AMC’s newest series The Son is a “creation myth of America” set in the American West in two different time periods, 1849 and 1915, telling the story of Texas family patriarch Eli McCullough. Based on the Pulitzer Prize finalist and bestselling novel of the same name by Philipp Meyer, who is also an executive producer of the show, The Son explores America’s violent heritage by examining Texas’ deadly involvement with indigenous peoples and its Mexican neighbors. Though Variety claims The Son is “yet another show centered around a morally grey white man with a dark past,” and though the premiere was a bit slow, AMC solved this initial pacing problem by showing the first two episodes in the same night. By the third episode, the series picks up steam and becomes quite an intriguing story.
Eli McCullough, kidnapped by the Comanche as a young man, is the patriarch of the family in the series. Played by Pierce Brosnan in one of his best roles, he is a cattleman who, for some unknown reason, is determined to discover oil on his land. Is he losing money at the ranching business? Is he bored with cattle? Is he not rich enough? Is he in so much debt that he must lose the entire ranch if he doesn’t diversify? We don’t find that out, but for the first several episodes, the search for oil is a minor part of the story.
Despite some complaints about Brosnan’s native Irish accent poking through the show’s Texas drawl, and despite Hollywood Reporter’s description of his character as “Pathetic White Boy [Eli’s Comanche name]… grown into a powerful and notoriously vicious landowner whose new Comanche nickname would probably be Growls With a Beard,” Brosnan’s Eli McCullough is the most interesting character in The Son.
As a young man in 1849, Eli (Jacob Lofland, one of the shining stars of the series) was kidnapped by the Comanche, led by Toshaway (Zahn McClarnon, a serious competitor with Brosnan, in both talent and physical attractiveness).
Tormented by the males of the tribe as well as by the lovely Prairie Flower (Elizabeth Frances),
Eli often doubts his ability to survive captivity. The longer he is with the tribe, however, the more he begins to behave like the other young men, and the more he is accepted as part of their group. Eventually, Toshaway may even come to regard Eli as his son.
The scenes of Eli in the past are interwoven are interwoven with those of Eli as a grown man, in 1915. Living on his ranch with his sons Phineas (David Wilson Barnes)
and Pete (Henry Garrett),
his daughter-in-law (Pete’s wife) Sally (Jess Weixler),
and his grandchildren — Charles, Jonas, and Jeannie (Sydney Lucas, who shines in her scenes with Brosnan, with whom she has obvious chemistry) —
Eli is at odds with his sons. They want to sell part of the ranch to get the family out of debt, but Eli fears that dividing the ranch will ultimately lead to its complete loss. How the family got into such serious debt in the first place has never been made clear, but perhaps that isn’t as important as it seems it should be.
The McCulloughs’ nearest neighbors are the Garcías, led by patriarch Pedro (Carlos Bardem) and his feisty daughter Maria (Paola Nuñez), who seems inordinately attracted to the already married Pete McCullough.
The Garcías have a large family, but the most important members seem to be these two. The García patriarch has some nefarious associations with Mexican bandits who are causing havoc with the white Texas settlers. War seems to be on the horizon.
Though the Native Americans and the Mexicans often seem stereotyped, the storyline is still mostly strong. Admittedly, there are some flaws in the story itself: Eli has two sons, for example, but the eldest, Phineas, largely disappears after the initial episodes; the Garcías have a large family, but no one gets near the attention (or screen time) that Pedro and his eldest daughter Maria have.
The worst problem with the series so far is its major production flaw: the music is often so loud that the dialogue is literally inaudible.
Still, The Son is worth watching, and, as the LA Times review notes, it’s engrossing, if only for the strong performances of Brosnan (Eli as a man), Lofland (Eli as a youth), and McClarnon (Toshaway). The strongest and most interesting female characters are Frances (Prairie Flower) and Lucas (granddaughter Jeannie). Also, the chemistry between Brosnan and Sydney Lucas (Jeannie) is delightful.
The Son is rated MA for its violence, which is frequent though not excessively graphic, and it airs Saturdays at 9:00 pm ET. The first two episodes, Son of Texas and The Plum Tree are available for viewing without login on AMC, and all episodes are free for AMC subscribers.