Post by coolbyrne on Apr 14, 2007 20:26:07 GMT -5
90-minute British drama starring the housewife's favouritetm, Robson Green. The characters are based on a series of books by Val McDermid (the second book was called "Wire in the Blood"), but for the most part, beyond the first two episodes of series one, and the second episode of series four, all the episodes are original. Oh, and there's been four series, 3-4-4-4 episodes each. The fifth book is scheduled to be out in the UK in July and the fifth series of the show should be out... sometime in September?
Okay, so that's the crash course. I'll see if I can dig up any write-ups I might have had for previous seasons, but I thought I'd paste my comments about series four here. (Note: Simone Lahbib stepped in as Alex Fielding in series four, taking the place of the departing Hermione Norris who played Carol Jordan.)
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Episode 1: Time to Murder and Create
Hmmm... I think new viewers (I know many who are watching simply because they're fans of Simone Lahbib) will find this a great, great show. That's not to say I didn't (!), but I could see how coming into it without the pre-knowledge of the show could make the viewing experience even more enjoyable. I tried to watch it as best I could without judging it on the "but Carol's not there" bias. It was difficult, particularly 'cause they kept mentioning her (*grin*), but I made a genuine effort. And with that being said, it was a great story, great acting, great cinematography -the fact that they've literally made Robson Green's gorgeous eyes an integral part of every filming of every episode deserves a hugh applause!
The usual amounts of red herrings and close calls. But I think the real motivation of the episode was actually building that relationship between Tony and Alex. The murders were the catalysts for the beginnings of the relationship, because I believe it is that relationship between the two leads that is the real importance of the show. (Relationship- whether it be Tony/Carol romantic, or Tony/Alex work. THAT is the engine of the show.)
There were some great moments that really put the spotlight on the differences between Alex and Carol, and subsequently, Alex/Tony and Carol/Tony. It worked for the most part, mainly due to the strength of the actors. But I do have to admit, by not clearing up Carol's absence satisfactorily, I felt a bit cheated, and couldn't quite remove Carol from the episode. (Though to some degree, I wasn't meant to- as I said, there were vocal reminders of her absence by every major character in the show.) I'm only hoping that perhaps they go back to this in a future (next?) episode and explain it clearer. I mean, really. Tony didn't know???
The "You've damaged Carol Jordan" line threw me. What exactly does that mean? Professionally? (Thus giving an indication as to why she left?) Personally? (And if so, I repeat, what does that mean? And how would Alex know anything about Carol on that level?)
I felt there wasn't quite enough focus on Tony's insecurity when it came to him being able to do his job the same way he did before the surgery. The cinematography seemed to be in blues and greys, which gave things a sense of isolation, which worked with Tony, particularly (as mentioned) when his eyes were used to convey an emotion.
I did enjoy two very sly references to the very first episode of the series, and it was as if to say, "We're starting all over again", which seemed fitting: he left his keys in the door of his car (which mirrors the first time he met Carol), and he corrects Alex who asks him to give them a profile. "I'm a clinical psychologist, not a profiler"; also a reference to that first conversation he had with Carol in his car.
However, the highlight of the episode was the brilliant interrogation scene with a rattled suspect at the end (I don't want to give too much away to identify the suspect). A great bit of reference to a remark Alex made earlier -"I don't understand you when you talk like that"- and also a wonderful piece that showcased just how far apart Alex was to understanding Tony/how much Carol grew over the episodes to understanding him.
In the end? The spector of Carol wafted through the entire episode, both intentionally and unavoidably. If this show were older, I might say, "It's not your parents' Wire in the Blood". As it stands, I guess it's closer to say it's not even MY Wire in the Blood. The same show, yet different. Not a judgment based on "good" or "bad". Just... different.
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Episode 2: Torment
Before I begin, I will say a few things. I realize right from the get-go, with Carol gone, that this was going to be a difficult adaptation. As well, with the time constraints, they were never going to be able to actually adapt the entire book.
That out of the way, I'm going to go out on a critical limb here and ask, why in the world did Coastal bother adapting "Torment of Others"? (Which fittingly enough is only called "Torment" as an episode- is it because it's only partially like the book?)
What you won't get in this episode (in comparison to the book):
-Carol, obviously, but that is such a simple statement for a colossal absence.
-Don, also obviously
-the second story, regarding the missing boys
-Tom Storey and his impact on Tony and the case
-any hint that either Jan or Paula are gay
-none of the extra characters in the book (ie. Sam and Stacey, for instance)
-the entire prostitution subplot (Remember Carol befriending Dee and how that helped lead to the killer?)
-Aidan Hart, the clinical director of the hospital where Derek Tyler was staying
What you will get in this episode:
-a different M.O for the Voice
-jerky camera work (and I don't mean the things we see from Derek's point of view). Very jittery and some very, very odd angles. (When we seen Tony in his car, for instance; the camera angle from the floor through the steering wheel. Odd.)
And just to show that I'm not all about the negative (*grin*), there were some great moments:
-a wonderful kitchen scene between Alex, Tony and her son, where Tony explains to him the meaning of "M.O"
-some interesting direction, such as the scene when Tony is in his swivel chair, and we see it's him, then Derek, then one of the victims. Cool idea.
