“CHARMED” – Things That Make Me Go . . . Hmmm?

The following is a list of questions regarding storylines that have been featured in past episodes of “CHARMED”. If you have an answer to any of my questions, please feel free to reply.

“CHARMED” – Things That Make Me Go . . . Hmmm?

1. In Season 7’s “A Call to Arms”, how did Inspector Sheridan and nearly everyone else know about Chris’ death in the Season 6 finale, “It’s a Bad, Bad, Bad, Bad World II”, when just about everyone – except for Leo and the Halliwells – had lost their memories of that alternate dimension, following Gideon’s death?

 
2. Why did Vinceres tell Prue that her powers were no good, when she was using martial arts and not magic, against him in Season 3’s “Primrose Path”?

 
3. Why did Cole in S7’s “The Seven Year Witch” confess to deliberately impregnating Phoebe in late Season 4, when he was actually possessed by the Source at that time?

 

 

4. Why did warlocks in Season 1 morph into vampiric game faces? Are they not suppose to be witches (who are mortals) that had simply gone bad?

 
5. Speaking of warlocks, why were they portrayed as immortals? Was Constance Burge, Brad Kern and their writers trying to hint that when witches become warlocks, they become immortals?

 
6. Why do the Charmed Ones keep referring to their witch ancestors as the “Halliwell women” or the “Halliwell line” in their conversations and spells? According to family tree depicted in Season 2’s “Pardon My Past”, their mother, Patty, was the first in their family to be born as a Halliwell.

 

 

7. And why did Grams remind Prue and Piper in S3’s “Just Harried” that the women in their family kept their maiden names after marriage? She used the name of Halliwell, which belonged to her first husband. And her maiden name was Johnson.

 
8. And what was the first name of the Charmed One’s maternal grandfather – Jack (S2’s “Pardon My Past”) or Allen (S6’s“Witchstock”)?

 
9. Why did Leo claim in S3’s “Exit Strategy” that he was born in 1924? Does this mean that he was attending medical school at the age of 17, when Japan bombed Pearl Harbor in December 1941?

 

 

10. Why would the BAY-MIRROR’s editor-in-chief, Elise Rothman, leave Phoebe, an advice columnist, in charge of the newspaper for a whole day in order to teach the witch a lesson in S7’s “Scry Hard”? Was she crazy?

 
11. Why did Leo tell Victor that the sisters were NOT mortals, when nearly every demon on the show has referred to them and other witches as mortals?

 
12. Both Cole and Vinceres had discussed that mortals (witches included) who were not natural empaths, could not handle an overload of emotions in “Primrose Path”. Yet, Prue had claimed demons could not handle such a large amount of emotions, despite the fact that Vinceres had carried Father Thomas’ empathy power for at least two years. Did the writer(s) of “Primrose Path” create a contradiction?

 

 

13. Why was the Source so contemptuous of Phoebe’s psychic abilities in Season 4’s “Charmed and Dangerous”, when he had relied so heavily upon seers like the Oracle and the Seer?

 
14. Why did Darryl take orders from Inspector Sheridan, when as a police lieutenant, he ranked higher?

 
15. How did Cole get his job back at Jackman, Carter and Kline at the beginning of Season 5?

 
16. Why are other witches on the show portrayed as helpless or semi-helpless?

 

 

17. Why did Leo assumed that Cole was automatically “good”, when the latter had lost his powers in S4’s “Black As Cole” and S7’s“Sympathy For the Demon”? Had he forgotten the evil humans that the sisters had confronted in the past?

 
18. Why did Phoebe assume that she would die on the same date that her past self had died, back in 1924 in “Pardon My Past”? She made this assumption before acquiring any real proof.

 
19. And why did Phoebe say in the above episode that she was the same age in February 2000, as her past self – P. Russell – was in February 1924? Phoebe was 24 years and 3 months old at the time. Her past self was 29½ years old at the time of her death.

