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Friday, June 09, 2006

Deadweek: Tactics and true position; the rise of Silas Adams

By Wallace Stroby


It had to be one of the quickest seductions in the history of television.

When Silas Adams (Titus Welliver), the emissary for the territorial government in Yankton, comes face-to-face with the cunning ambition and focused mercilessness of Al Swearengen in Season One, he’s already half wooed. When they consider the problem of corrupt Yankton magistrate Clagett, Adams’ boss, who’s extorting Swearengen – and the town – with an old murder warrant from Chicago, Adams sees the light.

“Maybe the magistrate needs to die,” Swearengen muses.

“Maybe he does,” Adams agrees.

“And the person who did it,” Swearengen adds. “It would only be the beginning of his usefulness to me.”

“If that person didn’t come back with the warrant on you quashed, he’d be a fool not to think he’d be the next one killed.”

“That’s why he’d be so useful to me,” Al says. “Thinking that far ahead.”

It’s a dance, both men taking each other’s measure, but recognizing their kindred spirits. They disagree on the price: Al offers two thousand for the magistrate’s murder and the quashing of the warrant. Adams asks for twenty.

“Do it for two,” Al says. “You gotta believe the job would open the door to your future.”

And it does. Despite being a bit of a dandy (“shorn and groomed to a fucking fare-thee-well,” Al opines) and having the best hair in the camp, Adams quickly becomes Al’s right-hand man in matters of deception and strategy. But this romance was already off to a good start. When they first meet, Adams is the only one in town willing to answer Al’s insults and profanity with his own. But he also realizes he’s in the presence of a master, especially when he watches Al drown one of his own men, the hapless junkie Jimmy Irons, as both a troubleshooting measure and an object lesson to those present. Adams recognizes Al as the patriarchal powerbroker he is, someone adept at both strategy and the knife.

Once he joins Swearengen, Adams (a totally fictional creation, with no historical equivalent) fills a role that seems to have been waiting for him all along. Al’s henchmen, Dan Dority and Johnny Burns foremost among them, are loyal to a fault but more than a little thickheaded – and shortsighted. But Adams is capable of supplying key information to Al to help formulate his plan to deal with the annexation of the camp, as well as personally hammering out an agreement in writing with the territorial authority. He’s a sharp mind as well as a strong hand, both of which Al requires if he – and the town – are to evolve. Al needs him, and Adams knows it and isn’t afraid to crack wise with his mentor. After the bruising fight between Seth Bullock and Swearengen in Season Two, Adams reveals that Bullock’s well-being could strongly affect whether South Dakota or Montana – where Bullock most recently hailed from – hold sway over the camp.

“In the thoroughfare, as I readied to stab the cocksucker,” Al asks. “Did you have no impulse to hinder this?”

“Moment didn’t seem right,” Adams answers.

“Over time, your quickness with the cocky rejoinder must have gotten you many punches in the face.”

“Depends what you call many.”

Al also trusts Adams because he’s not afraid to give him an answer he may not want to hear – or no answer at all. His desire to make Al happy doesn’t obscure his reading of the events around him.

This competition for Al’s fatherly affections naturally causes friction between Adams and Al’s other “son” – barkeep and bodyguard Dan Dority. Dan, who’s genuinely brave as well as ruthless, almost comes to tears when he feels Al is favoring Adams over him. But despite the jealousy Dan feels toward Adams (“There’s another fucking clever one” Dan pronounces at one point), they gradually come to terms, especially during the brutal Chinatown raid in the Season Two finale. In that fight, intended to consolidate Swearengen’s power, Adams saves Dan’s life – on the same day he helps finalize the annexation agreement. “A day’s full course,” Al compliments him. “Inside and out.”

But Adams isn’t simply an opportunist. He does have his own ragged moral code. He seems to genuinely want Dan’s acceptance, or at least some sort of uneasy truce (“'Any chance you and me don't end in blood?” he asks ), and is clearly pained when he realizes the extent of Al’s illness at the beginning of Season Two. And it’s his chivalrous nature that allows Miss Isringhausen (Sarah Paulson), the undercover Pinkerton agent working as a tutor for little Sofia, to play him so expertly. When she first approaches him, he looks away and shuffles his feet like a schoolboy. It’s only when she says she’s in fear for her life that he snaps to attention and offers her his protection and the use of his room (“I can sleep anywhere,” he says. “I’m like a dog in that regard”). And though he’s soon, as Al would put it, “cunt struck,” he quickly catches on that Isringhausen is using him to help forge a deal with Al. As he sits in on that meeting between these two master schemers, he realizes how out of his depth he is. When it comes to women, it seems, he’s half smart at best.

