“MERCY STREET” Season One (2016) Episode Ranking

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Below is my ranking of the Season One episodes of the PBS Civil War medical series called “MERCY STREET”. Created by Lisa Wolfinger and David Zabel, the series stars Mary Elizabeth Winstead, Hannah James and Josh Radnor:

“MERCY STREET” SEASON ONE (2016) EPISODE RANKING

1 - 1.04 The Belle Alliance

1. (1.04) “The Belle Alliance” – Emma and Alice Green, along with Confederate spy Frank Stringfellow plot a daring plan to help prisoner-of-war Tom Fairfax escape during an Union ball held at the Greens’ house . . . with tragic results. Meanwhile, Union nurse Mary Phinney and Dr. Jedediah Foster (still recovering from his drug detox), guide freedman Samuel Diggs through a delicate operation on the pregnant former slave Aurelia Johnson.

2 - 1.03 The Uniform

2. (1.03) “The Uniform” – Maryland-born Dr. Foster confronts his family’s divided loyalties when his mother and wounded Confederate brother arrive. Alice is shocked to find fiancé, Tom Fairfax, deeply changed by the war. Samuel and Aurelia try to persuade a slave boy owned by Mrs. Foster to seize a chance at freedom.

3 - 1.01 The New Nurse

3. (1.01) “The New Nurse” – The series premiere featured the recently widowed Mary’s arrival in Union occupied Alexandria, Virginia to assume the position of head nurse at a Union military hospital that used to be a local hotel owned by the Southern Green family.

4 - 1.05 The Dead Room

4. (1.05) “The Dead Room” – The unexpected visit of an inspector throws the hospital’s staff into disarray. Mary feels empathy for an army deserter, while Samuel is hunted by a trio of Delaware-born soldiers who believe he had stolen their wounded brother’s provisions. Tom’s tragic death forces James Green Sr. to take a risky step to help the soldier’s family and earn the Green family’s respect.

5 - 1.06 The Diabolical Plot

5. (1.06) “The Diabolical Plot” – Frank Stringfellow sets in motion an assassination plot, when he learns that President Abraham Lincoln and First Lady Mary Lincoln plan to visit the Mercy Street hospital. A recovering Aurelia decides to leave Alexandria in order to find her brother and Dr. Foster uncovers a scheme to undermine him at the expense of his patients.

6 - 1.02 The Haversack

6. (1.02) “The Haversack” – Emma nurses Tom, her sister’s fiancé. Dr. Foster wrestles with his marriage and career. Mary strives to improve the lives of her patients with help from Samuel. And Aurelia finds herself swept into a corrupt and sordid deal with the hospital’s slimy quartermaster, Silas Bullen.

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The 19th Century in Television

Recently, I noticed there have been a good number of television productions in both North America and Great Britain, set during the 19th century. Below is a list of those productions I have seen during this past decade in alphabetical order:

THE 19TH CENTURY IN TELEVISION

1. “Copper” (BBC America) – Tom Fontana and Will Rokos created this series about an Irish immigrant policeman who patrols Manhattan’s Five Points neighborhood during the last year of the U.S. Civil War. Tom Weston-Jones, Kyle Schmid and Ato Essandoh starred in this 2012-2013 series.

2. “The Crimson Petal and the White” (BBC) – Romola Garai starred in this 2011 miniseries, which was an adaptation of Michel Faber’s 2002 novel about a Victorian prostitute, who becomes the mistress of a powerful businessman.

3. “Death Comes to Pemberley” (BBC) – Matthew Rhys and Anna Maxwell-Martin starred in this adaptation of P.D. James’ 2011 novel, which is a murder mystery and continuation of Jane Austen’s 1813 novel, “Pride and Prejudice”.

4. “Hell on Wheels” (AMC) – This 2012-2016 series is about a former Confederate Army officer who becomes involved with the construction of the First Transcontinental Railroad during the years after the Civil War. Anson Mount, Colm Meaney, Common, and Dominique McElligott starred.

