“24” and the Breaking Point

 

After watching the April 12, 2010 episode of ”24”, it occurred to me that I had put up a lot with this series during most of its eight seasons run. Perhaps a bit too much – especially since Season Three.  But the above-mentioned episode proved to be the final straw for me. 

 

“24” AND THE BREAKING POINT

It seems a miracle to me that I managed to remain a steady viewer of FOX-TV’s ”24”. Despite being a pretty good series, it has presented its viewers with some mind boggling plotlines. Mind you, some of the series’ plotlines from Seasons One and Two left me scratching my head. Kim Bauer’s (Elisha Cuthbert) Season Two adventures that included encounters with a murderous employer, the law and a slightly demented survivalist portrayed by Kevin Dillon come to mind. And the circumstances that led to Nina Myers’ (Sarah Clarke) revelation as a mole inside CTU left me wondering if she had any senses. The fact that Season One featured two intelligence moles who had no idea that the other was a mole seemed to be skimming on thin ice to me. As did the subplot involving Presidential candidate David Palmer (Dennis Haysbert) and his family.

Then came Season Three. Personally, I thought it was a pretty good season. Jack Bauer (Kiefer Sutherland) and CTU found themselves battling a former MI6 agent named Stephen Saunders (Paul Blackthorne), who wanted revenge for being abandoned during a disastrous operation against the Season One main villain, Victor Drazen (Dennis Hopper) by unleashing a deadly virus upon Los Angeles. This season also featured a con job perpetrated by Jack, Tony Almeida (Carlos Bernard) and a CTU employee named Gael Ortega (Jesse Borrego); the return of Nina Myers; the introduction of Chase Edmunds (James Badge Dale) as the first (and my personal favorite) of several younger partners for Jack; a virus outbreak in Los Angeles and an exciting showdown in which Jack and Chase attempt to prevent one of Saunders’ men from carrying out his threat.

Unfortunately, Season Three seemed to have kick started many major mistakes created by the series’ writers over the next six years. I tried to deal with the introduction of the Chloe O’Brian character (Mary Lynn Rajskub). But I failed. After another five seasons, I still dislike her. From Season Three to the present, serious mistakes piled on one after the other – Jack’s murder of Nina Myers; the subplot involving Wayne Palmer’s (D.B. Woodside) involvement with a billionaire’s wife and Sherry Palmer (Penny Johnson); Tony’s arrest for the so-called “treason” charge for exchanging Jack’s kidnapped victim for his kidnapped wife – CTU’s own Michelle Dressler (Reiko Aylesworth); the loss of Chase’s hand and his departure from the series (I rather liked him . . . a lot). In Season Four, I had to deal with Jack’s dull ass romance with the senator’s daughter Audrey Raines (Kim Ravner), that stupid plot to infiltrate the Chinese consulate and extract a terrorist, which ended in the death of the Chinese consul, the return of that traitorous ass, Mike Novik (Jude Ciccolella); and a disjointed and badly written season. Season Five brought about a series of deaths that I still believe was heavy-handed – former President Palmer, Michelle Dressler and the near death of Tony Almeida. Many fans have claimed that Season Five – which centered around President Charles Logan’s attempt to sign some treaty with the Russians – was the best. I would have been more tolerant of it, if it were not for the series of murders that occurred in the season’s first episode, Kim’s reaction to Jack’s fake death, and a major plot that really did not require a 24-hour setting. Season Six – with a badly written storyline about suicide bombers and Jack’s family (James Cromwell and Paul McCrane) – was the worst. Wayne Palmer became the new president, but he ended up in a coma from a bombing before mid-season. Chloe’s husband – the equally annoying Morris O’Brian (Carlos Rota) – played a major role in this season . . . unfortunately. I found Season Seven tolerable, especially since it introduced FBI Agent Renee Walker (Annie Wersching) and brought back Tony Almeida. However, Season Eight proved to be another matter.

Mind you, I did not hate Season Eight, like I did Seasons Four and Six. But . . . its plot about a group of Middle Eastern terrorists trying to prevent the president of their country from signing a peace treaty with the United States proved to be . . . old hat. Many fans could see that this series seemed a little tired and filled with some plot holes. The worst and dumbest subplot in the series’ history centered on CTU Agent Dana Walsh’s (Katee Sackhoff) problems involving her criminal ex-boyfriend and some of the dumbest plot lines in television history. But last week’s episode – (8.17) “Day 8: 8:00 a.m. – 9:00 a.m.” – proved to be the last, fucking straw for me. Two things happened. Renee Walker – whom Jack had fallen in love with – ended up murdered by a Russian assassin. And Tim Woods (Frank John Hughes), Director of Homeland Security, fired CTU New York director Brian Hastings (Mykelti Williamson).

