"LOST" RETROSPECT: (2.14) "One of Them"

 

"LOST" RETROSPECT: (2.14) "One of Them"

I have a confession to make. There have been certain episodes from "LOST" that I had either ignored when they first aired or paid scant attention to them. In the case of the Season Two episode called (2.14) "One of Them".

I have a second confession to make. I had never bothered to watch "One of Them" for many years after it first aired. Even after I had purchased the Season Two DVD box set. I cannot explain what led me to ignore the episode for so long. Nor can I explain what led me to finally watch "One of Them" after so many years. But after my recent viewing of it, I now realize that I had wasted a lot of years avoiding it.

"One of Them" is a Sayid Jarrah-centric episode that focused on the character's past as an Iraqi soldier, the origins of his position as an interrogator/torturer and how it related to his time on the island. The episode began with Sayid's encounter with fellow Oceanic 815 survivor, Ana-Lucia Cortez, who informs him that she may have found one of the Others lurking in the jungle. The person in question turned out to be long-time castaway, the French-born Danielle Rousseau. Sayid learns from Danielle that she has captured a stranger in one of her traps. The man claims to be one Henry Gale, who had found himself stranded on the island with his wife, while they were traveling by hot air balloon. Danielle claims that the man is lying and shoots him in the shoulder with her crossbow, when he protests. Sayid takes "Gale" back to the Swan Station to be treated by the survivors' leader, Jack Shephard. While Jack and fellow survivor question the validity of "Gale's" story, Sayid takes matters into his hands by interrogating the stranger inside the station's armory.

The episode's flashback focused on Sayid's experiences as an Iraqi soldier toward the end of the First Gulf War. Sayid and his fellow soldiers are ordered to destroy documents by their commander, Tariq, when they are captured by a platoon of U.S. Army troops led by Sergeant Sam Austen, stepfather of survivor Kate Austen. The Americans are looking for a missing helicopter pilot and believe that Tariq knows the former's location. Sayid is manipulated by an Army intelligence officer named Inman to interrogate Tariq. At first, a loyal Sayid refuses to help Inman. But when the latter presents evidence that the Iraqi officer was responsible for subjecting Sarin gas to an Iraqi village - where some of Sayid's relations lived - Sayid becomes willing to interrogate his commander.

After my latest viewing of "One of Them", I must admit to feeling some regret that I had paid scant attention to it in the past. It is quite good. Let me rephrase my comment. Actually, it is a first-rate episode. I do not consider it to be one of my favorite episodes from Season Two, but I cannot deny that it is excellent. The episode featured another excellent portrayal of Sayid, whom I consider to be one of the series' more complex characters. The flashback gave viewers a peek into how he became a torturer in the first place. More importantly, "One of Them" moved the series' main narrative in a major way with the introduction of an important character - namely "Henry Gale".

As I watched Kevin Inman manipulate Sayid into interrogating his command officer, it occurred to me that one of the consistent aspects of the Iraqi's nature is that he can be manipulated into violating his own moral compass whenever someone he cares about is harmed or threatened. Kevin Inman managed to easily manipulate him into torturing Tariq, after revealing the latter's role in the deaths of some relatives. Also, Sayid's grief over Shannon's death made him willing to torture "Henry Gale" during the interrogation inside the Swan Station. I was also impressed - somewhat - at how cinematographer John S. Bartley and the visual effects team led by Kevin Blank re-created the last days of the First Gulf War in Iraq . . . despite the episode being shot in Hawaii. This episode also featured the continuing deterioration of Jack Shephard and John Locke's relationship, as the latter refused to cooperate with the former regarding the armory and Sayid's torture of "Gale". Although Locke called himself hoping that Sayid would learn the truth from "Gale", his reluctance to cooperate with Jack over the combination to the armory's lock.

