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.

Random Review - January 19, 2013 - Peyton Place

Peyton Place (1957)

Dir. Mark Robertson

For fans of the television show Twin Peaks (1990-1991), Peyton Place is important to film to view.  David Lynch has acknowledged its influence on the show.  There are many similarities between both the television show and the film: the main source of employment is a mill; many of the characters are high school teenagers; the postcard images of a small town and the values of its community.  But most importantly is the dramatic tension in concealing secrets.  Of course, Twin Peaks was marketed as a murder mystery: who killed Laura Palmer?  In Peyton Place, there is a desire to know each others' secrets, which generates most of the narrative tension. The patrons of Peyton Place constantly watch each other, causing one another to be conscious of their own looking.

Peyton Place is also know for its powerful use of Cinemascope photography.  There are many breathtaking shots of New England that I am sure play better on the big screen. Cinemascope and Cinerama were new technologies created in response to the popularity of television and the changing leisure habits in the USA.  

But it would be wrong to suggest that the widescreen images of Peyton Place are there just for purely spectacle means. These gorgeous shot must be considered in relation to the space the characters inhibit. The small town of Peyton Place is where sexuality and intimacy are taboo.  These secret places, by way of contrast, are where the young characters can escape to in order to be intimate and to express their feeling...one of many things to enjoy about Peyton Place.

Random Reviews - September 18, 2012 - Lost, Fringe and Person of Interest

Lost, Fringe, Person of Interest

I recently finished watching all six seasons of the television show Lost (2004-2010) - thanks to the wonderful technology of video streaming. For the sake of those who have not seen show, I have tried to avoid listing specificities that would ruin the plot. In a nut shell, Lost tells the story of a group of survivors of Oceanic Flight 815 marooned on an island somewhere in the Pacific Ocean.

Lost is clearly one of the top television shows of recent years. The show covers many themes, such as science, religion, and family. But probably the topic given the most attention is the question of fate.  Here, the writers do a great job keeping us wondering if there is a greater purpose for the survivors of flight 815. Lost's puzzle narrative structure helps to underscore this notion. Some random notes (after all, this is a random review): Michael Giacchino's beautiful score; the diversity of characters; and cinematography, editing, and acting-all work very well. Lost deservedly won a bunch of Emmys. But I was surprised that none of the women were nominated for their work. Lastly, there are some fantastic stand-alone episodes. I particularly loved "Tricia Tanaka Is Dead," which some critics, apparently, did not like.

I find myself drawn more and more to J.J. Abrams' fictional Universe. I recently started watching Fringe - another great show of Abrams'. Fringe is like the scientific version of the Twilight Zone.  If Rod Serling gave us existential reasoning for the show's strange happenings, Fringe attempts to scientifically solve them! Topics covered are telekinesis, shape-shifting, spontaneous combustion, and suspended animation, to name but a few.  Walter (John Noble), the eccentric scientist, does a convincing job to prove the scientific validity of these strange happenings. Noble's humorous antics also help to balance out Fringe's graphic imagery.

All of these shows strikingly share a commonality: a depiction of a post 9/11 society of paranoia. These shows, in many ways, are a microscope into our culture of rapid technological innovation, speed, and surveillance. Abrams and Matt Reeves really tune into these features in their frantic, science-fiction, disaster, monster, digital cinema film Cloverfield (2008).  I guess in certain ways these shows can be compared to the paranoia films of 1970s, such as Airport (1970), The Poseidon Adventure (1972), The Towering Inferno (1974), and The Invasion of the Body Snatchers (1978). This is not meant to be a generalization.  But I like that the writers of the show address these issues. Finally, I recently read that Star Trek 2 is heading into production which begs the question: does J.J. Abrams sleep?

The Matrix's Simulation of Star Trek's "The Spectre of The Gun"

Although the third season of Star Trek will probably never match the greatness of the first and second season, there are some notable episodes worth mentioning. One particular episode that has always fascinated me is "The Spectre of the Gun" for its intriguing storyline and strange and surrealistic set design. 