5. “Mercy Street” (PBS) – This series follows two volunteer nurses from opposing sides who work at the Mansion House Hospital in Alexandria, Virginia during the Civil War. Mary Elizabeth Winstead, Josh Radnor and Hannah James.

6. “The Paradise” (BBC-PBS) – This 2012-2013 series is an adaptation of Émile Zola’s 1883 novel, “Au Bonheur des Dames”, about the innovative creation of the department story – only with the story relocated to North East England. The series starred Joanna Vanderham and Peter Wight.

7. “Penny Dreadful” (Showtime/Sky) – Eva Green, Timothy Dalton and Josh Harnett star in this horror-drama series about a group of people who battle the forces of supernatural evil in Victorian England.

8. “Ripper Street” (BBC) – Matthew Macfadyen stars in this crime drama about a team of police officers that patrol London’s Whitechapel neighborhood in the aftermath of Jack the Ripper’s serial murders.

9. “Underground” (WGN) – Misha Green and Joe Pokaski created this series about runaway slaves who endure a long journey from Georgia to the Northern states in a bid for freedom in the late Antebellum period. Jurnee Smollett-Bell and Aldis Hodge star.

10. “War and Peace” (BBC) – Andrew Davies adapted this six-part miniseries, which is an adaptation of Leo Tolstoy’s 1865–1867 novel about the impact of the Napoleonic Era during Tsarist Russia. Paul Dano, Lily James and James Norton starred.

“PUBLIC ENEMIES” (2009) Review

This month marks the 77th anniversary of when Depression-era bank robber, John Dillinger, was killed by the FBI in Chicago, Illinois. Below is my review of “PUBLIC ENEMIES”, the 2009 movie on the last year of Dillinger’s life: 

 

“PUBLIC ENEMIES” (2009) Review

I must admit that when I first heard about Michael Mann’s plans to film a movie about Depression-era bank robber, John Dillinger, I became excited. It was not the subject that roused my interest. But I found the idea of Mann shooting a movie set during the height of the Great Depression – 1933 to 1934 – rather interesting. It has become a period in U.S. history that has caught my interest in the past five years. And the fact that Johnny Depp and Christian Bale had been cast in the leads as Dillinger and his nemesis, FBI Agent Melvin Purvis, merely increased my interest.

At first, I had assumed that I would love ”PUBLIC ENEMIES”. I assumed that Mann could do no wrong. Then to my surprise, I discovered that the film had received mixed reviews from film critics. From that moment on, I began to harbor doubts about the film’s quality. I never learn. Never. I had forgotten my most important rule about approaching a movie – the only opinion that should count for me is my own. And when I finally saw”PUBLIC ENEMIES”, I realized that I had to learn that particular lesson all over again.

I want to point out that ”PUBLIC ENEMIES” is not perfect. This does not bother me one bit. Perfect movies are extremely rare. And I suspect . . . not know, but suspect I may have seen one or two in my lifetime. However,”PUBLIC ENEMIES” is not one of those rare examples of cinematic perfection. First of all, the movie – especially its first hour – seemed to be marred by an uncomfortable number of close-ups by cinematographer Dante Spinotti. This discomfort was especially apparent in action scenes like the prison escape from the Indiana State Prison featured in the film’s opening scene , “Pretty Boy” Floyd’s death at the hands of FBI Agent Melvin Purvis, and John Dillinger’s first bank robbery featured in the film. These close-ups brought back memories of the ones featured in Disney’s ”PIRATES OF THE CARIBBEAN: THE CURSE OF THE BLACK PEARL”.

But at the least the close-ups in the 2003 film were not further marred by quick editing done by Paul Rubell and Jeffrey Ford for this film. Watching their zip fast editing reminded me of those featured in movies like the last two”BOURNE” films, ”QUANTUM OF SOLACE”, both ”TRANSFORMERS” movies, ”THE TAKING OF PELHAM 1-2-3” and ”STAR TREK”. I suspect that this new editing style is fast becoming the new thing in the film industry. Personally, I hate it. I find it cheap and confusing.