 
20. Why did the Charmed Ones and Leo had automatically assumed that using the Hollow made Cole the Source? He had the old Source’s powers when the sisters killed the latter. And possessing Piper and Paige’s powers did not make the Source two-thirds of the Charmed Ones.

 

 

21. Why didn’t the Source simply kill the Charmed Ones after he had failed to turn Paige in “Charmed Again II”?

 
22. Why did Cole have such difficulty fighting the Halliwells in S3’s “Power Outage”, when had had managed to kill the more formidable Triad so easily?

 
23. Why are whitelighters (guardian angels) given authority over witches?

 

 

24. Why does the show feature witches engaged in demon hunting/slaying ONLY?

 
25. Once they had discovered that Cole was the Source in late S4, why didn’t the Charmed Ones bother to investigate on how he had become the Source in the first place?

 
26. How did Darryl explain Andy’s death inside the Halliwell manor in Season 1’s “Déjà vu All Over Again” to his supervisor?

 

 

27. Why didn’t Paige simply orb the gun out of Rick’s hand in S6’s “Hyde School Reunion”?

 
28. When Phoebe was taken over by the spirit (karma) of Mata Hari in S6’s “Used Karma”, why was she speaking with a French accent, when the former spy had been born in Java to Dutch parents?

 
29. Why did Phoebe become hostile toward Cole between the S4 finale, “Witch Way Is Now” and the S5 premiere, “A Witch’s Tail” after he had saved her life from the witch hunter, F.B.I. Agent Jackman?

 

 

30. Why would the supernatural world depend ONLY upon the Charmed Ones to fight demonic activity? What about other witches and demon hunters who were around long before the sisters had first retrieved their powers in the S1 premiere, “Something Wicca Comes This Way”?

 
31. Why is pyrokinesis (fire power) regarded by Leo and the Charmed Ones as evil in most of the episodes, and neutral in S4’s “Lost and Bound”?

 
32. Why did Cole have to become increasingly demonic in order to kill another half-demon in S4’s “Black As Cole”, when he did not have to do so in order to form an energy ball strong enough to kill the Source in “Brain Drain”?

 
33. Why would the Vampire Queen’s death enable Paige to avoid remaining a vampire in S4’s “Bite Me”? This does not make sense. Surely she should have remained a vampire, once she had been bitten.

 

 

34. How can the Charmed Ones travel to or exist in the past and their powers cannot, especially since their powers are supposed to be a part of themselves?

 
35. How can the Charmed Ones be witches, when they have never taken oaths or taken part in an initiation ceremony to become one?
36. According to the show, a witch becomes a warlock in the first place when he/she breaks his/her oath as a witch. So, why are warlocks described as immortals on the show?

 
37. Why does the Halliwell Museum of Witchcraft in “Chris-Crossed” featured the outfit Phoebe wore as a mermaid and the outfits the sisters wore in “Witches in Tights” (shudder!) on display? All outfits should have no longer existed, since Phoebe reverted back to being a human and the superheroine outfits were figments of that kid’s imagination.

 

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“ROAD TO PERDITION” (2002) Review

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“ROAD TO PERDITION” (2002) Review

Back in 1998, DC Comics published a graphic novel about a Depression-era criminal enforcer who is betrayed by his employers and forced to hit the roads of the American Midwest with his young son on a quest for revenge. Written by Max Allan Collins, the novel caught the attention of producers Richard and Dean Zanuck and was adapted into film directed by Sam Mendes.

“ROAD TO PERDITION” began during the late winter of 1931, in Rock Island, Illinois. Michael Sullivan serves as an enforcer for Irish mob boss, John Rooney, who seemed to regard him a lot higher than the latter’s unstable son, Connor Rooney. Sullivan is also a happily married man with two sons – Michael Jr. and Peter. However, his relationship with Michael is forced, due to Sullivan’s fear that his older son might turn out to be like him. The Sullivan family attends the wake for one Danny McGovern, a local associate who does bootlegging business with Sullivan family. During the wake, the Rooneys and Sullivan become wary of Finn McGovern, who has expressed suspicions about his younger brother’s death. Connor and Sullivan are ordered by Rooney to talk to Finn.

