The new thriller, “The Boy That Never Was,” aired by RTÉ One on Sundays at 9.30pm, disappoints in its inability to unravel the long-standing mystery of why RTÉ struggles to produce an impressive thriller. Conceptually, the depiction of a father who spots his presumably deceased child at a Dart station could be alluring, however, the picturisation of the Karen Perry’s novel seems clouded with an over-emphasis on misery and an excruciatingly slow progression. It would be quite a surprise if the audience is eager to tune in for the second instalment.
An optimistic interpretation of “The Boy That Never Was” could see it as a reflection on the destruction grief can cause to a rock-solid bond. The narrative commences in Morocco, focusing on Harry (Colin Morgan), a self-satisfied, trending artist, and his bread-winning wife Robin (Toni O’Rourke). When their residence collapses during an earthquake, presumably taking their toddler son, Dillon, the couple is devastated.
Fast forward three years and the couple is in Dublin, still grappling with their son’s loss. However, Harry spots Dillon on a Dart platform with a woman, and his already shaky grip on reality seems about to crumble.
An outstanding thriller can make any storyline appealing, regardless of its credibility (sometimes even embracing the charm of its implausibility). However, “The Boy Who Was Not There” commits the unpardonable crime of a Sunday evening crime drama by taking itself too seriously. It aspires to contemplate loss and redemption subtly, while the viewers might just desire an engaging caper to wrap up their weekend.
In the series, RTÉ also displays the knack of representing urban Ireland as the grimmest place conceivable. Someone ought to inform Montrose that a gloomy atmosphere does not always qualify as a virtue – take the contrast of the melancholy mood of “The Boy That Never Was” with the fashionable Dublin Bay elegance of Sharon Horgan’s “Bad Sisters.”
In the drama “The Boy That Never Was”, implausible scenarios are rife. The actors, including noteworthy British stage actor Simon Callow, who portrays a benevolent Moroccan local, struggle with dull performances and a lack of character distinction, particularly with the actors cast as Robin’s spouse and sibling. Despite the narrative’s arguable inconsistencies, such as Harry improbably recognising his long-lost son after three years on a Dart platform, the drama ploughs on into further absurdity.
Robin procures a hard drive loaded with CCTV footage from a Dart station via a friend from the police force. As improbable as that scenario is, she scans the blurry video, spots the child and the woman, their faces indistinct – mere brush strokes in a grey landscape. Regardless of the hazy footage, she recognises Dillon instantly and opts to erase the evidence to shield her husband from additional distress. With pregnancy amplifying her need for stability, this bizarre drama does not help.
Regrettably, instead of embracing its inherent flamboyant character, “The Boy That Never Was” plods along its esoteric path, resulting in a dour, joyless experience. It’s ironic that a drama centered on a child resurfacing after being presumed gone shows such an absence of life and vibrancy.