I have one last complaint about the film and it has to do with David Wenham’s appearance in the film. The Australian actor portrayed Harry Pierpont, one of Dillinger’s closest friends and a mentor. Yet, he barely spoke a few words in the movie. In fact, he seemed more like a background character than a supporting one. Giovanni Ribisi had more lines in the film and his character, Alvin “Creepy” Karpis, had no real close ties with Dillinger. Why did Mann and the two other screenwriters, Ronan Bennett and Ann Biderman, bothered to include the Pierpont character in the first place? Instead of at least a minor exploration of the Dillinger-Pierpont relationship, the screenwriters reduced Pierpont – Dillinger’s mentor – to a minor character with a few lines.

Now that I have put all of that negativity behind me, it is time to discuss why I had enjoyed ”PUBLIC ENEMIES”so much. Perhaps I am being a bit too subtle. I did not merely enjoy ”PUBLIC ENEMIES”, I loved it. It has easily become my favorite movie this summer. So far. Fast editing and close-ups aside, I must admit that I admire how director Michael Mann handled the movie’s pacing. I was surprised to learn about the criticisms leveled at the movie’s running time (two hours and nineteen minutes) and especially its alleged running time. Personally, I was impressed by Mann’s steady pace. Expecting the movie to be over two hours long, I was surprised to discover that amount of time had passed when the end credits finally began to roll. Perhaps I had been so caught up in the story that I failed to notice the time. Which is a compliment to Mann’s direction . . . at least from me.

Many scenes directed by Man left me spellbound. They include Baby Face Nelson’s murder of a FBI Agent at a hotel ambush set up by Purvis; Dillinger’s press conference inside the warden’s office at the Crown Point Prison in Indiana; his escape from said prison; the FBI ‘s capture of Dillinger’s girlfriend, Billie Frichette; Frichette’s interrogation and beating at the hands of a FBI agent; and Purvis’ conversation with prostitute and brothel madam, Anna Sage.

But there were four scenes . . . actually, two scenes and two sequences that truly impressed me. The first one featured Purvis’ telephone conversation with his boss, FBI Director J. Edgar Hoover. In it, Purvis tries to convince the irate Hoover that many of their agents are not experienced enough to hunt down the likes of Dillinger and Nelson and that they need to recruit more experienced men . . . like Texas Rangers. Despite the fact that the two actors portraying Purvis and Hoover do not share the screen, the emotion between their characters crackled like flames, thanks to their performances and Mann’s direction. The other scene featured Dillinger’s arrival in Indiana by plane, after being arrested by Federal agents in Tucson, Arizona. Although brief, it struck a surreal note within me, thanks to Spinott’s photography. The cinematographer shot the entire scene with colors that projected a soft iron, mingled with a reddish-orange tint from the sun. Very beautiful.

Although I found the scenes mentioned above very memorable, I was rendered speechless by the following sequences. The first centered around the violent shootout at the Little Bohemia Lodge in Manitowish Waters, Wisconsin in April 1934. I am certain that many critics and moviegoers had ended up comparing this sequence with the famous Downtown Los Angeles shootout in Mann’s 1995 movie, ”HEAT”. Granted, the latter turned out longer and was filmed in the daytime, but this Little Bohemia shootout turned out to be just as effective and exciting, despite being filmed at night. But if there is one sequence that filled me with great satisfaction, it was the one that featured the last night of Dillinger’s life. Mann, along with Spinotti, production designer Nathan Crowley, Rosemary Brandenburg’s set designs, Patrick Lumb, William Ladd Skinner’s art direction, the screenwriters and the cast did a superb job in conveying the director’s own detailed account of that hot, July night in 1934. I, for one, was glad that Mann took his time in leading to that moment when Texas Ranger Charles Winstead shot Dillinger dead. The director gave movie audiences a glimpse of street life in Depression-era Chicago during the summertime. He also allowed the audience to experience Dillinger’s pleasure in viewing Clark Gable’s spunk and Myrna Loy’s beauty in the 1934 MGM movie, ”MANHATTAN MELODRAMA”. With the camera, the audience waited nervously along with Purvis, Winstead and the other lawmen who waited outside the Biograph Theater for Dillinger. This is one of the most detailed and marvelously shot sequences I have ever seen on film in the past decade or two.

