It’s 1973 and oil tycoon J. Paul Getty (Sutherland) is the richest man in the world. However, his carefree existence is interrupted by news his grandson (Dickinson) is missing; kidnapped in Rome. Rather than pay a ransom and see the boy returned, Getty resolves not to pay ‘a single solitary cent’.

Donald Sutherland has the time of his life as the petulant billionaire, playing the part with sadistic glee as he taunts those in his shadow. He hosts lavish parties and purchases a pet lion for his own amusement yet is so miserly he demands all guests use a pay-phone installed in his home. When not instigating competitions for affection between his four girlfriends, he bemoans his ‘disappointments’ for sons. It is little surprise that he delegates the task of finding his grandson to FBI-agent-turned-fixer Fletcher Chase (Fraser) and the boy’s mother Gail (Swank).

The cast are all fantastic. Newcomer Dickinson delivers an empathetic portrayal of a teenager lost in a swirl of wealth and drugs. Based on her initially short screen-time, it may not seem clear why an actress of Swank’s calibre has been cast in the series, but once the character starts to develop it becomes obvious she is the moral centre of the show: a powerful presence as a mother who will stop at nothing to protect her son. With the release of Ridley Scott’s All the Money in the World, comparisons will inevitably be made between the two very different depictions of the Getty story. While Michelle Williams was effective in the film, Swank brings a warmer, more intimate feel to the character. However, the real revelation is Fraser as Getty’s handler Chase. After many years out of the spotlight, Trust provides him with the role he was born to play. Alternating between calming, funny and serious, Fraser is an excellent guide for the audience – frequently breaking the fourth wall to address what is often on the audience’s mind. The character has been fleshed out to the point he is an altogether different being from Scott’s interpretation.

The first three instalments are directed by Danny Boyle and feature his trademark split-screens and frantic foot-chases, accompanied by a catchy rock soundtrack. Visually stunning and written by Beaufoy with a generous helping of dark humour, the series begins as a fun if not overly deep tale of the dangers of wealth. Surprisingly, it is after Boyle hands the reigns to lesser known directors that it really kicks into gear. Each filmmaker takes a different approach to the material – several episodes almost act as standalone(s), in particular an Italian-language entry focused on the crime family responsible for the kidnapping. Aware viewers might be familiar with the outcome of the story, the creators instead focus on the character relationships. We may know the fate of the leads, but tension peaks when (more fictionalised) supporting players are placed in danger. It is a haunting, melancholic story where some learn from their mistakes while others are doomed to perish.

Creators: Danny Boyle, Simon Beaufoy
Stars: Donald Sutherland, Hilary Swank, Harris Dickinson, Brendan Fraser
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