Boasting successes like "Mad Men," "Breaking Bad" and "The Walking Dead," AMC undoubtedly knows what audiences want. With this past Sunday's debut of "Hell on Wheels," it remains to be seen whether or not this new addition will add to AMC's growing repertoire of exceptional shows.
"Hell on Wheels" follows a former Confederate soldier by the name of Cullen Bohannon (Anson Mount) as he heads west after the Civil War, seeking revenge for the murder of his wife. His journey brings him to the so−called Hell on Wheels — the anarchic, moving town that serves as a home for those building the transcontinental railroad. Taking work here as a cover for his goal of vengeance, Bohannon faces the dangers of the lawless town, including impending attacks from Native Americans and overt tensions between black and white workers. Bohannon's only ally is an emancipated slave by the name of Elam Ferguson (Common).
"Hell on Wheels" breaks from its main arc to tell the story of Lily Bell (Dominique McElligott), the wife of a surveyor who died under siege by a tribe on the planes. As a result, Lily now holds the vital plans for the railroad's path of construction. Pulling the strings behind all of this action, Thomas "Doc" Durant (ColmMeaney), a devious investor, seeks riches out of the Union Pacific Railroad's westward construction.
If this summary makes it seem like there is a lot going on in the first episode of "Hell on Wheels," it's because there is. Both a blessing and a curse, such a loaded and fast−paced episode presents plenty of plot progression — a thankful deviation from the likes of recent "Walking Dead" episodes. Each scene is as important as the last, introducing some new plot point, character or event to note. This alone keeps viewers highly interested.
Unfortunately, this jam−packed structure also detracts from the show's quality. Because the main characters are all segregated, the program has to cut from one five−minute scene to another in an attempt to cover everyone's story. The effect is a choppy hour of television that never allows the viewer to feel comfortable with the personality on screen before he is thrown into a completely new scene.
This lack of fluidity comes through most stirringly with Bohannon's character. Although past AMC programs have often dedicated their pilots to the characterization of the protagonist, "Hell on Wheels" strays from this formula by focusing as heavily on minor characters. Coupled with the monotonous, somewhat caricatured personality of our hero — a dark, angry gunslinger of few words bent on revenge — "Hell on Wheels" erects a glass wall between its audience and protagonist. Because viewers are not allowed to get to know Bohannon, they struggle to connect with him.
That said, the acting on the show is still decent. Mount fails to stir up emotive reactions; however, Common and Meaney both spark some interest. Though slightly cliched in their respective roles, their portrayals of a resentful ex−slave and a malicious entrepreneur are spot−on and so enthusiastic that they can't help but be enjoyed.
Sadly, the premiere is plagued by mediocre writing. Though there is talent present, an overly forward script did not leave much for the audience to speculate on. While the dialogue gets the characters' points across, it is often dull and forced.
Visually, however, the show is brilliant. It has an amazing setting that sprawls across the open plains; Native Americans ride across the screen and an ominous train spits its smoke over the crazed settlement. The wardrobe is impeccable as well — each character honestly appears to have stumbled out of the 1860s. Simply put, "Hell on Wheels" is a treat for the eyes.
The setting and tone of "Hell on Wheels" are perfectly matched, giving the show an amazingly gritty feel. With gruesome action sequences and scenes of trench workers toiling in the filth and heat, the show's tone is clearly established — it is dark, rough and drenched in hardship.
However, the greatest strength of "Hell on Wheels" lies in its potential. It's been years since television hosted a truly great western program, and "Hell on Wheels" seems to have the drive to take that spot. It is original, tackling unusual issues such as the effects of Sherman's March to the Sea and the initial racial animosity post−Civil War. Set in the Great Plains along the railroad — rather than in some desert ghost town, as so many western pieces are — the show offers something fresh for its viewers.
The premiere of "Hell on Wheels" doesn't amaze, but it presents the audience with great visuals and plenty to look forward to. If it plays on its strengths and works on its bland dialogue, "Hell on Wheels" may very well join the ranks of some of AMC's best programs.
