With a star-studded cast and an A-list creative team in director Shawn Levy (Free Guy, The Adam Project) and writer Steven Knight (Spencer, Allied), Netflix’s All the Light We Cannot See seems poised to be the streamer’s next prestige hit. However, the final product is rather underwhelming — entirely competent, yet never provocative, struggling to connect with audiences despite its powerful story.
The series follows the intertwining stories of two teenagers whose paths cross in occupied France during WWII: one a blind French girl who spends her nights transmitting illegal radio broadcasts, and the other a German soldier specializing in tracking radio frequencies. Adapting a book of over 500 pages into a miniseries of four hour-long episodes was always going to be a challenge, and unfortunately, Knight is ill-equipped for the challenge.
The biggest issue with the miniseries is how convoluted its story is. While the intertwining of these narrative threads together might have been more effective in the Pulitzer Prize-winning novel, it doesn’t translate particularly well to a screen format. Although there is on-screen text to explain where we are in time, geographically, and narratively, it’s hard not to feel that this narrative is incredibly choppy. Some restructuring for the screen would have allowed the show to flow much more naturally.
All the Light We Cannot See looks great, but is narratively choppy
All the Light We Cannot See is further undermined by the fact that there is one protagonist who is far more compelling than the other. The story of the blind teenage girl in the resistance is far more compelling than that of the German soldier forced to conscript. The latter is a story we have seen dozens of times before, and in a way that feels much more sensitive to the difficult subject matter.
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It really is a shame that the storytelling is so convoluted here, as Levy was able to assemble an extraordinary cast. Aria Mia Loberti plays the lead role, and is an astounding underdog of a performer. Found through an open casting call looking for visually impaired actors, Loberti came into the role with no acting training or experience, yet she knocks it out of the park with a tender, emotional turn that is absolutely gripping. Especially in the scenes where she is simply orating, she’s amazing.
The show also boasts some strong supporting players. Mark Ruffalo does have a few moments in which he goes a little too hammy, but for the most part, he’s good here. Hugh Laurie is better, with an incredibly charming turn that pulls on the heartstrings at all the right moments. And Ed Skrein has a small, but intimidating role as a Nazi soldier that feels almost a little too well-cast.
All the technical aspects are also on point. The production design, costuming, and cinematography do a great job of capturing the landscapes of occupied France in a way that is effectively harrowing, but also hopeful. The score by James Newton Howard is also excellent, capturing this same tonal dichotomy.
For those wondering if Shawn Levy — a director primarily known for his family-friendly comedic work in movies such as the Night at the Museum franchise — was able to pull off something as serious as All the Light We Cannot See… the answer is mostly yes. It’s entirely competent, and there are some elements on display that are truly wonderful, like the performances and the visuals. Unfortunately, the miniseries feels far more safe and standard than this story deserved.
All the Light We Cannot See streams on Netflix beginning November 2. All four episodes reviewed.
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Rating: 6/10
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