-the "guess a double-digit number between 10 and 50". (By the way, I played along and picked '39', so I was glad to see I didn't immediately fall for that trick!) This worked well with both Jan/Kevin and Jan/Tony.
-interesting use of the ticking clock
-the most revealing moment was from Kevin, when he had gotten to the end of his rope not being able to find Paula and he says to Tony, (paraphrased) "You can make him (Derek) talk. Don't help him or cure him; make him talk." And you see there that Tony has made that decision to put the care of someone he knows (Paula) over his patient. We don't see that from him very often (have we ever?), and it is an important moment for the character.
Other thoughts about the book versus the episode:
For me, the book's primary subject was voices. Derek heard a literal voice telling him to kill, as did the killer in the book. Carol "heard" the voice of uncertainty in her head (not to mention the whispers of her colleagues), as did Tony. Tom Storey (Tony's patient who actually goes a long way to help Tony with Derek) heard voices in his head due to his brain tumour ("Alien Hand Syndrome").
And yet we got none of this in the episode; this link that brought all the storylines together. Tony tells the killer (in the episode) that she's made Alex look foolish and incompetent, but when did we really see that? When did we see Alex hear it from her superiors (the voice that SHE must follow)? In fact, where was Alex for most of the episode? My fear was that the writers would simply try and put Alex into the role of Carol from the book, when the irony is, she was hardly there at all.
Don't get me wrong- there were some great moments between Alex and Tony; you can see how quickly they've developed a professional relationship, while still having that lingering "I don't really need you" from Alex. An interesting relationship is developing between them, I think, and it's not a sexual one. There being two moments that would have been, had it been Carol, but I got the distinct impression it was more of a... caregiver role Alex is playing in the life of Tony. (Note how she helps him with his coat and his collar in one scene.) It's an interesting idea, because it re-establishes that emotional anchor that Tony needs (in the series), without encroaching on the Carol/Tony relationship. The gem of this episode was an Alex/Tony scene, in fact, and a very "family" type scene at that. The kitchen scene with Alex, her son and Tony was an absolute joy to watch and it was at that moment I felt a heartbeat to this episode.
Because really, at risk of sounding overly critical, there was no heart to this episode, either as a stand-alone episode, and certainly not as an adaptation to a wonderfully layered, emotional, heart-breaking book.
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Episode 3: Hole in the Heart
Where do I begin, because there is so much to mention about this episode. I guess I could start with the basic fact that, without question, this is by far the best episode of the bunch. Writing, directing (though still jerky in some scenes), and the acting, all top notch and a joy to watch. Okay, now, with that out of the way, perhaps a bit more depth on my part, yeah?
Ironically, after the last episode and the image of Derek Tyler with the angel wings, I mentioned to someone that this show (knowingly or not) has a habit of using religious imagery, either directly (S2E2-Right to Silence) or indirectly, as in the Derek Tyler image, or more significantly, with the Tony image at the end of Sharp Compassion (S3E4). What do we get with Hole in the Heart? A plot entirely based around religion! It helped considerably that I'm more of a Tony or even an Alex when it comes to religion and its place in my life, so I was pleased that it didn't come across as heavy-handed or bible-thumping.
Many, many scenes in this one that remained when it was long over; some amusing, some thought-provoking. Without the entire lead-up to the scene, those who haven't seen the ep might not understand the impact of the line/moment, but I'll do what I can, and I think for the most part, its meaning/weight/humour will be fairly obvious.
-Tony: I had a friend once, but she moved away.
(I mention this because it is an obvious reference to Carol, and if we're never going to get an explanation as to why she left and why Tony didn't know, then I'm more than happy to get a nod from the writers to say, He hasn't forgotten her. It doesn't have to be an anvil (in fact, I don't want it to be), but something subtle like this goes miles, you know?)
-Alex (to Tony): He (her son, Ben) believes in angels. What can you do? I take him to church every Sunday; it was the only way I could get him into this school.
-Alex: If someone wants to do something stupid or bad, God doesn't always stop them.
Ben: Why not?
Alex: Because I'd be out of a job.
-(Evidence comes in that proves a theory by Tony that Alex dismissed as ridiculous)
Alex: Tony bloody Hill! I'll never hear the end of it.
-Tony: If religion is the only thing we have to live for, God help us all.
-Tony (completely sincere): Is this what a tart's flat looks like?
-Tony: Can't always save people from themselves, Alex.
-It's hard to explain if you haven't seen it, but the courtyard scene that has Tony and Alex discussing Freemasons is there's something very compelling about the scene. I think it's the intimacy of the scene without them being intimate. By that I mean, they have to stand very close in order to speak without anyone overhearing them, but I don't feel any sexual intimacy from them. However, there is a wonderful almost emotional intimacy between them. You can tell that they both respect each other, and that in a short time (though we suspect 5 weeks goes between episode one and two, we're never given a time frame), they are good friends.
-(From that scene, Tony ends up inviting himself to Ben's school play.)
Tony: I haven't seen a school play since I was in one... you weren't asking me (to come), were you?
Alex: You were in a school play?