But the one aspect of "One of Them" that stood apart for me, were the performances. Naveen Andrews gave an outstanding and intense performance, portraying Sayid during two periods of his life - as the hardened island survivor grieving over his dead lover and the young and wary Iraqi soldier, whose experiences with American soldiers changed his life. Another intense performance came from Mira Furlan, who continued her excellent portrayal of the tough, yet slightly off-kilter castaway, Danielle Rousseau. Both Matthew Fox and Terry O'Quinn were superb as usual as the castaways' two philosophical rivals - Jack Shephard and John Locke. The episode benefited from some first-rate performances from its guest stars - especially Clancy Brown as the quiet, yet ruthless military intelligence officer, Kevin Inman; and Marc Casabani as Sayid's arrogant commanding officer, Tariq. Michelle Rodriguez was not in the episode long enough for me to comment on her performance. But Michael Emerson was. "One of Them" featured his introduction as the elusive and manipulative stranger, "Henry Gale", who tries to convince Sayid and the other castaways that he is one, himself. Emerson's performance proved to be the first of many excellent ones for the series' remaining four-and-a-half seasons.

One would notice that I had not comment on Josh Holloway and Jorge Garcia's performances as castaways James "Sawyer" Ford and Hugo "Hurley" Reyes, who were featured in the episode's "B" plot. That is because I was far from impressed with this infantile subplot about Sawyer's determination to seek some island frog that was disturbing his peace. I could assume that the frog's noise represented Sawyer's guilt for the con job he had pulled on his fellow castaways in the previous episode, (2.13) "The Long Con". But honestly? The subplot seemed so irrelevant that I merely dismissed it.

Aside from a nothing "B" plot about Sawyer's search for a frog, I must say that I was more than impressed by the rest of "One of Them". It is a first-rate episode filled with suspense, tension, great characterizations and some excellent performances - especially from Naveen Andrews and Michael Emerson. More importantly, "One of Them" pushed the series' narrative in a major way that I found very satisfying.

"PERIL AT END HOUSE" (1990) Review

 

"PERIL AT END HOUSE" (1990) Review

I just realized something. I have never read Agatha Christie's 1932 novel, "Peril at End House". I find this ironic, considering that I have seen the 1990 television movie adaptation of this novel at least three or four times. One of these days, I will get around to reading Christie's novel and comparing it to the television adaptation. Right now, I am going to focus on the latter.

Directed by Renny Rye and adapted by Clive Exton, "PERIL AT END HOUSE" is the first full-length television movie aired on "AGATHA CHRISTIE'S POIROT". It is also about Belgian-born detective Hercule Poirot's efforts to prevent the murder of a young socialite, during his vacation in Cornwall. The movie begins with Poirot and his friend Arthur Hastings arriving at a Cornish seaside resort for their vacation. While conversing with socialite Magdala "Nick" Buckley on the resort's grounds, Poirot notices that someone had fired a bullet into the brim of her floppy hat. Poirot exposes the bullet hole to Nick, who finds it difficult to believe that someone wants to kill her. She points out that aside from her house - End House - has no real assets. Poirot decides to investigate her inner circle, who includes the following:

*Charles Vyse - Nick's cousin and an attorney
*Mr. and Mrs. Croft - an Australian couple that has leased the lodge near End House, who had suggested Nick make a will six months earlier
*Freddie Rice - a close friend of Nick's, who is also an abused wife
*Jim Lazarus - an art dealer in love with Nick
*Commander George Challenger - a Royal Navy officer who is also attracted to Nick

Poirot eventually advises Nick to invite a relative to stay with her for a few weeks. Nick invites her distant cousin Maggie Buckley. Unfortunately, someone kills Maggie, after she makes the mistake of wearing Nick's dress shawl during an evening party. Even worse, the killer eventually achieves his/her goal by sending a box of poisoned chocolates to Nick, while she was recuperating at a local hospital.

"PERIL AT END HOUSE" possessed a certain plot device that Christie had used in several of her novels. I would describe this plot device. But to do so would spoil the rest of the story. It took me years to spot this plot device. And I should be surprised that I have not come across anyone else who has spotted it. And yet . . . I am not. The fact that it took me several years to spot this particular plot device only tells me that Christie has utilized it with great effect in some of her more interesting and well-written mysteries. Thankfully, "PERIL AT END HOUSE" proved to be one of those well-written mysteries.