It was bad enough that producers Joel Surnow and Robert Cochran, along with screenwriter David Fury had killed off Renee. One, she turned out to be one of my favorite characters from the series. And she also seemed to be the only female capable of dealing with the real Jack Bauer – warts and all. Two, Renee’s murder has jumpstarted an old and tired subplot – namely Jack’s desire to go after the person or persons responsible for the death of a loved one. We saw this in his murder of Nina Myers in Season Three. We also saw this in Season Five, when he murdered the man who had assassinated David Palmer. Some fans see this as a return of the old Jack Bauer. For years, I had disliked Jack for his murderous inclinations, his hypocrisy and the fans’ hypocritical view of his crimes. For the first time in years, I managed to enjoy Jack as a character. With Renee’s murder, it looks as if that enjoyment has come to an end. I do not see any possible hope of an emotional recovery for Jack after this. And honestly . . . if Surnow and Cochran wanted to kill someone off, they could have waited to bump off Jack either in the last episode or in the damn movie. But no . . . they drummed up some contrived plot line to kill off Renee in order to bring back Killer Jack.

But the worst thing I ever saw during Season Eight and during the series’ entire run the demotion of Brian Hastings by Homeland Security Director Tim Woods as director of CTU New York and being replaced by that whining bitch, Chloe O’Brian. I had stated earlier, I do not like Chloe. I never have. I have always found her whining and personality disorders a pain in my ass. But this latest plot development regarding her promotion as CTU New York’s new director was truly the most utterly stupid thing I have ever seen on ”24”. On television period. First of all, Chloe was a computer analyst for CTU. A computer geek. Chloe has had at least one or two hours of experience in the field. And yet, that idiot Woods had decided she would be a better person to run CTU New York than Hastings. Why? Because Hastings had failed to sniff out Dana Walsh as a mole. No intelligence official in his or her right mind who allow a computer analyst to assume command of an intelligence field office. It is an utter act of idiocy. And yet, Surnow and Cochran allowed this to happen. And instead of realizing the stupidity of such a plot twist, many fans have been cheering Chloe’s promotion. Why? Because Hastings had failed to do two things – immediately follow Jack’s lead and sniff out Dana Walsh as a mole. Damn hypocrites!

Why do I call the fans, David Fury and the producers hypocrites over this situation with Chloe, Hastings and Dana? Hastings was not that popular with fans. Chloe is very popular fans. And the fans were impatient with Hastings’ failure to spot Dana as a mole. Well if that is the case, then allow me bring up another name. Nina . . . Myers. Have fans and television critics actually forgotten that for several years, Nina was Jack’s second-in-command at CTU Los Angeles? In fact, they even had an affair. Jack eventually learned that she was a mole out of sheer . . . dumb . . . luck.  Nina was ordered to tell a lie about Kim in order to lure Jack into the clutches of Victor Drazen. No one has ever complained about Jack’s inability to sniff out Nina as a mole, until it was almost too late. Hell, in Season Seven, Jack never knew that a vengeful Tony Almeida was playing a double game against him, the FBI and the Allison Taylor Administration until it was almost too late. Yet, Brian Hastings is criticized for failing to sniff out a mole. This is an example of the fans’ hypocrisy at its worst. And all of this happened six or seven episodes before the end of the series.

I did not bother to watch tonight’s episode of ”24”. After the debacle of last week’s episode, I decided that I finally had enough. In fact, I will NOT be looking forward to any ”24” movie in the future. Thank you, Joel Surnow, Robert Cochran and David Fury for allowing any leftover enjoyment I might have of “24” to hit rock bottom. This is how I will always remember the series – with two of the dumbest plot developments I have ever seen.

“THE BLACK DAHLIA” (2006) Review

”THE BLACK DAHLIA” (2006) Review

Judging from the reactions among moviegoers, it seemed quite obvious that director Brian DePalma’s adaptation of James Ellroy’s 1987 novel had disappointed them. The ironic thing is that I do not share their feelings.