Connor argues with Finn over the latter’s suspicions about his brother’s death, before killing the latter. Sullivan is forced to gun down McGovern’s men. And this is all witnessed by Michael, who had hidden in his father’s car out of curiosity. Despite Sullivan swearing his son to secrecy and Rooney pressuring Connor to apologize for the reckless action, Connor murders Sullivan’s wife Annie and younger son Peter, mistaking the latter for Michael. He also tries to set up a hit on Sullivan at a speakeasy. But the enforcer manages to kill his would-be murderer first. Sullivan escapes to Chicago with Michael in order to seek employment from Al Capone’s right-hand man Frank Nitti and discover the location of the now hidden Connor. However, Nitti rejects Sullivan’s proposal and informs Rooney of the meeting. The Irish-born mobster reluctantly allows Nitti to recruit assassin Harlen Maguire, who is also a crime scene photographer, to kill Sullivan.

I might as well be frank. The only reason that drew my attention to “ROAD TO PERDITION” was the movie’s Depression-era setting. I have always been fascinated by the 1930s decade, despite Hollywood’s inconsistent portrayal of it in the past 50 to 60 years. The fact that Tom Hanks, Paul Newman and Jude Law were among the stars in the cast helped maintain my interest until the movie’s release date. However, I still harbor doubts that I would truly enjoy a story about a father and son on the road in early 1930s Midwest or that it would draw any high regard on my part. Thankfully, the movie proved me wrong. Not only did “ROAD TO PERDITION” proved to be both an entertaining character study of various father-and-son relationships, but also a fascinating road trip and crime drama. I once came upon Max Allan Collins’ graphic novel at a bookstore not long after the movie’s initial release. I could not remember exactly what I had read, but I do recall realizing that the movie’s screenwriter, David Self, took a good deal of liberties with Collins’ plot . . . and that he was wise to do so. Enjoyable as the graphic novel was, I could also see that it was not possible to do a complete faithful adaptation of it.

Despite being a combination of a crime drama, a revenge tale and a road trip; the main theme that seemed to permeated “ROAD TO PERDITION” was the relationships between father and son. There is one line in the film uttered by Paul Newman’s John Rooney that pretty much summed up the film:

“Natural law. Sons are put on this earth to trouble their fathers.”

This certainly seemed to be the case in the relationship between Sullivan and Michael Jr. at the beginning of the film. Sullivan fears that Michael might follow his footsteps into crime, because they share personality traits. Unfortunately, he solves this problem by maintaining an emotional distance from his older son. John Rooney’s relationship with his son Connor is hampered by his lack of respect for the latter, his closer relationship with Sullivan, and Connor’s insecurities. Only Sullivan and Rooney seemed to have a close and easy-going father/son relationship at the beginning of the film, despite a lack of blood connection. And yet, that close relationship ended up being easily shattered thanks to Connor’s act of murder and the determination of both men to protect their own sons. Other gangster films have portrayed the impact of crime on families . . . but not with such complexity.

I believe that “ROAD TO PERDITION” is probably the first motion picture on both sides of the Atlantic that perfectly re-captured the 1930s . . . especially the first half of the decade. One cannot bring up the movie without mentioning the late Conrad Hall, whose brilliant Oscar winning photography re-captured the bleak landscape of Depression-era Midwest. This was especially apparent in the following scenes:

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Richard L. Johnson’s Academy Award nominated art direction and Albert Wolsky’s costume designs also added to the movie’s setting. I especially have to compliment Wolsky for conveying how fashion was in the midst of transforming during that period from the shorter skirts of the 1920s to the longer ones of the 1930s. This was especially reflected in the conservative costumes worn by Jennifer Jason Leigh and other actresses in the movie. Usually I am not in the habit of noticing the sound in any film. But I must admit that I noticed how sound was effectively used in this film, especially in one scene in the second half that featured some brutal murders committed by a Thompson sub-machine gun. Not surprisingly, Scott Millan, Bob Beemer and John Pritchett all received Oscar nominations for Best Sound and Best Sound Editing.