Tony: I came as the donkey, yes.
Alex: Typecast, were you?
Tony: I have no idea what you mean.
-(At the play)
Ben: Are you Mum's date?
Tony (looks at Alex): Yes? (Sees the look she gives in return.) No.
Ben: That's good. Mum doesn't have many dates.
-(Still at the play, which is, ironically enough, about Noah and the Ark. All the parents/adults are smiling and enjoying themselves all except for Tony, who is obviously analyzing the meaning behind the play!)
Alex: I know it's not Chicago, but cheer up. (By the way, Simone Lahbib pronounced it something like ShhhhiCAHHHHHgooooo.)
-Mary Knight's prison mate reminded me of Zandra (for my Bad Girls pals) and I had to giggle.
-Without spoiling it too much, there's a great shot from a bathtub, beneath the water, looking up at Alex, Kevin and Tony who are looking down at the tub.
-For a man who doesn't seem to have any religious leanings, he sure can quote the Bible when he needs to! Lots of religious text books as well, though I figure that's more professional than personal.
-Security camera footage said McDermid Precinct at the top. A nod to author Val McDermid. Very clever.
-What a fantastic shift on Robson Green's face when Tony realizes who the next suicide victim will be. Another one of those things that can't be explained in text; you have to see how subtly he changes his expression. You can almost see a light bulb go off over his head. But it's not an immediate change; it's that slow dawning of awareness. One of the best shots of the entire episode.
-The gem of the ep, however, is a monologue Robson gives, as Tony sharply corrects Kevin who claims all the suicides are nutters. Tony rebukes him harshly, then slowly softens and explains how they're just like you or I; normal people who find themselves in a vulnerable and low point in their lives. This goes on for a good minute to two minutes (which is quite long in filming), and you hear a pin drop in the entire station. Then as everyone scrambles to follow up on the information he's given them, he's left alone on the chair and he really does look alone. Great scene, perfectly played by Robson.
-(Tony is lying on his couch, talking to Alex. Doctor/patient role-reversal; very nice touch.)
Tony: I feel life has no meaning- you just get used to it (life). I failed these people because I didn't understand religion. What's wrong with me, Alex?
Alex: You seek happiness believe. You seek the truth inquire.
Tony (pleased): Friedrich Nietzsche!
(Actually, the quote is- If you wish to strive for peace of soul and pleasure, then believe; if you wish to be a devotee of truth, then inquire.)
I've noted the above scene out of chronological order, because I wanted to say a little bit more about it than the rest. What I'd really like to point out is the brilliant writing stroke by series veteran Niall Leonard by putting a reference to Nietzsche in this episode. I could go on and on about Nietzsche and his philosophy, but let me just say that I cannot think of another philosopher who would have fit this episode more. He is, after all, the man who said, In Christianity, neither morality nor religion come into contact with reality at any one point. Or in simpler terms, God is dead. (For further quotes, you could start with this page www.brainyquote.com/quotes/authors/f/friedrich_nietzsche.html) I really enjoyed this episode up to this point, and then with a simple quote by Nietzsche, it was as if it all fell into place. It opened up a huge door to not only the episode, but the characters of Tony, and particularly Alex. We get a few hints throughout the episode in regards to how Alex feels about religion and it's interesting to see how much in common she has with Tony in this area. (For those who have seen the series from the beginning, it's also an interesting contrast between Alex and Carol. See S2E2, Darkness of Light.) But again, it's mentioned, not force-fed to the viewer. She makes a comment here and there and you're curious to know more, which is the best place a writer can leave a viewer. She quoted Nietzsche!! And there wasn't an ounce of pretentiousness to using the quote, because it fit the story. I feel like a geek because all I want to do is gush about Nietzsche and the genius of including him in this episode and how it says so much about both Alex and Tony, so I'll shut up now! Suffice to say, it gives viewers something to think about AFTER the episode is over, and it shows why this series, when at the top of its game, is absolutely brilliant.
There's also a great glimpse into Tony, not just through the religious angle, but I think in terms of how he sees himself in the world, and perhaps how he doesn't realize how others see him. Alex echoes a statement made by Carol (S3E4- Sharp Compassion), where she (and Carol) point out that his gift is helping people. He is always quick to point out his failures, but cannot see how often he helps people. And not just victims or patients, but the people he keeps closest to himself as well. I think this episode also reinforced what I've surmised in the last two episodes, in regards to the relationship the writers are creating between the characters. It's not one of a sexual nature, but of a nurturing/care-giving one. At one point, Tony is asked by someone, Who takes care of the caretaker? Meaning, who looks after him? We see at the end that it is Alex who has taken that role voluntarily (mainly because Tony is too stubborn/obtuse to ask for it). Again, all very subtle and despite it only being three episodes thus far, entirely credible.
I eagerly await the fourth and final episode of this instalment, if only to see how they can top this one, because this is an absolute stunner.
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Episode 4: Wounded Surgeon
Well?
I literally sat here at the keyboard for a good fifteen minutes, because I wasn't quite sure what to say about this episode. That doesn't mean it was bad; quite the contrary, actually. As the pieces gently fall into place and the episode settles in my mind, I think I'm slowly coming to the realization that this was a brilliant episode.
