Subway - Homicide: Life on the Street

A few weeks ago, I taught the episode "Subway" from the 1990s police procedural show Homicide: Life on the Street for my TV theory course. "Subway" is an amazing and dark episode, and extremely well-acted by Andre Braugher and Vincent D'Onofrio. It was written by James Yoshimura.

"Subway" is about John Lange (D'Onofiro) who gets pinned between a subway car and the train's boarding platform. The episode's mystery (in a Rashomon manner) is whether or not Lange was pushed by a man named Biedron.

 

Det. Pembleton (in a priest-like role) must console Lange as the city workers prepare to free him from the subway car. It is obvious that Lange's chances of survival are slim. But it is not only Lange who is confronted with the presence of death; Pembleton, too, is reminded of his own mortality, for he recently survived a stroke.

"Subway" is a great example of what I call confinement cinema, a topic that I fully explore in my forthcoming book Cinema of Confinement. One of my claims of confinement cinema is the impact of excess both physically (within the confined space) and psychically (both characters and our engagement with the confinement setting). I argue that excess is what sustains our engagement in the narrative over a long period of time within a confined setting. Some notable films are Misery (1990), 10 Cloverfield Lane (2016) and Phone Booth (2002)

In my book, I not only unpack how movies are able to keep us involved in the narrative over a long period of time within a confined setting, but also the theoretical, social, and political insights confinement cinema offers. 

One topic I explored specifically with my class is "Subway's" existential qualities and large questions about religion, pain, and happiness. Pembleton says to Frank that pain is what universally binds us together, which certainly falls in line with Sartre's notion of anguish; namely, that we are constantly faced with freedom and choices (consciousness of consciousness). For Sartre, existence lies in our everyday actions and choices. The subway setting also has a sense of hell as existing below as both men wrestle with their mortality. Perhaps one of the best lines of the episode is when Lange says to Pembleton: "God invents pain; man invents booze."

Once Lange is finally freed from the subway, he immediately dies. Pembleton seems to be severely affected by Lange's death. Right before he ascends upwards on the escalator, he looks up (symbolically) for a moment. He then meets with his partner Det. Bayliss (Kyle Secor) as they walk to their vehicle. Ending the episode on ambiguous note, Pembleton says to Bayliss: "The guy said, I'm okay." I asked my students is: who is okay? Is it Frank or Lange that is okay? 

After Pembleton and Bayliss drive off, Sarah (Lange's girlfriend) jogs past the subway terminal, not knowing that her boyfriend was just killed as the episode fades to black. Indeed, life keeps moving forward.... 

I hope more people discover Homicide: Life on the Street.

The Pointillism of Walter White and Frankenstein

Spoiler warning!

I realized I had written this short piece, but never posted it back in 2013! It was strange to read what I had written, now knowing how Breaking Bad ended. But here is what I wrote while watching the last season of the show. Of course, I had to update a few things...

The final season of Breaking Bad is getting closer to its finale. Two more episodes until we learn why Walt purchased guns at Denny's, his intentions with the ricin, and what became of his abandoned house.  

 

As we approach the series' finale, Vince Gilligan and his writers continue to spawn twists and unexpected events that keep us on the edge of our seats. Gilligan has called Breaking Bad a hyper-serialized show which is evident in the precision and ordering of narrative information. This is most notable in Breaking Bad's use of restricted and unrestricted information for both viewers and characters alike. White's concealment of secrets primarily drives the show's tension. Of course, Hank's discovery of "W.W." at the end of season 5.A was one of the show's biggest twists.

What is also interesting to note about Gilligan's use of restricted information is how strongly it engages us with the narrative. I particularly found the precise unfolding of the show's narrative information oddly similar to the art form of pointillism: dots applied on the canvas to form an image. Pontillism was created by Georges Seurat, most notable in his famous painting A Sunday Afternoon on the Island of La Grande Jatte.

Indeed, as we approach closer to Breaking Bad's finale, the parceling of narrative information (all the dots) that have unfolded over the past 5 years that form an image (and transformation) of White/Heisenberg are beginning to show us the totality of the show--the painting of Breaking Bad, so to speak.

Lastly, after watching the last episode of Hank's death and Walter departure in "Ozymandias," I kept thinking about the man in the row boat painting that showed up a few times throughout the series.  

This image reminded me of the tragedy of Frankenstein, who could not fit into the world, left to die alone. Indeed, Walter was certainly the "danger" as he famously expressed. But has he transformed into a monster? Or is this alluding to what we are about to encounter in the final episode?

Eternal Sunshine of the Spotless Mind

I frequently screen Michel Gondry's Eternal Sunshine of the Spotless Mind (2004) for my film courses. The topic we often discuss is the film's relationship between new media and memory. Although the film came out in 2004, I think it still offers some insights into concerns of privacy and big data. 

A topic that I brought up with my students this past semester is the character of Patrick played Elijah Wood. To be short, the film is a science fiction love story that entails a recently separated couple Joel (Jim Carrey) and his ex-girlfriend Clementine (Kate Winslet) who erase their memories of each other by a company called Lacuna.  

Patrick works for Lacuna. While Patrick assisted Stan (Mark Ruffalo) with Clementine's procedure, he became attracted to her.  As a way to court Clementine, Patrick steals Joel's memory objects from Lacuna's office. 

Patrick stealing Joel's memory objects certainly addresses concerns of database breach. But Patrick's mining of Joel's memories is also similar to how digital algorithms can map and predict our shopping behaviors. In one scene, Patrick gives Clementine a gift which he stole from Joel's bag of memory objects of Clementine. Of course, Clementine is taken aback by the gift. Patrick seems to know exactly what she likes, even though they have only been seeing each other for a very short period of time.

Perhaps the most significant scene is when Patrick and Clementine are on the frozen lake. He recites some of Joel's memories about her.  Like the binary code of digital, Patrick is too perfect. And it is exactly this moment that Clementine loses her desire for Patrick.

Some Excellent Books on Jacques Lacan

Over the winter I read a number of great academic books on Jacques Lacan. If you are interested in reading about the intersection of Lacanian thought and cinema, check out Matthew Flisfeder's book The Symbolic, The Sublime, and Slavoj Zizek's Theory of Film. Flisfeder's book offers an excellent introduction to a number of key Lacanian terms and concepts and how they are employed in a number of Zizek's writings on cinema. 

 

Todd McGowan's Capitalism and Desire is also worth checking out. McGowan examines the intimate relationship between the logic of desire and the logic of capitalism. Also, see my post on desire for introduction on this concept.

Another book worth checking out is Traumatic Encounters in Italian Film by Fabio Vighi.  This book examines the unconscious in relation to film language in Italian cinema. Vighi considers a variety of Italian films from filmmakers such as Pasolini, Bertolucci, and Rossellini. Vighi's reading of Michelangelo Antonioni's L'Avventura is indeed one of the film's many highlights.