Another aspect of ”PUBLIC ENEMIES” that struck me as unique was its style. Past movies about Depression-era criminals from the Midwest and the South like (1967) “BONNIE AND CLYDE”(1974) “MELVIN PURVIS, G-MAN”, and (1975) “THE KANSAS CITY MASSACRE” tend to have this rural or “good ‘ole boy” style, similar to movies and television shows like (1977) “SMOKEY AND THE BANDIT” and (1979-85) “THE DUKES OF HAZZARD”. These films were usually filled with a great deal of wild car chases, over-the-top acting and a Country-Western tune emphasizing the action. ”PUBLIC ENEMIES” seemed to go against this rural style. Instead, most of Mann’s Midwestern criminals are not some wild, country boys that went on a crime spree as some reaction against the Depression’s economic woes. His criminals – especially Dillinger – are professional criminals, whose experiences go back long before the first impact of the Depression. Nor is Mann’s Melvin Purvis is some long experienced “good ‘ole boy” lawman with a Mississippi Valley or Southwestern accent like Ben Johnson in(1973) “DILLINGER” or Dale Robertson in his two TV movies about the FBI agent. His Purvis is a lot closer to the real one, a South Carolinian gentleman in his early thirties, who happened to be a trained lawyer and an excellent shot. Both Dillinger and Purvis come off as more sophisticated than their portrayals featured in earlier movies. And the characters’ sophistication certainly reflected the movie’s more serious tone. Something I certainly had no problems with.

John Dillinger may turn out to be one of my favorite characters portrayed by Johnny Depp. Much has been made of Dillinger’s charm and joie de vivre . . . and Depp certainly did not hesitate to replicate it in front of the camera. One prime example of this charm was featured in Dillinger’s press conference inside the warden’s office at the Crown Point Prison in Indiana. I have seen the original 1934 newsreel featuring the famous press conference and I must say that Depp did a beautiful job of recapturing Dillinger’s actions – from the bank robber’s attitude, right down to his body language.

But there were other aspects of Dillinger’s personality that Depp did not hesitate to portray – his romantic charm that won Billie Frichette’s heart and cynical sense of humor. Most importantly, Depp’s performance reminded the audience that Dillinger had been capable of being a cold-blooded criminal. After all, he had drifted into crime long before the economic upheaval of the Depression. And Depp’s performance made that clear, whether his Dillinger was expressing fury at one colleague, whose beating of a prison guard led to the death of an old friend in the film’s opening prison break; his lack of remorse toward his many crimes, his connection to the Chicago mob; and his willingness to murder anyone who got in his way. Depp not only perfectly portrayed Dillinger as a charming and extroverted rogue, but also as a tender lover, a hardened criminal unwilling to give up his profession and if need be, a killer.