But misguided chivalry aside, Adams is a man of his times, smart, crafty and tough, forward-thinking and bloody-minded. He’s uniquely equipped to serve his own interests and Swearengen’s. And as Swearengen’s destiny entwines with that of the town, Adams becomes a key player in a much bigger picture, whether he realizes it or not.
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Wallace Stroby is an editor at The Star-Ledger, author of the crime thrillers The Barbed-Wire Kiss and The Heartbreak Lounge, and publisher of the blog Live at the Heartbreak Lounge. For more on "Deadwood," see "The Deadwood Columns" in the sidebar at right.

10 comments:

Dan Jardine said...

In this tangle of relationships, it is the jealousy between Dan and Adams that I love. When Al exclaims that his hirsute-ness makes it appear that Adam's mother fucked a monkey, rather than laugh like the rest of us, Dan is pained. "Never seen him warm to anyone so quick," opines Dan.

Anon said...

How could you write an entire column on Silas Adams and not note that he is played by an actor with the wonderfully _Deadwood_esque name of Titus Welliver?

Anon

Dan Jardine said...

Given how Milch loathes screen tests, mebbe that's how Titus got the part; the shoe, so to speak, fit.

Matt Zoller Seitz said...

D'oh. Corrected.

Todd VanDerWerff said...

Titus Welliver is half a line of iambic pentameter right there.

The best thing about Deadweek has been reading about some of the less obviously important characters. Every other article I've read on the show's return has dissected Swearengen in great detail (as well they should -- he's a truly, truly great characters), but Milch's philosophy is so damn generous that you can't help but find characters to love at every level of the panorama.

Even the outright villains like Wolcott are portrayed in such a way as to evoke understanding, if not sympathy.

Alan Sepinwall said...

Welliver has been part of the Milch repertory company for some time now, starting with a recurring role on NYPD Blue as an emergency room doctor, then as the defacto star of Brooklyn South, then as an FBI agent (along with Kim Dickens) on Big Apple.

Given Milch's loyalty to people he likes, you would expect the cast to be filled with more people like Welliver, though in some cases it wasn't for lack of trying. Ed O'Neill (also from Big Apple) was Milch's original choice for Swearengen, but HBO rejected him. (McShane was actually choice number three; Powers Boothe had the job, then got ill just before the pilot was to be shot, so Milch promised to write another role for him.)

We now return you to your regularly-scheduled Silas Adams analysis.

odienator said...

Alan: Ed O'Neill (also from Big Apple) was Milch's original choice for Swearengen, but HBO rejected him.

Granted, I've only seen four episodes of the show thus far, but I can't see Al Bundy in that role. Nothing against Ed O'Neill; he's played plenty of convincing tough guys and cops in his career. Hell, he even played Popeye Doyle once. It's just that pesky devil called typecasting. He'll always be that OTHER Al, which is probably why HBO rejected him.

Now we can REALLY return you to your regularly scheduled Silas (Marner?) Adams analysis.

Josh said...

David Faustino was originally supposed to play Adams.

Not really.

wstroby said...

One of the reasons I was so interested in the Silas character is that he fits to a T what Matt talks about in his Season 3 preview, that he's someone in the process of becoming. The fact that these characters keep changing, evolving and showing new sides of themselves is what keeps the show fresh and fascinating to me. Which is also why - despite the great writing - THE SOPRANOS has begun to wear on me a bit. Lorne Green once said the reason BONANZA was such a long-running hit was that the characters were actually people you found likeable and interesting enough to want to invite into your living room night after night. And I think that's still true.

Matt Zoller Seitz said...

Evolution is the watchword. However, there's a trick to it -- the creator can't permit particular characters to become primarily sympathetic or unsympathetic. Characters can slide along the spectrum from season to season as long as they retain some recognizable, consistent core. Otherwise you know the writers are shaping the characters to fit the plot rather than the other way around. DEADWOOD does a very good job of maintaining this core consistency. Al has become more community minded, and thus more likeable in a Milchian way, over three seasons, but he's still a ruthless bastard who orders people killed; the gradual, almost imperceptible evolution in his character makes his arc seem inevitable rather than arbitrary. Likewise even the most repellent characters, Wolcott and Cy Tolliver, have moments where we feel not sympathy exactly, but empathy, or perhaps a certain sadness at realizing that they're missing crucial pieces of personality that would let them live meaningful lives and truly connect with other people. It's too late for Wolcott, but Tolliver seems to be headed in the vicinity of redemption. Whether he'll cross over as Al did remains to be seen.

Interesting that for so many people in Deadwood, a near death experience is the catalyst that ignites major change in their personalities: the Rev. Andy's plague experience, Al's gleets, Tolliver's stabbing, Alma enduring her husband's murder, the Bullocks losing a son.