Dan Chase is the name of this person. In the words of Harold Harper: Morgan Bote is the name of this person. Jonathan E. Steinberg and Robert Levine’s excellent spy thriller, The Old Guy, has an old man who appears at various points throughout the film.
However, a new competitor for the championship emerges in this last episode of the series’ superb first season.
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Faraz Hamzad is the name you’ve heard repeatedly during the show. He’s the Afghan warlord who’s been looking for “Dan Chase” all this time, played by Navid Negahban in the role of an elderly man. Only one person is his true target. It turned out he didn’t truly desire Chase after all. To him, Angela Adams, also known as Emily Chase, was his long-lost daughter, and he wanted her back.
All of the show’s puzzles are suddenly solved. To avenge the death of Hamza’s long-dead wife, who had refused to reveal the location of a possibly war-winning hoard of precious metals, why would Hamzad pursue a decades-old vendetta against Chase?
When he agreed to trade Chase for Angela with high-ranking FBI officer Harold Harper, why would he go back on his word and break his promise? To begin with, why would he abduct Angela when he knew the wrath of the US government would descend on him, severing a long-standing connection that dated back to the Soviet-Afghan War?
Why does he do this? Because he misses his daughter. It’s because Dan Chase, nicknamed Johnny, and his wife Belour took his daughter all those years ago that he still misses her.
There has never been a better action sequence in this show since its launch. When Waters and Carson realize they’ve been surrounded by enemy agents, Carson first-person shoots his way through them and clears the path for Waters, Mike, and Angela to escape, only for a gun-toting woman to ambush them in the middle of the street, killing Mike and Waters (RIP) and taking Angela.
Meantime, Harper’s Moroccan secret-police escort turns on him, causing him to drive like a Grand Theft Auto character as Chase effortlessly knocks out all three following vehicles. A stunning collision in the backdrop of a scene is set up as though Chase and Harper had seen it all before, which they have, of course.
In addition to all the action, there’s a lot of heart. Chase bids farewell to his former hostage-slash-partner Zoe, who can’t believe that Faraz Hamzad’s gunshots are the only way out for him. My only question is how or if she will be brought back in during the second season of the show.
Drove into a dream state with her mother, a harsh and aloof character, cloaked in mystery, by Carson, Mike, and Waters for most of the episode. An elegant white gown and miniature dunes reminiscent of Tarkovsky’s Stalker make an appearance in a memorable scene. As a result, Angela’s subconscious senses a link between her own life and the events that occurred between Belour, Johnny, and Hamzad.
To add to the drama on the road, Harper and Chase argue often on the phone over which one is Angela/”true” Emily’s dad. Are you referring to Chase, who gave up his life for her? Does Harper deserve credit for helping her answer the probing questions that Chase averted? In the end, neither guy is her biological father, but both of them care enough about her to be a fatherlike presence in her life.
I am pleased to report that episode 7 of The Old Man, only on FX and Hulu is now available
— Aaron (@ch1ckenspuh) July 22, 2022
What does that mean for the rest of us? There are no more Waters and Mikes. Hamzad, Angela’s biological father, has been brought back into her life. Carson’s on the go. Zoe has vanished without a trace—despite the fact that she was promised a safe return home, the evidence in the episode suggests otherwise.
As a result, Harold and Chase have formed a band of criminals who are sought by nearly every person on the earth. When they finally get away from their pursuers, Harper tells Chase, “We’re in this together now,” and Chase responds by slapping Harper on the shoulder. There is “water under the bridge,” Chase says to Harper (and it appears that he means it), despite Harper’s earlier attempts to have him killed.
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So, where do we stand now? Accompanied by great acting (especially John Lithgow’s ability to communicate both scepticism and disbelief in apparently dozens of different ways), the plot is played out with firearms on an international scale in a masterfully crafted tale of commitment and duplicity.
And, oh, did I mention how lovely the medieval-style opening titles with the dogs are? In other words, The Old Man is excellent television. Round two has me so excited.
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