I have noticed that in the past two or three years, Christian Bale has found himself in the thankless task of portraying characters less flamboyant than his co-stars. This certainly seemed to be the case in the 2006 Victorian melodrama ”THE PRESTIGE” with the more outgoing Hugh Jackman; in the 2008 Batman sequel,”THE DARK KNIGHT”, in which his performance as Bruce Wayne/Batman contrasted sharply with Heath Ledger’s wildly chaotic Joker; and in the recent ”TERMINATOR SALVATION”, in which he seemed to be overshadowed in the eyes of many by the more overtly masculine Sam Worthington. Mind you, Bale gave superb performances in all of these films. Yet, his co-stars seemed to be grabbing most of the glory. This also seemed to be the case in ”PUBLIC ENEMIES”, in which he portrays Melvin Purvis, the FBI agent assigned to capture Dillinger, one way or the other. Whereas Depp’s Dillinger is all charm and flash, Bale’s Purvis is a resolute and educated South Carolina gentleman, who also happened to be a somewhat competent lawman determined to hunt down the bank robber by any means possible. And that included following Director Hoover’s insistence on ”taking the white gloves off” or insisting that the FBI recruit experienced Texas Rangers for the manhunt. Bale not only did an excellent job in conveying Purvis’ quiet determination in hunting down Dillinger, but the agent’s anxious fear that he may never capture the bank robber on a permanent basis. Bale also effectively portrayed Purvis’ ruthlessness in dealing with those who stood between him and Dillinger. Melvin Purvis is not a splashy role for Bale, but the latter certainly did an excellent job of portraying the lawman’s many personality facets.

Before I saw ”PUBLIC ENEMIES”, I had feared that the addition of Billie Frichette (Dillinger’s girlfriend) into the story would make her presence irrelevant and threaten to drag the film. Fortunately, Mann and the other two screenwriters – Bennett and Biderman – along with Oscar winner Marion Cotillard did justice to the Frichette character. Cotillard gave an excellent performance as a hatcheck woman who captured Dillinger’s heart. She portrayed Frichette as a slightly melancholy woman who not only resented society’s bigotry against her ancestry (her mother was half French, half –Menominee), but also feared that her relationship with Dillinger may not last very long. One of Cotillard’s best moments featured the hatcheck woman being interrogated and beaten by one of Purvis’ agents, who is determined to learn Dillinger’s whereabouts. And despite being French-born and raised, Cotillard proved that she could use a Midwestern accent circa 1933, just as well as an American actress.

”PUBLIC ENEMIES” seemed to be filled with some memorable supporting roles. And a handful of performances stood out for me. I enjoyed Jason Clarke’s quiet and subtle performance as Dillinger’s close friend and colleague, the dependable John “Red” Hamilton, who seemed convinced that he and the bank robber were doomed to live short lives. Clarke especially shone in an emotional scene in which a badly wounded Hamilton tried to convince Dillinger to stop clinging fervently to all people and things that mattered too much to him. And there was Billy Crudup (a face I have been seeing with great frequency over the past few years), who gave an entertaining and sharp performance as FBI Director and publicity hound, J. Edgar Hoover. Crudup managed to capture a great deal of the legendary director’s personality as much as possible – especially Hoover’s staccato-style speech pattern. And his scenes with Bale brimmed with a layer of emotion that made their on-screen relationship one of the more interesting ones in the movie.

Another performance that caught my attention belonged to Stephen Graham as the trigger-happy Lester “Baby Face Nelson” Gillis. I have to give Graham kudos for effectively projecting a certain facet of Nelson’s persona from both Dillinger and Purvis’ points-of-view. In Dillinger’s eyes, Graham portrayed Nelson as a trigger happy clown and bad Cagney impersonator, whose criminal skills seemed to belong to an amateur. In his major scene with Purvis, Graham portrayed Nelson as a dangerous criminal, quite capable of efficiently killing Federal agents in cold blood. And it was a pleasant surprise to see the always competent Stephen Lang as Charles Winstead, one of the Texas Rangers recruited by Purvis to assist in the FBI manhunt for Dillinger. Lang first worked for Mann in 1986’s ”MANHUNTER” and the television series, ”CRIME STORY”. Since then, he has portrayed a vast array of memorable characters over the years. In ”PUBLIC ENEMIES”, he gave another excellent performance as the stoic and intimidating Winstead, whose vast experience with criminal manhunts allowed him to act as a de factomentor for the less experienced Purvis. One last performance that caught my attention belonged to Branka Katić’s portrayal of Anna Sage, the so-called ”Woman in Red” who had betrayed Dillinger to the FBI in Chicago. Actually, Sage never wore red on the night she led the FBI to the Biograph Theater and Dillinger. But that is beside the point. Katić gave an intelligent performance as the world-weary, Romanian-born madam that found herself forced to help the FBI ambush the bank robber.