I must admit that Clive Exton did a pretty damn good job in adapting Christie's novel for the television screen. He stuck very closely to the original novel's plot . . . with a few changes that did no harm to the overall movie. Both Exton and Rye presented a well-paced production to the audiences. They set up the story with Poirot and Hastings' arrival to Cornwall and continued on with without any haste or dragging feet. The only time the movie threatened to put me to sleep occurred between the story's second murder and the revelation of the killer . . . . when the story threatened to ground to a halt. I have one last problem - namely the appearance of Chief Inspector Japp. I realize that Japp did appear in the novel. But his appearance merely dealt with Poirot's request that he investigate the Crofts, whom the Belgian detective suspected of being forgers. The cinematic Japp immediately appeared following Maggie Buckley's death as the main police investigator. And Cornwall is not under Scotland Yard's main jurisdiction.

The production values for "PERIL AT END HOUSE" proved to be top-notch. Rye shot the film's exterior scenes in Salcombe, Devon; instead of the county of Cornwall. I found that curious. However, both he and cinematographer Peter Bartlett certainly took advantage of the movie's setting with Bartlett's photography of Salcombe's charming, Old World style. This was especially apparent in the movie's opening sequence that featured Poirot and Hasting's arrival by airplane. Actually, production designer Mike Oxley did an excellent job of recreating an English vacation resort in the early 1930s. The production practically reeked of the Art Deco style of that time period. However, I was especially impressed by Linda Mattock's costume designs. I was especially impressed by those costumes worn by actresses Polly Walker, Pauline Moran and Alison Sterling. My only complaints about the movie's visual styles were the actresses' hairstyles. No one seemed capable of re-creating the early 1930s soft bob. The actresses either wore a chignon or in the case of Sterling, a Dutch Boy bob made famous by actress Louise Brooks in the late 1920s.

"PERIL AT END HOUSE" featured some solid performances by the cast. David Suchet gave his usual excellent portrayal of Hercule Poirot. I was especially impressed by the on-screen chemistry he managed to produce with Polly Walker. The latter gave a standout performance as the killer's main target, Madgala "Nick" Buckley. Walker did an excellent job of transforming Nick from the charming "Bright Young Thing" to a wary and frightened woman, who realizes that someone is trying to kill her. Alison Sterling was also excellent as one of Nick's closest friends, "Freddie" Rice. Next to Walker's Nick, Sterling gave an interesting and skillful portrayal of the very complex Freddie. Hugh Fraser, Pauline Moran and Philip Jackson were also excellent as Arthur Hastings, Miss Lemon and Chief Inspector Japp. All three, along with Suchet, managed to re-create their usual magic. The movie also featured solid performances from Paul Geoffrey (whom I found particularly convincing as an early 30s social animal), John Harding, Christopher Baines and Elizabeth Downes. I found the Australian accents utilized by Jeremy Young and Carol Macready, who portrayed the Crofts, rather wince inducing. But since their accents were supposed to be fake in the first place, I guess I had no problems.

For some reason, "PERIL AT END HOUSE" has never become a big favorite of mine. It is a well done adaptation of Christie's novel. And I found it visually attractive, thanks to the movie's production team. The movie also featured some excellent performances - especially from David Suchet, Polly Walker and Alison Sterling. Naturally, it is not perfect. But that is not the problem. I cannot explain my lack of enthusiasm for "PERIL AT END HOUSE". I can only assume that I found nothing particularly mind blowing or fascinating about its plot. It is simply a good, solid murder mystery that has managed to entertain me on a few occasions. Perhaps . . . that is enough.

Top Five Favorite "BURN NOTICE" Season One (2007) Episodes

 

Below are images from Season One of the USA Network series, "BURN NOTICE". Created by Matt Nix, the series starred Jeffrey Donovan: 

TOP FIVE FAVORITE "BURN NOTICE" SEASON ONE (2007) Episodes



1. (1.10) "False Flag" - Burned C.I.A. agent Michael Weston helps an abused wife find her son, whom she claims had been kidnapped by her estranged husband, in order to raise funds to purchase a fake ID for a trip to Washington D.C. Lucy Lawless guest-starred.