It runs just over 80 minutes, and it almost seems like two 40-minute separate episodes. The first 40 minutes was a very specific story involving a released murderer, but the next 40 turned the spotlight on Tony, and it wasn't until the last 5 minutes that these two halves were joined. As well, the first 40 minutes were... odd. I felt the character of Tony was this strange combination of book Tony and series Tony. (Because let's be honest- they're not really the same character. They have similar characteristics, but there's something inherently darker about book Tony.) It was as if the writer was attempting to transfer book Tony's reactions to series Tony. By that I mean, the darker elements were finally brought out full force to the show, on a character who is slightly rumpled, slightly... not dark. (I could go into an entire character analysis between both Tonys, but this is probably going to get long enough!) So this was a bit unfamiliar. Though as the episode wore on, I wondered if this feeling I had of not really having a handle on the character was intentional- was it a reflection of what Tony himself was feeling? He lost sight of who he was and was continually off-balance.
Once I got the feeling those two Tonys had merged properly (just over halfway through the episode), I felt more comfortable, and to a degree, Tony began to 'identify' himself more as well. He has a short, yet incredibly revealing conversation with Karen, where he simply says his work is who he is, it is all he is. And that there's no room in his life for anyone else. This kind of self-reflection is a marvel to hear and fantastic to watch. One of my favourite of the episode.
My real favourite, however, has to be the conversation he has with Alex after Karen's suicide. She tries to help him emotionally, but logic wins out. 'We all make mistakes,' she says, and it?s true. But considering how fatal Tony's 'mistakes' are (we find out later they were not mistakes, mind), he trumps her by saying, 'They don't have the same consequences.' This entire scene was the absolute gem of the episode.
There's a lot going on with Tony in this episode; so much so that I don't think I can get into it all here. I suppose, in a nutshell, I've already described it- it's a self-reflection by Tony about who he is, why he is, and what he is, and how all these things stem from the same source.
Again, there was no real time frame listed, but he does say it's been a year since his surgery, and we know from episode one that it was about 3 months from his surgery (so 3 months after his surgery, he met Alex). Thus, it could be speculated that it has been 9 months since his first case with her. Now, I know one of the biggest things people will talk about is his scene with Alex. ('...and then it hits me- I don't want to be with her. I want to be with Carol. Or with you.') But I don't think this is meant in a sexual way. Nor do I think he really meant it specifically as Carol or Alex. I think he meant it as, 'I want to be with someone who accepts me for what I am.' In fact, he says almost that very thing- 'You accept me for what I am. Reluctantly, but you do. And I trust you.' I question the depth of their friendship in 9 months (if that's a fair time frame to estimate). But I do appreciate the meaning. Here again we have this fantastic moment of self-reflection by Tony.
A very, VERY clever closing of the circle at the end, by bringing the opening scene back all the way round again. What did his dream mean' 'It's about letting go.' Letting go of what? The past? Carol? His fears that he will never be like everyone else? His fear that he created a murderer?
I think I would have preferred we didn't find out that Eglee killed the first victim, because there is so much to think about if we're left with that uncertainty. Did Tony subconsciously plant the confession in Eglee's head? Did Tony ultimately have a hand in creating the monster Eglee became? Or was Eglee really inclined in the first place? We find out all these answers by the end, but I wonder if it wouldn't have been a bit more thought-provoking had we not been given the answers?
That being said, I'm not sure poor Tony needed that hanging over his head for the rest of his life. As it was, we got a Tony who has never been more vulnerable or lost. There is something so heartbreaking in Robson Green's face when Tony is at his lowest. He's got those great expressive eyes that say everything. And when he cries, it's for the moment, not for the drama. Despite his friendship with Alex, he has been adrift since Carol left, and despite the fact that I'm still not pleased with how they dealt with her leaving, I'm glad they kept that vulnerability threaded throughout the four episodes. I think in the fifth series (touch wood), we will be able to see a different Tony emerge- one who has accepted the loss of his emotional anchor, but is willing to move forward again. (Letting go?)
A few lines stuck out for me, in particular:
Karen (to Alex): You're just another Carol Jordan. *ouch!*
Tony: I could say anything to you.
Alex: I wish sometimes you wouldn't.
Tony: He's hiding something.
Alex: What is it?
Tony: Well, I don't know. He's hiding it.
Tony: Of course, I could be wrong. You know, on recent form, well, it's... it's Luxembourg 'nil point'. (Anyone who can make Eurovision jokes while getting his head examined for cancer gets special points from me!)
Halfway through the episode, I thought it was very disjointed, very out of character and just out of sync. By the end of it, I could see how the tiny pieces made this very interesting mosaic. And an hour after watching it, I'm willing to say this is one of the best episodes of the entire series.
The fourth series started slow and (for me) stumbled out of the gate. The writers, though I suppose doing the best they could, left the absence of Carol hanging like a spectre (and I say this while recognizing that in some ways, it was intentional). And anyone who's read my other 'thoughts' on this fourth instalment will know of my disappointment in the second episode, 'Torment'. But they bounced back sharply with the brilliant 'Hole in the Heart', and finished strong with the compelling 'Wounded Surgeon'. This show is so good that it demands more than four episodes per 'instalment'. (Or, you know, I could be the one doing the demanding!)