Every now and then, I eventually come across some comparisons between ”PUBLIC ENEMIES” and ”HEAT”in some of the articles I have read about the former. And the comparison usually ends in the 1995 movie’s favor. Do I agree with this assessment? Honestly, I have no answer. Both movies are superb crime dramas with a few flaws. Whereas ”HEAT” managed to capture the miasma of late 20th century Los Angeles, ”PUBLIC ENEMIES” reeked with the slightly gray aura of the Depression-era Midwest . . . especially Chicago. And whereas the pacing for ”HEAT” threatened to drag in its last hour, the quick editing and constant close-ups nearly marred the first hour of ”PUBLIC ENEMIES”. But you know what? I love both movies.  And ”PUBLIC ENEMIES”proved to be another example of why Michael Mann continues to be one of my favorite movie directors.

“LEATHERHEADS” (2008) Review

“LEATHERHEADS” (2008) Review

As a rule, I usually do not like sports movies. I can think of at least six or seven that are personal favorites of mine. After seeing the recent football comedy, ”LEATHERHEADS”, I can honestly say that the number has risen to eight. 

George Clooney, who also directed the film, plays Dodge Connolly, captain of the struggling football team, the Duluth Bulldogs. Dodge is determined to save both his team and professional football in general when the players lose their sponsor and the league is on the brink of collapse. He convinces a college football star, Carter “the Bullet” Rutherford (John Krasinski), to join the Bulldogs, in order to capitalize on Carter’s fame as a war hero. In addition to his legendary tales of heroism in World War I, Carter has dashing good looks and unparalleled speed and skill on the field. As a result of his presence, both the Bulldogs and football in general prosper. Rene Zellweger provided romantic interest as reporter Lexie Littleton, who becomes the object of the affections of both Carter and Dodge. Unbeknown to Carter, Lexie has been assigned to find proof that Carter’s stories of military heroism are bogus. Meanwhile, Dodge’s attempts to legitimize professional football start to backfire, as rules are formalized, taking away much of the improvisational antics that made the game fun for many of its players.

I had expected to mildly enjoy ”LEATHERHEADS” or at least enjoy the 1920s setting. Instead, I found myself really enjoying the story of Dodge Connolly’s comic attempts to legitimize professional football, and his romantic rivalry with Carter Rutherford for Lexie Littleton’s heart. The comic timing featured in the script written by George Clooney, Steven Soderbergh, Duncan Brantley, Rick Reilly and Stephen Schiff is wonderful. The performances – especially the three leads – were fabulous. Clooney, Zellweger and Krasinski proved that they all possessed the skills and timing for comedic acting. And they were supported by a top notch cast that included Stephen Root, Jonathan Pryce, and Peter Gerety. And I must say that I loved the way Clooney and his production staff captured the mid 1920s America, right down to the chaotic world of football – professional and college.

However, ”LEATHERHEADS” is not perfect. The Chicago sequence leading up to the big game between the Duluth and Chicago nearly dragged the film. And I found the ending vague and lacking any real closure over Dodge, Lexie and Carter’s future. And that perfect capture of the 1920s? Well, it was not completely perfect. I have to blame Renee Zellweger’s hairstyle for this. It was fine when she had her hair pinned. But she spent at least two-thirds of the film wearing her hair in a shoulder-length bob. Is it any wonder I had originally believed this film was set in the early-to-mid 1930s?

It is a shame that ”LEATHERHEADS” did not prove to be a hit. It really is an enjoyable film. But I guess that it is the type of film that would appeal to older moviegoers who are at least in their 30s and 40s. It simply lacked the appeal for younger viewers .  Oh well. If you have not seen ”LEATHERHEADS” yet, at least give it a chance and rent it on DVD.