 

2. (1.12) "Loose Ends" - Michael and ex-girlfriend Fiona Glenname plan an operation to rescue his old buddy, Sam Axe, from ex-Special Forces drug dealers whose blackmail operation they had disrupted in the previous episode. Meanwhile, Michael is contacted by a mysterious woman about his burn notice.





3. (1.06) "Unpaid Debts" - Sam asks Michael to help a former Navy SEAL teammate of his - a repo man who is having trouble reclaiming a boat for his own clients (a group of dirty cops) from Jamaican gangsters. Meanwhile, a CSS agent named Jason Bly arrives in Miami to keep an eye on Michael and dissuade him from investigating his burn notice.





4. (1.11) "Dead Drop" - While Michael continues to struggle to make an appointment with the man who might be responsible for burning him at the C.I.A., he, Sam, and Fiona help a couple who are blackmailed by former Special Forces veterans into participating in a heroin smuggling operation.





5. (1.05) "Family Business" - Michael helps an airport security guard whose family is being threatened by a family of arms dealers with connections to the Mossad. Meanwhile, he and his brother Nate clash over the possession of their father's Dodge Charger.

Five Favorite Episodes of "STAR TREK VOYAGER" Season Two (1995-1996)

 

Below is a list of my five favorite episodes from Season Two of "STAR TREK VOYAGER". Created by Rick Berman, Michael Piller and Jeri Taylor; the series starred Kate Mulgrew as Captain Kathryn Janeway:

FIVE FAVORITE EPISODES OF "STAR TREK VOYAGER" SEASON TWO (1995-1996)



1. (2.11) "Manuevers" - After a team of the Kazon-Nistrim warriors steal some Federation technology during a raid against U.S.S. Voyager, Commander Chakotay goes after them on his own and is captured. Martha Hackett and Anthony De Longis guest-starred.





2. (2.21) "Deadlock" - While attempting to evade the organ-stealing Vidiians, a duplicate Voyager is created after it passes through a spatial scission; leaving one of the duplicate ships under attack and the other impervious to attack. Nancy Hower and Simon Billig guest-starred.





3. (2.20) "Investigations" - Lieutenant Tom Paris leaves Voyager and joins a Talaxian space convoy. But when he is kidnapped by former crew mate Seska and the Kazon-Nistrim, Neelix tries to flush out the traitor on board who has been colluding with them. Raphael Sbarge, Martha Hackett and Simon Billig guest-starred.





4. (2.05) "Non-Sequitur" - While on an Away mission, Ensign Harry Kim mysteriously wakes up and finds himself back in 24th century San Francisco, with no record of him ever joining Voyager's crew. Louis Giambalvo, Jennifer Gatti and Mark Kiely guest-starred.





5. (2.19) "Lifesigns" - Voyager picks up a dying Vidiian woman and the Doctor saves her life by placing her consciousness in a holographic body. As the pair attempts to find a cure for the Phage killing her and her species, he falls in love. Susan Diol, Raphael Sbarge and Martha Hackett guest-starred.





Honorable Mention: (2.08) "Persistence of Vision" - When Voyager enters a new region of space, the crew begins to experience hallucinations from their past and of their desires. Carolyn Seymour, Warren Munson and Marva Hicks guest-starred.

"PERIL AT END HOUSE" (1990) Photo Gallery

 

Below are images from "PERIL AT END HOUSE", the 1990 television adaptation of Agatha Christie's 1932 novel. The movie starred David Suchet as Hercule Poirot:

"PERIL AT END HOUSE" (1990) Photo Gallery

"SILAS MARNER" (1985) Review

 

"SILAS MARNER" (1985) Review

I have seen a handful of television and movie adaptations of novels written by George Eliot. But the very first adaptation I ever saw was "SILAS MARNER", the 1985 version of Eliot's third novel published back in 1861. My recent viewing of the production led me to reasses it.

