Bittersweet nostalgia -- and a highly unofficial poll
To Zuzuu and Shmeep, drkalgren, birdofire, printsofdarkness, angel, and all of you who have been far too quite for the past few days . . . .
We've written the letters, we've signed the online petition, and it's time to open the dialogue again. With two more episodes to go, there is still much to say and discuss.
I'll start. Favorite episodes, anyone?
Zuzuu would probably vote for "Seoul Man," and I'd love to hear her thoughts. For me, looking back, it is still "Up on the Roof," and here's why. Although "Seoul Man" was instrumental in resolving any number of issues -- Galloway pronounces Dunbar fit for duty, Dunbar and Marty start to resolve their complex (and highly entertaining) working relationship, each starting to pay credence to each other's POV -- "Up on the Roof" still has a powerful resonance that cannot be denied. As important as Jim's conflict with Marty was, far more important, and central, to me was Jim's coming to terms with Terry Jansen's betrayal at the bank, that one act of perfidy and cowardice that changed everything. "Up on the Roof" was tautly and sensitively crafted -- and acted -- with flashes of the kind of somber, reflective stillness that sets "Blind Justice" head and shoulders above all other network fare.
If I had to describe it in one word I would say haunting.
The dream sequence opening, reworking in slow-mo nightmare the good days with Christie, and then the shootout. "We really need you out there, Jimmy." The bitter argument with Galloway: "Is this who you are, Jim?" The scene where Karen pulls the "rag" out of the tar bucket, and Dunbar's face when he, quietly, says, "This isn't a rag: this is a handkerchief." The AMAZING scene by the river with Terry Jansen. (Great work by Sonny Martinelli.) That heartstopping moment when Jim pulls out the handkerchief and holds it up, and you just know that, for one brief painful moment, he is so wishing he could see the expression on Terry's face. So well written, so well directed, so subtly played. And the final scene -- again, written and played with such restraint and stillness -- with that KILLER last line, murmured so you almost had to strain to hear it: "I'd rather lose my sight than my courage." Incredibly strong and lovely, and just reinforces why we will all miss this show terribly.
I have to say I miss some of the darkness and complexity of the earlier episodes, although "Doggone" was definitely there. It is Dunbar's journey of expiation and redemption that fueled this show -- and, of course, Ron Eldard's charismatic and utterly persuasive performance -- and, as much as we all want the character to "heal up" and get it right . . . in purely dramatic terms the journey is always more interesting than the destination.
That said, I'm sure we'll be back to dark and conflicted next week with "Under the Gun." And there is the last (sob) episode, in which I'm hoping Bochco & Co. will once again give us the layered intensity of the pilot -- which has got to go down as one of the tightest, most amazing 40 minutes ever. It should win an Emmy for editing, if for nothing else . . . and here's hoping the Emmy voters, sitting at home watching their DVDs, will realize the true value and brilliance of "Blind Juctice."
Thoughts, anyone?