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So? Anyone else seen this show?
-coolbyrne
Okay, so that's the crash course. I'll see if I can dig up any write-ups I might have had for previous seasons, but I thought I'd paste my comments about series four here. (Note: Simone Lahbib stepped in as Alex Fielding in series four, taking the place of the departing Hermione Norris who played Carol Jordan.)
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Episode 1: Time to Murder and Create
Hmmm... I think new viewers (I know many who are watching simply because they're fans of Simone Lahbib) will find this a great, great show. That's not to say I didn't (!), but I could see how coming into it without the pre-knowledge of the show could make the viewing experience even more enjoyable. I tried to watch it as best I could without judging it on the "but Carol's not there" bias. It was difficult, particularly 'cause they kept mentioning her (*grin*), but I made a genuine effort. And with that being said, it was a great story, great acting, great cinematography -the fact that they've literally made Robson Green's gorgeous eyes an integral part of every filming of every episode deserves a hugh applause!
The usual amounts of red herrings and close calls. But I think the real motivation of the episode was actually building that relationship between Tony and Alex. The murders were the catalysts for the beginnings of the relationship, because I believe it is that relationship between the two leads that is the real importance of the show. (Relationship- whether it be Tony/Carol romantic, or Tony/Alex work. THAT is the engine of the show.)
There were some great moments that really put the spotlight on the differences between Alex and Carol, and subsequently, Alex/Tony and Carol/Tony. It worked for the most part, mainly due to the strength of the actors. But I do have to admit, by not clearing up Carol's absence satisfactorily, I felt a bit cheated, and couldn't quite remove Carol from the episode. (Though to some degree, I wasn't meant to- as I said, there were vocal reminders of her absence by every major character in the show.) I'm only hoping that perhaps they go back to this in a future (next?) episode and explain it clearer. I mean, really. Tony didn't know???
The "You've damaged Carol Jordan" line threw me. What exactly does that mean? Professionally? (Thus giving an indication as to why she left?) Personally? (And if so, I repeat, what does that mean? And how would Alex know anything about Carol on that level?)
I felt there wasn't quite enough focus on Tony's insecurity when it came to him being able to do his job the same way he did before the surgery. The cinematography seemed to be in blues and greys, which gave things a sense of isolation, which worked with Tony, particularly (as mentioned) when his eyes were used to convey an emotion.
I did enjoy two very sly references to the very first episode of the series, and it was as if to say, "We're starting all over again", which seemed fitting: he left his keys in the door of his car (which mirrors the first time he met Carol), and he corrects Alex who asks him to give them a profile. "I'm a clinical psychologist, not a profiler"; also a reference to that first conversation he had with Carol in his car.
However, the highlight of the episode was the brilliant interrogation scene with a rattled suspect at the end (I don't want to give too much away to identify the suspect). A great bit of reference to a remark Alex made earlier -"I don't understand you when you talk like that"- and also a wonderful piece that showcased just how far apart Alex was to understanding Tony/how much Carol grew over the episodes to understanding him.
In the end? The spector of Carol wafted through the entire episode, both intentionally and unavoidably. If this show were older, I might say, "It's not your parents' Wire in the Blood". As it stands, I guess it's closer to say it's not even MY Wire in the Blood. The same show, yet different. Not a judgment based on "good" or "bad". Just... different.
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Episode 2: Torment
Before I begin, I will say a few things. I realize right from the get-go, with Carol gone, that this was going to be a difficult adaptation. As well, with the time constraints, they were never going to be able to actually adapt the entire book.
That out of the way, I'm going to go out on a critical limb here and ask, why in the world did Coastal bother adapting "Torment of Others"? (Which fittingly enough is only called "Torment" as an episode- is it because it's only partially like the book?)
What you won't get in this episode (in comparison to the book):
-Carol, obviously, but that is such a simple statement for a colossal absence.
-Don, also obviously
-the second story, regarding the missing boys
-Tom Storey and his impact on Tony and the case
-any hint that either Jan or Paula are gay
-none of the extra characters in the book (ie. Sam and Stacey, for instance)
-the entire prostitution subplot (Remember Carol befriending Dee and how that helped lead to the killer?)
-Aidan Hart, the clinical director of the hospital where Derek Tyler was staying
What you will get in this episode:
-a different M.O for the Voice
-jerky camera work (and I don't mean the things we see from Derek's point of view). Very jittery and some very, very odd angles. (When we seen Tony in his car, for instance; the camera angle from the floor through the steering wheel. Odd.)
And just to show that I'm not all about the negative (*grin*), there were some great moments:
-a wonderful kitchen scene between Alex, Tony and her son, where Tony explains to him the meaning of "M.O"
-some interesting direction, such as the scene when Tony is in his swivel chair, and we see it's him, then Derek, then one of the victims. Cool idea.
-the "guess a double-digit number between 10 and 50". (By the way, I played along and picked '39', so I was glad to see I didn't immediately fall for that trick!) This worked well with both Jan/Kevin and Jan/Tony.