"SILAS MARNER" begins with an English weaver living with a small Calvinist congregation in Lantern Yard, a slum street in a Northern England city. His life falls apart when he is framed for stealing the church's funds, while watching over the congregation's ill deacon. Worse, his fiancee leaves him for his so-called best friend, the very man who may have framed him. Shattered and embittered, Silas leaves Lantern Yard and arrives at a rural village in the Midlands called Raveloe. Although he resumes his trade as a weaver, Silas' traumatized past leads him to achieve a reputation as a miser and a loner in the community.

Silas' move to Raveloe eventually leads him to cross paths with the community's leading citizens, the Cass family. The head of the latter is the elderly Squire Cass who has two sons - Godfrey and Dunstan. Godfrey, who is the squire's heir is secretly married to one Molly Farren, a lower-class woman and opium addict from another town, who has given birth to his young daughter. Godfrey is also engaged to a young middle-class woman named Nancy Lammeter. Dunstan is a dissolute wastrel who constantly loses money via excessive gambling. One night, a drunken Dunstan breaks into Silas' cottage, steals the gold coins that the latter has been hoarding and disappears. Through a series of events, Molly plots to expose her marriage to Godfrey and their child during the Cass family's New Year party, but dies in the snow before she can reach it. Silas, who is emotionally upset over the loss of his coins, finds both the dead Molly and the child. Although he informs the partygoers of Molly's death and the child, he assumes guardianship of the latter (renamed Hephzibah "Eppie"), much to the relief of Godfrey, who can now legally marry Nancy. All goes well until Godfrey and Nancy's failure to have children threaten Silas' newfound happiness as Eppie's father years later.

What can I say about "SILAS MARNER"? I can honestly say that it was not one of the best adaptations of a George Eliot novel. Then again, I do not consider the 1861 novel to be one of her best works. I realized that Eliot had set the story either around the end of the 18th century or around the beginning of the 19th century. It was her prerogative. But both the novel and the movie seemed to reek of Victorian melodrama that I found myself feeling that Eliot or any adaptation could have set the story around the time it was originally written and published - the mid 19th century. The story is, at best, a good old-fashioned Victorian melodrama. I would never consider it as particularly original in compare to the likes of "MIDDLEMARCH" or "DANIEL DERONDA".

"SILAS MARNER" tries its best to be profound on the same level as the other two Eliot stories I had mentioned. But I had a few problems with the narrative. What was the point behind Dunstan Cass' disappearance and theft? Yes, he stole Silas' hard earned money before he disappeared. I got the feeling that the stolen coins seemed to serve as a prelude to Silas' emotional attachment to Eppie. But why have Dunstan take it? How else did his disappearance serve the story . . . even after his dead remains were found close by, years later? In Eliot's novel, the discovery of Dunstan led brother Godfrey to form a guilty conscience over his own secret regarding young Eppie and confess to his wife. But in the movie, it was Godfrey and Nancy's inability to conceive a child that seemed to finally force the former to confess. Unless my memories have played me wrong. Frankly, Dunstan struck me as a wasted character. Anyone else could have stolen Silas' money.

I also noticed that Giles Foster, who had served as both screenwriter and director for this production, left out a few things from Eliot's novel. I have never expect a movie or television to be an accurate adaptation of its literary source. But I wish Foster had shown how Eppie's presence in Silas' life had allowed him to socially connect with Raveloe's villagers. Eliot did this by allowing her to lead him outside, beyond the confines of his cottage. The only person with whom Silas managed to connect was neighbor Dolly Winthrop, who visited his cottage to deliver him food or give advice on how to raise Eppie. I also noticed that in the movie, Silas had never apologized to another villager named Jem Rodney for his false accusation of theft. And Jem had never demanded it. How odd. I also wish that Foster could have included the segment in which Silas had revisited his former neighborhood, Lantern Yard. In the novel, Silas' visit revealed how the neighborhood had transformed into a site for a factory and its citizens scattered to other parts. Silas' visit to his old neighborhood served as a reminder of how his life had improved in Raveloe and it is a pity that audiences never saw this on their television screens.

