the “reimagining” of Perry Mason.

Rather than your grandmother’s favourite 1950s crusading criminal lawyer – as portrayed by Raymond Burr in more than 250 episodes – this was an eight-part, 1932-set origin story that hewed closer to Erle Stanley Gardner’s original novels and felt more like Boardwalk Empire or Peaky Blinders.

Series showrunners Ron Fitzgerald (Westworld) and Rolin Jones (Weeds) did a truly breathtaking job of a establishing a sense of space and place, creating a gritty, grimy Los Angeles, filled with sex and violence, neither of which are shied away from or portrayed prettily. There was a sense of menace, but also despair in Mason’s City of Angels, with lead Matthew Rhys (The Americans, who apparently swapped roles with executive producer Robert Downey Jr. after initially signing up for the movie Doolittle – we know who got the better deal there) almost instantly making the troubled investigator a character you want to spend time with – and learn more about.

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Now, after a seemingly interminable two-and-a-half-year wait, Rhys’ Mason is back (the second season debuts today, Tuesday, March 7, on both Neon and SoHo) with another absorbing and thoroughly entertaining adventure.

Six months after the judge declared the Dodgson case a mistrial, Mason’s law practice is struggling to make ends meet. Partner Della Street’s (Juliet Rylance) decision to hire a secretary fills him with angst, but she’s convinced it’s the only way they’ll be able to achieve what they agreed – that Della would have “a seat at the table”.

“Oh, we’re going to have to sell the table,” he grumbles.

To ensure they have enough for rent and their new employee, Della has signed them up for a civil case involving allegations of intellectual property theft. Supermarket entrepreneur Sonny Gryce (The Lord of the Rings trilogy’s Sean Astin) is convinced former underling Ed Purtell (Matt Bush) has “borrowed” both his slogan and layout ideas in setting up a rival business. Thanks to Mason’s private investigator skills, they have photographic evidence that should tip the case their way. However, to Mason’s horror, Gryce doesn’t only want his day in court, he wants to crush Purtell.

Distracted and disillusioned, Mason’s growing funk means he initially dismisses a far more high-profile criminal case. Two young unemployed men of Mexican extraction have been accused of the murder of business scion and would-be baseball team-owning entrepreneur Brooks McCutcheon (Tommy Dewey).

With the District Attorney’s office promising citizens that they will get justice and are seeking nothing less than the death penalty, the outlook for the pair appears rather bleak, especially when Mason resists the entreaties from their family members for his assistance. “I’m not the right man for this,” he splutters.

But something about the shooting doesn’t sit right with Mason and –after conducting a little overnight scene examination and recreation – he changes his mind.

“The evidence against them isn’t flimsy, it’s see-through,” he says, admitting to Della that an “improverished defence” won’t save the duo. That means they’ll have to assist them by taking on more Gryce work – as unpalatable as that might be.

From a bravura opening tracking shot set on a riverboat casino to the fabulously atmospheric cinematography, production design and gorgeous costuming, Mason is still one of the most memorably stylish period dramas on TV.

New showrunners Jack Amiel and Michael Begler (The Knick) have crafted intriguing and gripping new dilemmas for Mason to tackle, while adding the likes of Fantastic Beasts’ Katherine Waterston, Succession’s Hope Davis and Sound of Metal’s Paul Raci to an already terrific ensemble.

However, this is still very much Rhys’ show and he continues to impress in a way that – if there’s any justice – should see him at least repeat his Emmy nomination from 2021.

Season 2 of Perry Mason begins streaming on Neon on Tuesday, March 7. Episodes will debut each Tuesday at 8.30pm on SoHo.