A good number of people – including a relative of mine – have told me that they had expected ”THE BLACK DAHLIA” to be a docudrama of the infamous 1947 murder case. Others had expected the movie to be an epic-style crime drama similar to the 1997 Academy Award winning film, ”L.A. CONFIDENTIAL” – another Ellroy adaptation. ”THE BLACK DAHLIA” proved to be neither for many fans. For me, it turned out to be an entertaining and solid film noir that I enjoyed.

Told from the point-of-view of Los Angeles Police detective Dwight “Bucky” Bleichert (Josh Harnett), ”THE BLACK DAHLIA” told the story of how the January 1947 murder of Hollywood star wannabe, Elizabeth Short aka “The Black Dahlia” (Mia Kershner) affected Bleichert’s life and the lives of others close to him – especially his partner, Lee Blanchard (Aaron Eckhart). The story began over three years before Short’s murder when Bleichert saved Blanchard’s life during the Zoot Riots in 1943. After World War II, the pair (who also happened to be celebrated local boxers) participated in an inter-departmental boxing match to help raise support for a political bond issue that will increase pay for the LAPD, but with a slight tax increase. Although Bleichert lost the match, both he and Blanchard are rewarded by Assistant District Attorney Ellis Loew (Patrick Fischler) with promotions and transfers to the Warrants Department and the pair became partners. Bleichert not only became partners and friends with Blanchard, he also became acquainted with Blanchard’s live-in girlfriend, a former prostitute and artist named Kay Lake (Scarlett Johansson). Although Bleichert fell in love with Kay, he kept his feelings to himself, due to his relationship with Blanchard. Thanks to Blanchard’s penchant for publicity, the two partners eventually participated in the murder investigation of Elizabeth Short (nicknamed the Black Dahlia). The case not only led the pair to a rich young playgirl named Madeleine Linscott (Hillary Swank) and her family, but also into a world of prostitution, pornography, lesbian nightclubs and the dark underbelly of Hollywood life.

Written by James Ellroy and originally published in 1987, ”The Black Dahlia” became the first of four novels about the Los Angeles Police Department in the post-World War II era (”L.A. Confidential” was the third in the quartet). In my opinion, it was the best in Ellroy’s L.A. Quartet. I believe that it translated quite well to the movie screen, thanks to DePalma’s direction and Josh Friedman’s screenplay. Like the movie ”L.A. CONFIDENTIAL””THE BLACK DAHLIA” turned out to be superior to its literary version. Not only did DePalma and Friedman’s screenplay recapture the ambiance of the novel’s characters and 1940s Los Angeles setting, the plot turned out to be an improvement over the novel. Especially over the latter’s chaotic finale. Despite the improvement, ”THE BLACK DAHLIA” never achieved the epic style and quality of ”L.A. CONFIDENTIAL”. If I must be frank, I really do not care. Movies like the 1997 Oscar winner are rare occurrences of near perfect quality. Just because”THE BLACK DAHLIA” was another film adaptation of an Ellroy novel, did not mean that I had expected it to become another ”L.A. CONFIDENTIAL”.

Mark Isham’s score for the film did not turn out to be that memorable to me. All I can say is that I am grateful that he did not attempt a remake of Jerry Goldsmith’s scores for ”L.A. CONFIDENTIAL” and ”CHINATOWN”. On the other hand, I was very impressed with Vilmos Zsigmond’s photography for the film. One sequence stood out for me – namely the overhead shot that featured the discovery of Elizabeth Short’s dead body in the Leimert Park neighborhood in Los Angeles. Ironically, part of the movie was shot in Sofia, Bulgaria substituting as 1946-47 Los Angeles. Production Designer Dante Ferretti and Art Director Christopher Tandon did a solid job in disguising Sofia as Los Angeles. But there were a few times when the City of Angels seemed like it was located on the East Coast. And I could spot a few palm trees that definitely looked false. However, I really loved the set designs for Kay’s home and the lesbian nightclub where Bleichert first met Madeline. I loved Jenny Beavan’s costume designs for the film. She did an excellent job of recapturing the clothing styles of the mid-to-late 1940s and designing clothes for particular characters.

