'Manhunt' review: Thoughtful, engrossing drama about tracking down John Wilkes Booth

WHAT IT'S ABOUT After Abraham Lincoln's (Hamish Linklater) assassination at Ford's Theatre, Secretary of War Edwin Stanton (Tobias Menzies, “Outlander”) takes charge of the hunt for John Wilkes Booth (Anthony Boyle, “The Plot Against America”), who breaks his leg after jumping onto Ford's stage. But Booth has help — a plotter, David Herold (Will Harrison), who escapes with him — and also a head start. The new President, Andrew Johnson (Glenn Morshower), is sworn in, then quickly makes certain Lincoln's plans for Reconstruction are derailed.

 Leading the chase for Booth is an army detective (Patton Oswalt) whose troops arrive at the homestead of Dr. Samuel Mudd (Matt Walsh), a self-described humble country doctor but in reality a cruel overseer of his own indentured household staff, which includes Mary Simms (Lovie Simone, “Power Book III: Raising Kanan”).

This seven-parter — based on James L. Swanson's 2006 book “Manhunt: The 12-Day Chase for Lincoln's Killer” and created by veteran TV writer Monica Beletsky — ends with the military trial of those behind the assassination plot.

MY SAY Maybe the toll from a long and brutal war was to blame — or maybe the producers simply knew they had seven episodes to fill — but no one in “Manhunt” seems to be in a big hurry to catch Lincoln's killer, at least in the early episodes. There's some talk and deliberation before the horses are finally saddled up. Booth is well on his way by then, and a manhunt in slow motion finally commences.

And so, best not to think of “Manhunt” in 21st century Hollywood terms, with Matt Damon or Tom Cruise on the case, but as a wide, slow river, pressing on inexorably to its destination. Lots of eddies break off from the main stream, each in their own way riveting and largely lost to history. The dramatis personae (hey, this is about an infamous actor after all) are varied, not always compelled by revenge or due process. Old rivalries are stirred by the murder, conspiracy theories are hatched. “Manhunt” takes time to explore each of them, mostly within the framework of one grand theme — the cruel death of Reconstruction in those momentous days that followed April 15, 1865, Stanton's valiant efforts notwithstanding.

“Manhunt” is thoughtful and intelligent, which compensates for some curious casting decisions (speaking here of Walsh and Oswalt, who are both convincing — seriously). Linklater's Lincoln seems almost elfin at first glance, but he too grows in stature. A dark shadow — depression — roots this performance, as if his Lincoln knows what is to come. Boyle makes certain his Booth plays the villainous role that history has consigned to him: Sullen, vainglorious, delusional and notably dim of bulb.

 Meanwhile, Menzies — excellent in everything he does — anchors the whole series as a man determined to fulfill Lincoln's legacy, and especially determined to secure his own.

What's best about “Manhunt” are those eddies. Who knew (or knows now) that there were rumors Johnson was behind the assassination? Or that Mudd had a housekeeper, who testified against him? A critical throughline involves George Sanders (Anthony Marble), a robber baron who may have masterminded the assassination plot. Stanton is forced to fight rear guard actions against him and a new President. Little wonder he got sidetracked in the hunt.

“Manhunt” isn't just about that hunt anyway, but filled with a brooding sense of what was lost in that brief moment in history so long ago. A “what if” hangs over these seven episodes, and so does a “what-will-be.” There are no triumphant notes here, just tragically futile ones.

BOTTOM LINE Cerebral, engrossing.