Talking Movies

August 18, 2011

Medium’s Realism

Allison DuBois sees dead people. And yet despite the show’s high concept being supernatural in the extreme Medium has been one of the most realistic shows on TV…

When I trumpeted Medium in the University Observer in 2005 I noted that it derived its emotional impact from the way creator Glenn Gordon Caron and ace Dark Angel writer/producers Moira Kirland, Rene Echevarria, and later Robert Doherty, were able to weave together domestic dramas and bizarre visions in an utterly plausible fashion. The initial hook of the show was second-guessing how Patricia Arquette’s cryptic visions would help the police solve baffling crimes. But the real hook for long-term viewing was the emotional meat of the show. I dubbed it, despite my love of the Cohens in The OC, the only portrayal worth a damn on US TV of a normal married couple raising children, with the little triumphs and little pitfalls that go with the territory. When the two strands combined, as in the episode where the ghost of a serial killer from the 1880s stalked eldest daughter Ariel, the results were truly heart-stopping, not least because that episode played out in flashbacks that implied Allison had failed to prevent her murder – a point to be returned to later. Medium’s realistic family dynamic only became more impressive an achievement over time as the strain on Joe of handling his wife and daughter’s abilities began to show, and the daughters not only became more rebellious as they aged but also more susceptible to the Roland family gift/curse for picking up psychic flashes.

It may seem odd to characterise long-takes, a favourite trick of showy directors from Alfred Hitchcock to Alfonso Cuaron, as being realistic, but Medium has always used handheld cameras that, without descending into the shaky-cam madness of JJ Abrams or Paul Greengrass, add an air of rough immediacy to proceedings, and when these cameras, so often deployed by the last-named auteurs for rapidly edited shots, suddenly do long-takes it affords an almost theatrical intimacy; especially as these long-takes are quite often gruesome confessions by killers, plot revelations achieved by a simple shift of the frame to one side to reveal an obscured detail, or horrendous crimes being unnervingly observed with an unblinking eye.

Medium was also depicting money worries in a middle-class family in the American Southwest years before the acclaimed Breaking Bad ‘broke new ground’ by doing so. The 7 seasons of Medium can almost be characterised by Joe’s fluctuating fortunes in the job market as much as by Allison’s murder cases. From happily employed to then working under stress at large corporation Aerodytech, to helplessly unemployed, to starting his own company, to working on his own invention for another corporation, to working again as a drone for yet another corporation under an inspired maniac, to replacing said maniac, Joe’s career has been a rollercoaster reflecting the sheer uncertainty of the modern economy which valorises flexibility while ignoring what that actually means. The sheer terror of being bankrupted by frivolous or half-plausible but unjust lawsuits, because you have very little savings left after the business of living has attacked your paycheque, has been dramatised repeatedly in Medium. It’s never been a given that Joe and Allison will escape financial armageddon because, unlike Breaking Bad’s excessively all-pervasive bleakness, there’s always been an unnerving lack of guaranteed happy endings in Medium. It has repeatedly demonstrated that for all her paranormal powers Allison can’t always get her man. In some cases she has egregiously failed to catch the killer and never got a second bite at the cherry. Against the backdrop that things don’t always end well, Medium has created a good deal of dread from bad familial and financial situations.

Finally there’s the realism factor engendered by the remarkable fact that they don’t do supernatural crimes on Medium, despite the occult premise of the show. Indeed one scene, during an investigation of a priest’s death, which suggested that a demon had actually possessed a possessed girl was absolutely terrifying because it broke with two seasons’ worth of assurances that the supernatural solved crimes but had no part in committing them. Sure there have been moments that get close to supernatural crimes, such as David Arquette as Allison’s ne’er-do-well brother letting John Glover take control of his body, but what Glover does then isn’t particularly supernatural as a crime; he merely uses his charisma as a motivational speaker to tempt people to succumb to an addiction they’ve been fighting, such as cigarettes or alcohol. Similarly while Allison has variously gone deaf, lost control of her hand, or lost her ability to recognise English, none of these conditions has been anything but ‘hysterical blindness’ writ large; as Rena Sofer’s doctor dubbed it in the final season: a psychological reaction to an emotional trauma. Medium as a show has dealt in realistic crimes, but these have been frequently been at the extremely chilling end of the spectrum of psychosis, as it’s been very concerned with violence against women and children. Despite being driven by a strong female lead character it’s never shrunk from depicting women as extremely vulnerable physically to the predations of disturbed men. Serial killers aplenty have committed crimes against women in Allison’s Phoenix stronghold, Eric Stoltz’s killer a terrifying example, and there’s been incredibly disturbing attacks on children too, including a horrendous crime that Det. Lee Scanlon unwittingly failed to prevent when he was a beat cop.