Yes, I have a few quibbles regarding "SILAS MARNER". But if I must be really honest, I still managed to enjoy it very much. Eliot had written a very emotional and poignant tale in which a lonely and embittered man finds a new lease on life through his connection with a child. Thanks to George Eliot's pen and Giles Foster's typewriter, this story was perfectly set up by showing how Silas Marner's life fell into a social and emotional nadir, thanks to the betrayal of a "friend" and the easily manipulated emotions of his neighbors.

Once Silas moved to Raveloe, the television movie did an excellent, if not perfect, job of conveying how he re-connected with the world. It was simply not a case of Silas stumbling across a foundling and taking her in. Even though he had formed a minor friendship with Mrs. Winthrop, having Eppie in his life managed to strengthen their friendship considerably. The movie's narrative also took its time in utilizing how the Cass family dynamics played such an important role in Silas' life in Raveloe. After all, Godfrey' secret marriage to Molly Farren brought Eppie into his life. And Dunstan's theft of his funds led Silas to re-direct his attention from his missing coins to the lost Eppie. And both Godfrey and Nancy Cass proved to be a threat to Silas and Eppie's future relationship.

The production values for "SILAS MARNER" proved to be solid. But if I must be honest, I did not find any of it - the cinematography, production designs and costume designs - particularly memorable. The performances in the movie was another matter. "SILAS MARNER" featured solid performances from the likes of Rosemary Martin, Jim Broadbent (before he became famous), Nick Brimble, Frederick Treves, Donald Eccles, Rosemary Greenwood; and even Elizabeth Hoyle and Melinda White who were both charming as younger versions of Eppie Marner.

Angela Pleasence certainly gave a memorable performance as Eppie's drug addicted mother, Molly Farren. Patsy Kensit not only gave a charming performance as the adolescent Eppie, I thought she was excellent in one particular scene in which Eppie emotionally found herself torn between Silas and the Casses. Freddie Jones gave his usual competent performance as the emotional Squire Cass, father of both Godfrey and Dunstan. I was especially impressed by Jonathan Coy's portrayal of the dissolute Dunstan Cass. In fact, I was so impressed that it seemed a pity that his character was only seen in the movie's first half.

I initially found the portrayal of Nancy Lammeter Cass rather limited, thanks to Eliot's novel and Foster's screenplay. Fortunately, Nancy became more of a central character in the film's second half and Jenny Agutter did a skillful job in conveying Nancy's growing despair of her inability to have children and her desperation to adopt Eppie. I thought Patrick Ryecart gave one of the two best performances in "SILAS MARNER". He did an excellent job of conveying Godfrey Cass' moral ambiguity - his secrecy over his marriage to Molly Farren, the passive-aggressive manner in which he "took care" of Eppie through Silas and his willingness to use Eppie as a substitute for his and Nancy's failure to have children. Ryecart made it clear that Godfrey was basically a decent man . . . decent, but flawed. The other best performance in "SILAS MARNER" came from leading man Ben Kingsley, who portrayed the title character. Kingsley did a superb job of conveying Silas' emotional journey. And it was quite a journey - from the self-satisfied weaver who found himself shunned from one community, to the embittered man who stayed away from his new neighbors, to a man experiencing the joys and fears of fatherhood for the first time, and finally the loving man who had finally learned to re-connect with others.

Overall, "SILAS MARNER" is more than a solid adaptation of George Eliot's novel. I did not find its production designs particularly overwhelming. I did enjoy Eliot's narrative, along with Giles Foster's adaptation rather enjoyable . . . if not perfect. But I cannot deny that what really made this movie work for me were the first-rate performances from a cast led by the always talented Ben Kingsley. Victorian melodrama or not, I can honestly say that I have yet to grow weary of "SILAS MARNER".

"CENTENNIAL" (1978-79) - Episode Ten "The Winds of Fortune" Commentary

 

"CENTENNIAL" (1978-79) - Episode Ten "The Winds of Fortune" Commentary

This tenth episode of "CENTENNIAL" called "The Winds of Fortune" marked the last one set in the 19th century. The episode also featured the end of several story lines - the troubles with the Pettis gang, Axel Dumire's suspicions of the Wendell family, Hans Brumbaugh's labor problems and Jim Lloyd's romantic problems with Charlotte Seccombe and Clemma Zendt.