-interesting use of the ticking clock
-the most revealing moment was from Kevin, when he had gotten to the end of his rope not being able to find Paula and he says to Tony, (paraphrased) "You can make him (Derek) talk. Don't help him or cure him; make him talk." And you see there that Tony has made that decision to put the care of someone he knows (Paula) over his patient. We don't see that from him very often (have we ever?), and it is an important moment for the character.
Other thoughts about the book versus the episode:
For me, the book's primary subject was voices. Derek heard a literal voice telling him to kill, as did the killer in the book. Carol "heard" the voice of uncertainty in her head (not to mention the whispers of her colleagues), as did Tony. Tom Storey (Tony's patient who actually goes a long way to help Tony with Derek) heard voices in his head due to his brain tumour ("Alien Hand Syndrome").
And yet we got none of this in the episode; this link that brought all the storylines together. Tony tells the killer (in the episode) that she's made Alex look foolish and incompetent, but when did we really see that? When did we see Alex hear it from her superiors (the voice that SHE must follow)? In fact, where was Alex for most of the episode? My fear was that the writers would simply try and put Alex into the role of Carol from the book, when the irony is, she was hardly there at all.
Don't get me wrong- there were some great moments between Alex and Tony; you can see how quickly they've developed a professional relationship, while still having that lingering "I don't really need you" from Alex. An interesting relationship is developing between them, I think, and it's not a sexual one. There being two moments that would have been, had it been Carol, but I got the distinct impression it was more of a... caregiver role Alex is playing in the life of Tony. (Note how she helps him with his coat and his collar in one scene.) It's an interesting idea, because it re-establishes that emotional anchor that Tony needs (in the series), without encroaching on the Carol/Tony relationship. The gem of this episode was an Alex/Tony scene, in fact, and a very "family" type scene at that. The kitchen scene with Alex, her son and Tony was an absolute joy to watch and it was at that moment I felt a heartbeat to this episode.
Because really, at risk of sounding overly critical, there was no heart to this episode, either as a stand-alone episode, and certainly not as an adaptation to a wonderfully layered, emotional, heart-breaking book.
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Episode 3: Hole in the Heart
Where do I begin, because there is so much to mention about this episode. I guess I could start with the basic fact that, without question, this is by far the best episode of the bunch. Writing, directing (though still jerky in some scenes), and the acting, all top notch and a joy to watch. Okay, now, with that out of the way, perhaps a bit more depth on my part, yeah?
Ironically, after the last episode and the image of Derek Tyler with the angel wings, I mentioned to someone that this show (knowingly or not) has a habit of using religious imagery, either directly (S2E2-Right to Silence) or indirectly, as in the Derek Tyler image, or more significantly, with the Tony image at the end of Sharp Compassion (S3E4). What do we get with Hole in the Heart? A plot entirely based around religion! It helped considerably that I'm more of a Tony or even an Alex when it comes to religion and its place in my life, so I was pleased that it didn't come across as heavy-handed or bible-thumping.
Many, many scenes in this one that remained when it was long over; some amusing, some thought-provoking. Without the entire lead-up to the scene, those who haven't seen the ep might not understand the impact of the line/moment, but I'll do what I can, and I think for the most part, its meaning/weight/humour will be fairly obvious.
-Tony: I had a friend once, but she moved away.
(I mention this because it is an obvious reference to Carol, and if we're never going to get an explanation as to why she left and why Tony didn't know, then I'm more than happy to get a nod from the writers to say, He hasn't forgotten her. It doesn't have to be an anvil (in fact, I don't want it to be), but something subtle like this goes miles, you know?)
-Alex (to Tony): He (her son, Ben) believes in angels. What can you do? I take him to church every Sunday; it was the only way I could get him into this school.
-Alex: If someone wants to do something stupid or bad, God doesn't always stop them.
Ben: Why not?
Alex: Because I'd be out of a job.
-(Evidence comes in that proves a theory by Tony that Alex dismissed as ridiculous)
Alex: Tony bloody Hill! I'll never hear the end of it.
-Tony: If religion is the only thing we have to live for, God help us all.
-Tony (completely sincere): Is this what a tart's flat looks like?
-Tony: Can't always save people from themselves, Alex.
-It's hard to explain if you haven't seen it, but the courtyard scene that has Tony and Alex discussing Freemasons is there's something very compelling about the scene. I think it's the intimacy of the scene without them being intimate. By that I mean, they have to stand very close in order to speak without anyone overhearing them, but I don't feel any sexual intimacy from them. However, there is a wonderful almost emotional intimacy between them. You can tell that they both respect each other, and that in a short time (though we suspect 5 weeks goes between episode one and two, we're never given a time frame), they are good friends.
-(From that scene, Tony ends up inviting himself to Ben's school play.)
Tony: I haven't seen a school play since I was in one... you weren't asking me (to come), were you?
Alex: You were in a school play?
Tony: I came as the donkey, yes.
Alex: Typecast, were you?
Tony: I have no idea what you mean.
-(At the play)
Ben: Are you Mum's date?
Tony (looks at Alex): Yes? (Sees the look she gives in return.) No.
