Time is one of the key elements of cinematic magic. Rarely is it made clear how much time passes between one scene and the next, let alone from the start to the end of the film or television show. Things such as plane journeys and car rides are generally cut out, or cut short, in the interest of keeping a fast pace and exciting storytelling.
"24" changes all of that. The first season takes place on the day of the California Presidential Primary, starting and ending at midnight, with each episode spanning an hour of the day. It centres on Jack Bauer (Kiefer Sutherland, appearing in the first regular television role of his career), and he is about to have the worst day of his life.
Bauer is a no-nonsense, highly-trained federal agent who runs the fictional Counter Terrorist Unit (CTU) in Los Angeles, and who is tasked with preventing the assassination of Senator David Palmer (Dennis Haysbert), who is on course to be the first black American President. As Bauer races against the clock to save Palmer, his thoughts are also occupied by his runaway daughter Kim (Elisha Cuthbert) and his rekindled relationship with his wife, Teri (Leslie Hope).
A digital clock appears several times throughout an hour to inform viewers what time it is in the "24" world, and that's the only clock you'll want to check. This is a high-octane, adrenaline-pumping series which quickly captures your attention and refuses to let go.
Sutherland is excellent at portraying Bauer's every emotion, be it the calm but firm authority figure he is in the first episode, the angry, slightly unhinged persona that emerges later on, or the desperate man worried about his family. Bauer immediately stands out as someone who hates relinquishing control, even when playing a game of chess against Kim.
There's a wide range of supporting players. Nina Myers (Sarah Clarke) is Bauer's second-in-command and part-time lover, Tony Almeida (Carlos Bernard) is third-in-command and has also been intimate with Myers, while Palmer is supported by his wife, Sherry (Penny Johnson Jerald). Jerald's performance is particularly understated as Sherry tries to help David despite the sense that she's always looking to manipulate him. She only improves as the season goes on, too.
The writing and direction — particularly in the pilot, scripted by Robert Cochran and Joel Surnow, and directed by Stephen Hopkins — is largely exquisite. Even in the middle portion of the season when parts of the story drop in quality, the writers do a terrific job of ensuring the intensity never goes away. Each scene is just as tense as the last and there is always the possibility of someone coming around the corner to shoot at the main characters.
Sean Callery's masterful score helps to carry the series as well. It is never bombastic despite regularly being loud. Callery understands Bauer's world and knows how to best engage the audience. He's also smart about his musical choices, and emotion always wins out over action when the two themes are paired. Gunfights often receive energetic music but if emotion is involved, the score ends up sombre, and "24" benefits as a result.
Action shows are nothing new, but the gimmick here is original and intriguing. The series handles the real-time element magnificently and draws you in further with every digital clock beep. The last 16 episodes all open with Sutherland's voiceover, explaining that this is the longest day of his life. That is certainly true, but watching "24" will not feel like the longest day of yours.
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