There were aspects of “ROAD TO PERDITION” that I found unappealing or puzzling. The movie is more or less a well paced movie. But there is a period in the film – following Sullivan’s failed attempt to acquire employment with the Capone organization – that it nearly dragged to a halt. Director Sam Mendes seemed so enamored of Conrad Hall’s photography of the Illinois landscape during the Sullivans’ journey from Chicago that he seemed to have lost his hold of the pacing. Also, I found myself wondering what happened to Sullivan’s sister-in-law – the one who had offered them refuge at her lakeside home in Perdition. By the time the enforcer and his son arrived, her house had been abandoned. What happened to her and the house? The movie never explained.

The Zanucks, Sam Mendes and the movie’s casting director collected a group of exceptional performers for the cast. “ROAD TO PERDITION” featured solid performances from Ciarán Hinds as the grieving and later murdered Finn McGovern, Liam Aiken as Sullivan’s younger son Peter, and a very entertaining Dylan Baker as the Rooneys’ accountant, Alexander Rance. Both Doug Spinuzza and Kevin Chamberlin were entertaining and memorable as brothel keeper Tony Calvino and his hired bouncer Frank. Stanley Tucci gave a restrained and intelligent performance as Al Capone’s right-hand man, Frank Nitti. Despite portraying the only major female role in the film – namely Annie Sullivan – Jennifer Jason-Leigh let her presence be known as Sullivan’s warm and loving wife, who also happened to know the truth about his real profession.

I realize that many might find this hard to believe, but I first became aware of Daniel Craig, thanks to his very interesting portrayal of Connor Rooney. Someone once complained that Connor never developed as a character. Well, of course not. Any man who would recruit a hophead pimp to kill a very competent hit man like Michael Sullivan Sr. must be a loser. And Craig did a superb job in conveying the character’s insecurities. Jude Law was deliciously creepy as Capone hit man Harlan Maguire, who was not only a very competent killer, but who also seemed to harbor a fetish for photographing dead bodies. Law also had a very good grasp of American dialogue from the 1930s. I was happy to learn that Tyler Hoechlin was still acting. A talent like his should never go to waste. And I must admit that not only he was superb as Michael Sullivan, Jr., he also did a great job in conveying young Michael’s emotional journey throughout the film.

Paul Newman earned an Oscar nomination for his portrayal of the aging Irish gangster, John Rooney. It is a pity that he lost the award, because he was superb as the charming and intelligent Rooney. Newman was also very effective in conveying Rooney’s more intimidating aspects of his character. Although Rooney was not his very last role, it was among his last . . . and probably one of his best. Tom Hanks did not receive any acting nominations for his performance as enforcer Michael Sullivan Sr. Not only am I puzzled, but very disappointed. As far as I am concerned, Sullivan was one of the better roles of his career. He gave a superb performance as the tight-jawed and no-nonsense family man, who also happened to be a first-rate hit man. What I found so amazing about Hanks’ performance is the manner in which he balanced Sullivan’s no-nonsense family man persona and the ruthlessness that made the character such a successful criminal.

If I had to select my favorite Sam Mendes film, it would have to be “ROAD TO PERDITION”. I have never seen “AMERICAN BEAUTY”. And I do not exactly consider his other films better. Yes, the movie has its flaws, including a pacing that nearly dragged to a halt midway. But its virtues – superb direction by Mendes, an excellent cast led by Tom Hanks, and a rich atmosphere that beautifully re-captured the American Midwest during the early years of the Great Depression – made “ROAD TO PERDITION” a personal favorite of mine.