Ben: That's good. Mum doesn't have many dates.
-(Still at the play, which is, ironically enough, about Noah and the Ark. All the parents/adults are smiling and enjoying themselves all except for Tony, who is obviously analyzing the meaning behind the play!)
Alex: I know it's not Chicago, but cheer up. (By the way, Simone Lahbib pronounced it something like ShhhhiCAHHHHHgooooo.)
-Mary Knight's prison mate reminded me of Zandra (for my Bad Girls pals) and I had to giggle.
-Without spoiling it too much, there's a great shot from a bathtub, beneath the water, looking up at Alex, Kevin and Tony who are looking down at the tub.
-For a man who doesn't seem to have any religious leanings, he sure can quote the Bible when he needs to! Lots of religious text books as well, though I figure that's more professional than personal.
-Security camera footage said McDermid Precinct at the top. A nod to author Val McDermid. Very clever.
-What a fantastic shift on Robson Green's face when Tony realizes who the next suicide victim will be. Another one of those things that can't be explained in text; you have to see how subtly he changes his expression. You can almost see a light bulb go off over his head. But it's not an immediate change; it's that slow dawning of awareness. One of the best shots of the entire episode.
-The gem of the ep, however, is a monologue Robson gives, as Tony sharply corrects Kevin who claims all the suicides are nutters. Tony rebukes him harshly, then slowly softens and explains how they're just like you or I; normal people who find themselves in a vulnerable and low point in their lives. This goes on for a good minute to two minutes (which is quite long in filming), and you hear a pin drop in the entire station. Then as everyone scrambles to follow up on the information he's given them, he's left alone on the chair and he really does look alone. Great scene, perfectly played by Robson.
-(Tony is lying on his couch, talking to Alex. Doctor/patient role-reversal; very nice touch.)
Tony: I feel life has no meaning- you just get used to it (life). I failed these people because I didn't understand religion. What's wrong with me, Alex?
Alex: You seek happiness believe. You seek the truth inquire.
Tony (pleased): Friedrich Nietzsche!
(Actually, the quote is- If you wish to strive for peace of soul and pleasure, then believe; if you wish to be a devotee of truth, then inquire.)
I've noted the above scene out of chronological order, because I wanted to say a little bit more about it than the rest. What I'd really like to point out is the brilliant writing stroke by series veteran Niall Leonard by putting a reference to Nietzsche in this episode. I could go on and on about Nietzsche and his philosophy, but let me just say that I cannot think of another philosopher who would have fit this episode more. He is, after all, the man who said, In Christianity, neither morality nor religion come into contact with reality at any one point. Or in simpler terms, God is dead. (For further quotes, you could start with this page www.brainyquote.com/quotes/authors/f/friedrich_nietzsche.html) I really enjoyed this episode up to this point, and then with a simple quote by Nietzsche, it was as if it all fell into place. It opened up a huge door to not only the episode, but the characters of Tony, and particularly Alex. We get a few hints throughout the episode in regards to how Alex feels about religion and it's interesting to see how much in common she has with Tony in this area. (For those who have seen the series from the beginning, it's also an interesting contrast between Alex and Carol. See S2E2, Darkness of Light.) But again, it's mentioned, not force-fed to the viewer. She makes a comment here and there and you're curious to know more, which is the best place a writer can leave a viewer. She quoted Nietzsche!! And there wasn't an ounce of pretentiousness to using the quote, because it fit the story. I feel like a geek because all I want to do is gush about Nietzsche and the genius of including him in this episode and how it says so much about both Alex and Tony, so I'll shut up now! Suffice to say, it gives viewers something to think about AFTER the episode is over, and it shows why this series, when at the top of its game, is absolutely brilliant.
There's also a great glimpse into Tony, not just through the religious angle, but I think in terms of how he sees himself in the world, and perhaps how he doesn't realize how others see him. Alex echoes a statement made by Carol (S3E4- Sharp Compassion), where she (and Carol) point out that his gift is helping people. He is always quick to point out his failures, but cannot see how often he helps people. And not just victims or patients, but the people he keeps closest to himself as well. I think this episode also reinforced what I've surmised in the last two episodes, in regards to the relationship the writers are creating between the characters. It's not one of a sexual nature, but of a nurturing/care-giving one. At one point, Tony is asked by someone, Who takes care of the caretaker? Meaning, who looks after him? We see at the end that it is Alex who has taken that role voluntarily (mainly because Tony is too stubborn/obtuse to ask for it). Again, all very subtle and despite it only being three episodes thus far, entirely credible.
I eagerly await the fourth and final episode of this instalment, if only to see how they can top this one, because this is an absolute stunner.
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Episode 4: Wounded Surgeon
Well?
I literally sat here at the keyboard for a good fifteen minutes, because I wasn't quite sure what to say about this episode. That doesn't mean it was bad; quite the contrary, actually. As the pieces gently fall into place and the episode settles in my mind, I think I'm slowly coming to the realization that this was a brilliant episode.