 

Watching the episode recently, I could not help noticing that the ending sequence has a strong connection to the premise of the Wachowski's film, The Matrix (1999). It is well known that part of The Matrix's origin is strongly linked to Jean Baudrillard's Simulacrum and Simulation. But I would like to make the case that there may be another theoretical source overlooked by critics and fans of The Matrix: Rene Descartes’ cogito (I think, therefore I am”). I would suggest The Matrix stresses the importance of the universal in Neo’s awaken. It is his encounter with the universal where Neo discovers he is the chosen one.

The plot of "The Spectre of the Gun" involves the Enterprise coming in contact with a Melkotian buoy, an alien life form that warns them not to encroach upon their territory. Kirk ignores the warning as he, McCoy, Spock, Scotty and Chekov beam down to the planet to learn more about the Melkotians. Upon arrival, they unexpectedly find themselves caught in fog-like conditions.  Out of the fog, they suddenly encounter the Melkotians who are angered that the Enterprise did not adhere to their request.  As a consequence, the Melkotians send Kirk and crew back into time, situating them into a psychological space of a Tombstone western-like town. 

Kirk and crew discover that they are to play the characters of the Claiborne gang and to re-enact the legendary showdown with Wyatt Earp and his posse at the OK Corrall in 1861.  The twist is that they are the cowboys to be shot. Worse, the showdown will occur at 5pm that day, leaving Kirk and crew a short amount of time to plan an escape. 

 

When Kirk and crew try to exit the town, they quickly realize it is surrounded by a force field.  Things become even more troublesome when Chekov is unexpectedly shot by Morgan Earp for pursuing one of his women.

McCoy, Spock and Scotty create a tranquilizer grenade to use as a weapon on Earp and his crew.  But when testing the grenade on Scotty, they discover it is ineffective

 

As 5:00 p.m. nears, a storm begins to brew as Kirk and crew begin to realize the certainty of their fate.   

BUT... Spock discovers that Chekov (who is suppose to be playing William Claiborne) survived the battle at OK Corrall. So how can Chekov be dead when history states that he survived?  Spock figures out that the reason why they cannot escape their situation at hand is that they believe they exist in a true reality. That is, Kirk and crew believe that the OK Corrall is real.

Kirk and crew have been pitted against the Cartesian cogito and the demon hypothesis.  Descartes’ conception of the cogito was to build a ground for the science of knowledge. Descartes argues that if I am deceived by what I think is real in the world (say this blog I am typing or my hands that touch the keypad), I can be certain of one thing—that fact that I think, I therefore must exist.  

For Descartes, even if he is deceived by the demon who tells him 2+2=5, the fact that Descartes thinks, he must therefore exist—even if he doubts the demon who suggests a universal truth such as 2+2=4 to be false.

The demon hypothesis is exactly what Kirk, McCoy, Spock and Scotty must face - they must convince themselves that OK Corrall is not reality, therefore the bullets will not harm them.  As Spock plainly puts it: "Physical reality is consistent with universal laws. When the laws do not operate, there is no reality." They have to be certain in their thoughts to defeat Wyatt Earp and his crew.  But even the smallest doubt will kill them!

Of course this does not sit well with McCoy because as humans we are always faced with doubt. As McCoy sharply tells Spock, "We're just human beings, Spock.  We don't have that clockwork ticker in our head like you do. We can't just turn it on and off!"  To avoid any trace of doubt, Spock performs the Vulcan mind meld to put them all in a state of oneness.

Now compare Spock's plan of certainty at the OK Corrall and the climax of The Matrix where Neo realizes that he is the one, and how he is able to control reality--to stop the bullets from impacting him. Also, notice Neo's drop kicking Agent Smith is very similar to Kirk's drop kicking Wyatt Earp!

As I have mentioned, it is well documented that The Matrix is influenced by Baudrillard's  order of the simulacrum, which describes a world of signifiers divorced from their referent or origin -- that is, a copy of a copy. But could it be possible that The Wachowski's were influenced by "The Spectre of The Gun" when writing The Matrix?
Or maybe Descartes?

  The bullets are not real....