The range war that the ranchers began in "The Shepherds" finally gasped its last breath in this episode. The last remnants of the Pettis gang (the killers hired by the ranchers to get rid of the farmers and shepherds) make one last attempt to exact revenge against Amos Callendar, Jim Lloyd and Hans Brumbaugh - the three men who had killed Frank and Orvid Pettis in revenge for the deaths of two friends. Naturally, it failed during a gunfight against, Jim, Amos and the latter's son.

The Pettis gang's revenge attempt also led to the closure of the story line that featured Sheriff Axel Dumire and the Wendell family. The gunfight at Amos' homestead allowed one Pettis killer to escape back to Centennial . . . but not for long. Dumire led a manhunt for the escaped killer. And in a dark alleyway, he and the Pettis outlaw mortally shot each other. While the outlaw died right away, Dumire suffered a slow death. Before expiring, he summoned young Philip Wendell for a last attempt to learn the truth about the now dead Mr. Sorenson. Although he failed, Philip expressed grief and remorse over his dead body.

Jim Lloyd and Charlotte Seccombe's courtship finally led to a marriage proposal from the former. But their engagement encountered troubled waters when Clemma Seccombe returned to Centennial. Unable to get over his infatuation with the seemingly repentant Clemma, Jim breaks his engagement with Charlotte. The latter tries to bribe Clemma to leave town. But in the end, it took a lecture from Lucinda Zendt to convince the latter to leave. And Charlotte finally married her cowboy. Hans Brumbaugh's labor problems finally ended when political turmoil in Mexico finally drove Tranquilino Marquez to accompany his uncle, "Nacho" Gomez to Colorado. "Nacho" never made it, dying from a gunshot wound on the Skimmerhorn Trail. But Tranquilino and a few fellow Mexicans made it to the Brumbaugh farm and became permanent employees. Unfortunately for Tranquilino, good luck became bad during a trip to Denver, where he found himself imprisoned on a trumped up charge by a local bigot with a dislike for Latinos.

As you can see, a great deal happened in "The Winds of Change". Normally, I would have insisted upon a longer running time than 97 to 100 minutes. But screenwriter Charles Larson and director Harry Falk managed to keep the episode's pace flowing perfectly without any rush or dragging, whatsoever. Following James Michner's novel, they also managed to do an excellent job of connecting the final acts of the two story lines featuring the Pettis gang and the Wendells. At the same time, Jim Lloyd's romantic travails continued during this traumatic time for Centennial.

"The Winds of Fortune" featured at least three outstanding scenes that I need to point out. At least two of those scenes featured deaths of primary characters. Once again, Brian Keith and Doug McKeon knocked it out of the ballpark with their portrayals of Sheriff Axel Dumire and Philip Wendell in a poignant, yet ironic scene that featured the former's death. What I found particularly ironic about this particular scene is that the characters' deep affection for each other could not overcome Dumire's desire to know the truth about Mr. Sorenson's death or Philip's determination to protect his parents to the bitter end.

Another death scene featured "Nacho" Gomez's death on the Skimmerhorn Trail, while he and Tranquilino journey to Colorado. Although A Martinez was pretty solid as Tranquilino, Rafael Campos gave one last superb performance as the dying "Nacho" recalled the best period of his life - those months along the Skimmerhorn Trail. In fact, his character died near the very spot where he first met John Skimmerhorn in "The Longhorns". The last scene was the final confrontation between Clemma and Lucinda Zendt and Charlotte Seccombe. Between Charlotte's determination to pay off Clemma to get her out of Jim's life, and the latter's acidic crowing over her hold of said cowboy, the scene crackled with hostility, thanks to the superb acting of Lynn Redgrave and Adrienne La Russa. Christina Raines gave solid support as Clemma's disapproving mother, Lucinda.

The episode also boasted first-rate performances from William Atherton, who continued his superb portrayal of the solid, yet love sick cowboy Jim Lloyd. Another excellent performance came from Cliff De Young, who shined as ranch manager John Skimmerhorn, in one of his final scenes in which he expressed the blunt truth about the fickle Clemma. The episode also featured fine work from Alex Karras (Hans Brumbaugh), Jesse Vint (Amos Calendar) and delicious performances from both Lois Nettleton and Anthony Zerbe as the conniving Maude and Mervin Wendell.