It runs just over 80 minutes, and it almost seems like two 40-minute separate episodes. The first 40 minutes was a very specific story involving a released murderer, but the next 40 turned the spotlight on Tony, and it wasn't until the last 5 minutes that these two halves were joined. As well, the first 40 minutes were... odd. I felt the character of Tony was this strange combination of book Tony and series Tony. (Because let's be honest- they're not really the same character. They have similar characteristics, but there's something inherently darker about book Tony.) It was as if the writer was attempting to transfer book Tony's reactions to series Tony. By that I mean, the darker elements were finally brought out full force to the show, on a character who is slightly rumpled, slightly... not dark. (I could go into an entire character analysis between both Tonys, but this is probably going to get long enough!) So this was a bit unfamiliar. Though as the episode wore on, I wondered if this feeling I had of not really having a handle on the character was intentional- was it a reflection of what Tony himself was feeling? He lost sight of who he was and was continually off-balance.
Once I got the feeling those two Tonys had merged properly (just over halfway through the episode), I felt more comfortable, and to a degree, Tony began to 'identify' himself more as well. He has a short, yet incredibly revealing conversation with Karen, where he simply says his work is who he is, it is all he is. And that there's no room in his life for anyone else. This kind of self-reflection is a marvel to hear and fantastic to watch. One of my favourite of the episode.
My real favourite, however, has to be the conversation he has with Alex after Karen's suicide. She tries to help him emotionally, but logic wins out. 'We all make mistakes,' she says, and it?s true. But considering how fatal Tony's 'mistakes' are (we find out later they were not mistakes, mind), he trumps her by saying, 'They don't have the same consequences.' This entire scene was the absolute gem of the episode.
There's a lot going on with Tony in this episode; so much so that I don't think I can get into it all here. I suppose, in a nutshell, I've already described it- it's a self-reflection by Tony about who he is, why he is, and what he is, and how all these things stem from the same source.
Again, there was no real time frame listed, but he does say it's been a year since his surgery, and we know from episode one that it was about 3 months from his surgery (so 3 months after his surgery, he met Alex). Thus, it could be speculated that it has been 9 months since his first case with her. Now, I know one of the biggest things people will talk about is his scene with Alex. ('...and then it hits me- I don't want to be with her. I want to be with Carol. Or with you.') But I don't think this is meant in a sexual way. Nor do I think he really meant it specifically as Carol or Alex. I think he meant it as, 'I want to be with someone who accepts me for what I am.' In fact, he says almost that very thing- 'You accept me for what I am. Reluctantly, but you do. And I trust you.' I question the depth of their friendship in 9 months (if that's a fair time frame to estimate). But I do appreciate the meaning. Here again we have this fantastic moment of self-reflection by Tony.
A very, VERY clever closing of the circle at the end, by bringing the opening scene back all the way round again. What did his dream mean' 'It's about letting go.' Letting go of what? The past? Carol? His fears that he will never be like everyone else? His fear that he created a murderer?
I think I would have preferred we didn't find out that Eglee killed the first victim, because there is so much to think about if we're left with that uncertainty. Did Tony subconsciously plant the confession in Eglee's head? Did Tony ultimately have a hand in creating the monster Eglee became? Or was Eglee really inclined in the first place? We find out all these answers by the end, but I wonder if it wouldn't have been a bit more thought-provoking had we not been given the answers?
That being said, I'm not sure poor Tony needed that hanging over his head for the rest of his life. As it was, we got a Tony who has never been more vulnerable or lost. There is something so heartbreaking in Robson Green's face when Tony is at his lowest. He's got those great expressive eyes that say everything. And when he cries, it's for the moment, not for the drama. Despite his friendship with Alex, he has been adrift since Carol left, and despite the fact that I'm still not pleased with how they dealt with her leaving, I'm glad they kept that vulnerability threaded throughout the four episodes. I think in the fifth series (touch wood), we will be able to see a different Tony emerge- one who has accepted the loss of his emotional anchor, but is willing to move forward again. (Letting go?)
A few lines stuck out for me, in particular:
Karen (to Alex): You're just another Carol Jordan. *ouch!*
Tony: I could say anything to you.
Alex: I wish sometimes you wouldn't.
Tony: He's hiding something.
Alex: What is it?
Tony: Well, I don't know. He's hiding it.
Tony: Of course, I could be wrong. You know, on recent form, well, it's... it's Luxembourg 'nil point'. (Anyone who can make Eurovision jokes while getting his head examined for cancer gets special points from me!)
Halfway through the episode, I thought it was very disjointed, very out of character and just out of sync. By the end of it, I could see how the tiny pieces made this very interesting mosaic. And an hour after watching it, I'm willing to say this is one of the best episodes of the entire series.
The fourth series started slow and (for me) stumbled out of the gate. The writers, though I suppose doing the best they could, left the absence of Carol hanging like a spectre (and I say this while recognizing that in some ways, it was intentional). And anyone who's read my other 'thoughts' on this fourth instalment will know of my disappointment in the second episode, 'Torment'. But they bounced back sharply with the brilliant 'Hole in the Heart', and finished strong with the compelling 'Wounded Surgeon'. This show is so good that it demands more than four episodes per 'instalment'. (Or, you know, I could be the one doing the demanding!)
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So? Anyone else seen this show?
-coolbyrne