Small wonder that those in Limbo who remember the fiasco are loath to talk when another pale out-of-towner comes sniffing around. The investigation, we learn, was slack and skimpy, disproportionately and aggressively focused on Indigenous men as suspects. He carries out his cold case review with a quiet sense of duty and a tacit hint of shame, mindful of the fact that white policemen decades before him didn’t exactly exercise all due diligence in probing the disappearance and murder of a young Indigenous girl, Charlotte Hayes. (He does indeed have a private, lingering heroin habit.)īut Travis isn’t a thug, exactly. Played by a craggy, buzz-cut Simon Baker - initially near-unrecognizable and never better - with an air of exhaustion that meets its match in this depleted opal-mining community, he exudes more rogue menace than institutional authority: One child remarks that he looks like a drug dealer, not a cop. He does have a name, as it happens: Travis Hurley, a hardened police detective blown in from far away to investigate a 20-year-old murder in the bare, desolate and fictitious town of Limbo in South Australia. Admittedly, with his straight-cut jeans, Western shirt and silvery belt buckle that could take a man’s eye out, “Limbo’s” taciturn hero seems less like a suave gumshoe than he does a cowboy, a surly, crusading Man With No Name.
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