"The Winds of Change" featured one major problem with me. Ever since "The Storm", the miniseries usually featured flashbacks that hinted a major character's upcoming death. Prolonged flashbacks from "The Longhorns" nearly grounded the episode to a halt, as a dying "Nacho" recalled the events of the Skimmerhorn drive. I could have tolerated one or two scenes. But the flashbacks nearly seemed to go on forever.

Despite the never-ending flashbacks, "The Winds of Change" proved to be another outstanding episode of "CENTENNIAL". Since it became the last episode to be set during the 19th century, it featured the conclusions of several story lines that have been going on since the saga shifted into the 1880s. It was a near perfect finale to what proved to be a rather interesting period of four to five episodes.

"LOST" RETROSPECT: (1.14) "Special"

 

"LOST" RETROSPECT: (1.14) "Special"

I just watched the Season One episode of "LOST" called (1.14) "Special". It reminded me of how the show runners had pretty much screwed over the Michael Dawson character.

Although I do not regard "Special" as one of the series' best episodes, let alone one of the best about Michael, watching it reminded me of the anger had I felt the show’s fans and their expectations and assumptions about him. One of the criticisms directed at Michael was his inability to be the perfect parent. Some critic actually claimed that Michael did not know how to be a parent. It occurred to me that it was a stupid comment to make. Worse, this comment was indicative of the fans' unrealistic expectations of Michael’s character.

Of course Michael had no idea on how to be a parent. He was new at it, thanks to his ex-girlfriend, Susan Lloyd. Not only did she break up with Michael following Walt’s birth and his loss of a job; she had also decided that Michael would not play a role in Walt’s life as his father. Even before her death, she had expected her husband and Walt’s stepfather, Brian Porter, to be the one to raise him. One of the more frustrating aspects of the "LOST" fandom toward Michael is that many had expected him to be this one-dimensional character. He either had to be another castaway, loyal to the series’ leading characters; the perfect parent, despite having very little experience prior to being stranded on the island; or turn to the "Great White Hunter" aka John Locke for lessons on parenthood.

And what the fuck was up with John Locke? Teaching Walt how to use a machete … without Michael's permission? What the hell was he thinking, allowing a child to handle a dangerous weapon? And then there was that piece of advice he gave Michael - to treat Walt more like an adult than a child. What the fuck? Walt was ten years old, not fucking twenty-four years old. One, parents tend regard their off-springs as children even after they become adults. To a certain extent. And two, Walt was too young and too immature to be treated like an adult at the time.

What I found disturbing about this situation regarding the machete lesson is that when Michael had called Locke out for teaching Walt how to use a machete, the latter turned it on Michael and blamed him for not being the perfect father. This was bullshit. Teaching a ten year-old boy how to handle a machete without the permission of the latter's father? Treating said ten year-old child like an adult? If Michael was expected to become a better parent because he had followed Locke’s advice, then "Special" gave the wrong kind of lesson in parenthood. And if I must be brutally honest, so did screenwriter David Fury. In the end, Walt’s encounter with a polar bear pretty much justified Locke’s decision to teach him to use a machete. It seemed as if Fury and the series’ show runners - Carlton Cuse and Damon Lindelof - believed Locke knew more about raising a child than Michael.

John Locke was not Dr. Spock. He was a man who had the wrong idea on what it really took to become a parent, based on his own damaged relationships with his parents. As for Michael, he was never a perfect parent. But he was never terrible. And despite his flaws, a great deal of his actions were dictated by his desire to protect Walt from the island’s dangers. His lack of perfection was not surprising since a "perfect parent" does not exist. Never really existed in the first place.

Human beings are not perfect. If humans are not perfect, why expect someone - whether in real life or in fiction - to be the perfect parent? Or perhaps many "LOST" fans had harbored such high demands from Michael because he was a black man and not the lead of a television show. Perhaps he was not expected to be as ambiguous and complicated as he proved to be.