Medium lost some great writers along the way but it kept its standard high to the very end, and its controversial finale proved it was never afraid to be realistic to a fault.

Medium continues its swansong seventh season on Living, Fridays at 9pm.

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October 6, 2010

Wall Street: Money Never Sleeps

‘Is Greed Good?’ is the new more reflective mantra of Michael Douglas’ corporate monster Gordon Gekko who returns after 23 years for a sequel dissecting the Great Recession.

I’ve previously dubbed Wall Street the film that summed up the 1980s. Its sequel aspires to sum up what the hell just happened to the global economy and largely achieves it. The film opens with an amusing prologue in which Gekko is released from prison in 2001 before fast-forwarding to Wall Street during the early summer of 2008. A flashy dizzying climb up the skyscrapers of NYC after young trader Jacob (Shia LaBeouf) parks his motorbike is reminiscent of David Fincher at his most expansive and signals that Oliver Stone has got his directorial mojo working again. The early scenes of this film, especially a Federal Reserve emergency meeting, are wonderfully crisp and while it doesn’t fulfil that early promise this is undoubtedly Stone’s best film since Nixon. The sense that he’s rejuvenated by revisiting one of his greatest achievements is heightened by his use of David Byrne & Brian Eno, down to reprising at the end Wall Street‘s closing credits song ‘This Must Be The Place (Naive Melody)’ by Byrne’s band Talking Heads. Nostalgia also delivers an unexpected and great cameo, although on reflection it seems to reverse the message of Wall Street.

Jacob is our new Bud Fox. He receives an unexpected bonus-cheque from his mentor, Frank Langella in a wonderfully desperate performance, but fails to see the writing on the wall – Langella knows that his venerable investment bank is about to go under as a result of exposure to risky financial instruments that he didn’t really understand. This Lehman Brothers style collapse is connived at by his banking nemesis Bretton James, a wonderfully callous Josh Brolin, and leaves Jacob out for revenge. He is aided in his quest to hold Bretton accountable for the damage caused by his financial manoeuvrings by his prospective father-in-law Gekko. Gekko has returned to the limelight with his book ‘Is Greed Good?’ and has a history with Bretton. He would only have got a year for the insider trading Bud Fox implicated him in but Bretton sold him out on securities fraud and so he got sent down for eight years. This strand of the story is the film’s strong point with Gekko as prophet of doom, delivering a barnstorming lecture dissecting the credit crunch before it happens that is a devastating critique of modern high finance.

The emotional arc of Jacob becoming corrupted as he starts to work for Bretton even as he tries to get his fiancé Winnie Gekko (Carey Mulligan) to reconcile with her father, who she maintains cannot be trusted, is weaker. This is not the fault of Mulligan, who has one crackling scene of recriminations with Douglas over the death of her brother, but the over-extended screenplay. Wall Street: Money Never Sleeps is far too long and too cluttered compared to the straightforward morality play of the original. Stone maintains the importance of working at a real job producing tangible results, espoused by Martin Sheen in the original and here applied to Susan Sarandon as Jacob’s deluded mother – stung by the implosion of a real-estate bubble in Florida. Things all work out a bit too neatly here, but if a real job is defined by producing tangible results then Stone has produced an interesting companion piece that is well worth seeing.

3/5

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