TV Pilot Review: The Marvelous Mrs. Maisel is, for Lack of a Better Word, Marvelous

©2017
Photo Courtesy of Amazon.com All Rights Reserved

Lorelai and Rory Gilmore, the current gold medal holders for speed-talking in a television dramedy, have some stiff competition on their hands from Rachel Brosnahan’s devilishly smart and silver-tongued Miriam “Midge” Maisel. Penned by Gilmore Girls creator Amy Sherman-Palladino, The Marvelous Mrs. Maisel is one of the most refreshing and fast-paced shows of the season.

Mrs. Maisel (House of Cards’ Rachel Brosnahan) is the epitome of a perfect 1958 housewife. She cooks, she cleans, she coordinates stand-up sets for her talentless and aimless husband, Joel (a surprisingly sympathetic Michael Zegan), at The Gaslight Café. Her protective and overbearing parents Abe and Rose Weissman (a perfectly cast Tony Shalhoub and Marin Hinkle) live directly above her. She has a housemaid, she has friends, she has money. Of course something has to go wrong!

And oh how wrong it goes. It takes a while to get there but it shouldn’t be surprising that a woman who is so organized (she daily tracks her exact body measurements in a journal) will have her entire life disrupted by a tragedy. In this case, it is the decision of Joel to walk out on Midge in favor of his dolt of a secretary, Penny Pan. If you think that’s a stupid name, Mrs. Maisel agrees with you.

Nothing perfect ever lasts. Thankfully, Miriam has the smarts to tough out a divorce.
©2017. Photo by Sarah Shatz

After being told of her husband’s departure, Miriam searches for solace in the one place she has found comfort recently: The Gaslight Café. When a stand-up isn’t present, a drunk Miriam takes the stage—initially lamenting to herself before turning her sharp wit on the audience and becoming a tantalizing insult comedienne a la Joan Rivers. Her talent does not go unnoticed: she draws the attention of Gaslight Café employee Susie Myers (Alex Borstein, in her best role to date), an enraptured audience, and even the NYPD.

Structurally, the episode does everything a pilot must do to establish a successful foundation. Each of the five main characters is given enough of a backstory that strengths and weaknesses can be quickly defined. For example, Miriam is brash and impulsive but has spent her lifetime controlling those urges in favor of being the “perfect” woman. The stakes are clearly established as everyone has something to lose or gain from the dissolution of Midge’s marriage.

While the episode is enjoyable overall, the last ten minutes are sitcom gold. Watching Rachel Brosnahan riff, it would be impossible to know that she is not herself a seasoned stand-up comedienne. Much of the credit is due to Sherman-Palladino (whose script I discuss later), but the performance is superb and could finally given Julia Louis-Dreyfus a worthy Best Actress opponent.

Filming for Miriam's (Rachel Brosnahan) first stand-up set at The Gaslight Cafe.
©2017. Photo by Nicole Rivelli

As a fan of Gilmore Girls, it is refreshing to hear the pacing of this show is at a similar break-neck speed. Jokes come so quickly that I rewatched a few scenes during my viewing to try and catch all of the punchlines. Even with so much humor, the script maintains heart and Miriam becomes much more than a caricature of a high-society Jewish woman. With two Golden Globe nominations, this is hopefully a sign that Sherman-Palladino will be more actively recognized now that she has moved to a network that is not the CW.

There are few risks taken in Amy Sherman-Palladino’s direction. This seems like a deliberate choice to keep the focus on Rachel Brosnahan’s winning performance. Single shots are held for much longer periods than expected, particularly during intimate taxi rides and Mrs. Maisel’s triumphant stand-up set, and bring a more simplistic feel to the show. Little flash is added and the script and the performances are able to stand on their own.

Two Peggy Lee songs, a Barbra Streisand ditty, and a tune from The Roar of the Greasepaint the Smell of the Crowd contribute to the episode’s upbeat oldies soundtrack. Coupled with a smooth score by Sam Phillips and Eric Gorfain, the show does a great job of creating a well-established period atmosphere. Set amongst a gorgeous and colorful set designed by Bill Groom, it would be easy to stare only at the beautiful furniture rather than the actors. Thankfully, Donna Zakowska’s equally effervescent costumes draw the attention back where it belongs, particularly when it comes to Midge. There is a certain excitement in knowing that each dress, jacket, and bag will be as stunning and meticulously constructed as the last.

Bright colors, extravagant outfits, and spot-on music punctuates each scene of The Marvelous Mrs. Maisel's pilot.
©2017. Photo by Sarah Shatz

I haven’t been as excited about a show as I was when The Marvelous Mrs. Maisel’s pilot concluded. Above all else, there is an emotional sincerity to the piece. Amy Sherman-Palladino has proven that there is a cleansing power to comedy. When crying won’t cut it, it’s time to whip out the booze, sharpen the claws, and shred the world with a few slick jokes. Miriam is poised to conquer comedy at this episode’s end. Let’s hope this show can maintain it’s momentum and do the same.

Season one of The Marvelous Mrs. Maisel is streaming now. Only on Amazon Prime Video.

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