One of the movie’s best strengths turned out to be its very interesting characters and the cast of actors that portrayed them. Characters that included the ambitious and sometimes malevolent ADA Ellis Loew, portrayed with great intensity by Patrick Fischler; Rose McGowan’s bitchy and shallow Hollywood landlady/movie extra; Elizabeth Short’s frank and crude father Cleo Short (Kevin Dunn); Mike Starr’s solid portrayal of Bleichert and Blanchard’s immediate supervisor Russ Millard; and Lorna Mertz, the young Hollywood prostitute portrayed memorably by Jemima Rooper. John Kavanagh and Fiona Shaw portrayed Madeline Linscott’s parents – a Scottish-born real estate magnate and his alcoholic California society wife. Kavanagh was charming and fun in a slightly corrupt manner, but Shaw hammed it up in grand style as the alcoholic Ramona Linscott. I doubt that a lesser actress could have pulled off such a performance.

Not only were the supporting characters memorable, so were the leading characters, thanks to the performances of the actors and actresses that portrayed them. I was very impressed by Mia Kershner’s portrayal of the doomed Elizabeth Short. She managed to skillfully conveyed Short’s desperation and eagerness to become a Hollywood movie star in flashbacks shown in the form of black-and-white audition clips and a pornographic film clip. At first, I found Scarlett Johansson as slightly too young for the role of Kay Lake, the former prostitute and artist that both Bleichert and Blanchard loved. She seemed a bit out of her depth, especially when she used a cigarette holder to convey her character’s sophistication. Fortunately, Johansson had ditched the cigarette holder and Kay’s so-called sophistication and portrayed the character as a warm and pragmatic woman, who turned out to be more emotionally mature than the other characters. I found Aaron Eckhart’s performance as the passionate, yet calculating Lee Blanchard great fun to watch. He seemed funny, sharp, verbose, passionate and rather manic all at once. There were times when his character’s growing obsession toward the Black Dahlia case seemed to border on histrionics. But in the end, Eckhart managed to keep it all together. Another performance I truly enjoyed was Hillary Swank’s portrayal of the sensual, rich playgirl Madeline Linscott. Just by watching Swank on screen, I got the impression that the actress had enjoyed herself playing Madeline. I know I had a ball watching her reveal the charming, yet dark facets of this interesting character.

Ellroy’s novel had been written in the first person – from the viewpoint of LAPD detective, Dwight “Bucky” Bleichert. Which meant that the entire movie had to focus around the actor who portrayed Bleichert. I once heard a rumor that Josh Harnett became interested in the role before casting for the movie actually began. In the end, many critics had either dismissed Hartnett’s performance or judged him incapable of portraying a complex character. Personally, I found their opinions hard – even impossible – to accept. For me, Harnett did not merely give a first-rate performance. He ”was” Dwight “Bucky” Bleichert. One must understand that Bleichert was a difficult role for any actor – especially a non-showy role that also had to keep the story together. Throughout the movie, Harnett, DePalma’s direction and Friedman’s script managed to convey the many complexities of Bleichert’s personality without being overtly dramatic about it. After all, Dwight was basically a quiet and subtle character. Harnett portrayed the character’s growing obsession with both the Black Dahlia case and Madeline Linscott without the manic and abrupt manner that seemed to mark Blanchard’s obsession. You know what? I really wish I could say more about Harnett’s performance. But what else can I say? He perfectly hit every nuance of Bleichert’s personality. I personally believe that Dwight Bleichert might be his best role to date.

I wish I could explain or even understand why ”THE BLACK DAHLIA” had flopped at the box office. Some have complained that the film had failed to match the epic qualities of ”L.A. CONFIDENTIAL”. Others have complained that it failed as a docudrama that would solve the true life murder of Elizabeth Short. And there have been complaints that Brian DePalma’s editing of a film that was originally three hours ruined it. I had never expected the movie to become another ”L.A. CONFIDENTIAL” (which did a mediocre job at the box office) – a rare case of near Hollywood perfection. I really do not see how a three hour running time would have helped”THE BLACK DAHLIA”. It was a complex story, but not as much as the 1997 film. Hell, the novel was more straightforward than the literary L.A. Confidential”. And since the Hollywood publicity machine had made it clear that the movie was a direct adaptation of the novel, I found the argument that ”THE BLACK DAHLIA” should have been a docudrama that would solve Short’s murder rather ludicrous. Since I had read the novel back in the late 90s, I simply found myself wondering how DePalma would translate it to the movie screen.

In the end, I found myself more than satisfied with ”THE BLACK DAHLIA”. It possessed a first-rate cast led by a superb performance from Josh Harnett. Screenwriter Josh Friedman’s screenplay turned out to be a solid job that slightly improved Ellroy’s novel – especially the finale. And director Brian DePalma did an excellent job of putting it all together. I highly recommend it – if one does not harbor any high expectations.