By Matt Zoller Seitz
Sunday's Deadwood contained a simple exchange between madam-turned-do-gooder Joanie Stubbs (Kim Dickens) and deputy Charlie Utter (Dayton Callie) about the new schoolhouse that could be read on multiple levels at once.
On a pure plot level, this particular scene was about Joanie asking for help in locating the man responsible for building the town's new schoolhouse, a simple wooden structure that just happens to have a tree growing up through its floorboards. Joanie told Charlie she was acting on behalf of the schoolteacher Martha Bullock (Anna Gunn), the wife of Charlie's boss, the sheriff (Timothy Olyphant). Mose Manuel (Pruitt Taylor Vince) told Joanie the building was built around the tree so that the owner would never lack for sap, but why did he leave afterward, and where did he go?
Charlie asked Joanie why the teacher felt she needed to track down the architect and find out about the schoolhouse's past.
"To finish the story," Joanie replied.
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To read the rest of the Star-Ledger article, click here. For more writing on Deadwood, see The Deadwood Columns in the sidebar at right.
Deadwood Monday: Season Three, Ep. 33, "Amateur Night"
Monday, August 07, 2006
Deadwood Monday: Season Three, Ep. 33, "Amateur Night"
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David Milch,
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Matt Zoller Seitz,
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15 comments:
Al's song to the empty bar was not just poignant -- it may have been one of the best moments the series has mustered.
There's room for all kinds of criticism, to be sure, but your piece on "Amateur Night" is one of the most intelligent pieces I've ever read in a mainstream newspaper.
Thanks, Steven.
Matt,
Every week, Deadwood seems to gets better, and your commentaries do as well. I hope that David Milch reads your thoughtful and thought-provoking work! I was especially moved by your reflections on creativity. Only connect, indeed.
I was struck by how tense I was during the entire amateur night sequence -- the cross-cutting kept me on the edge of my seat and I let out an audible sigh of relief when the episode ended without an outbreak of violence. Brilliant editing.
I loved this episode. I was struck by how tense I was throughout the amateur night sequence -- despite the sense of community and joy, the cross-cutting kept me on the edge of my seat, and I let out an audible sigh of relief when the episode ended without violence.
Instead, we were treated to Al's song, which actually brought a tear to my eye. I certainly would not have predicted that back during Season One!
Finally, here's a hearty prayer to the TV Gods that someone at HBO comes to their senses and they figure out some way to do one more season.
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There may also be a mythic dimension to the presence of that tree in the schoolhouse, and the question of it. In the final part of THE ODYSSEY, Ulysses returns and proves his identity to his wife Penelope by knowing that their marriage bed cannot be moved, as Penelope instructs it a servant to do. Ulysses explains that, as a child, Penelope had a favorite tree she loved to climb; his wedding gift to her was to build their home around the tree so that their marriage bed would be fashioned from, and forever cradled in its boughs. It is only when she hears this story, a secret known only to the two of them, that Penelope can believe her eyes and be sure that her husband has come home.
Sorry for the duplicate paragraph. Guess I should have previewed before posting!
Is anyone else having trouble with the Star-Ledger site? I can't see a bit of text, just the usual graphics.
todd,
Try this link.
Matt et al.
Am I the only one who finds Deadwood funnier week after week? Don't get me wrong -- the transport of the children, the scene between Joanie and Utter, and especially Aunt Lou's breakdown with Richardson; these were all somber scenes. The last was truly heartbreaking, and combined with the juggling scene later managed to elevate Richardson and denigrate Farnum to devastating effect.
But come on. Al punching Johnny, Utter punching the Pinkerton, Jarry's weird bird impression, the drunk's "Sure you can cry [for my pa], you didn't know him," Al's response to Merrick's bleeding on the sheets ("Wouldn't be the first time"), Aunt Lou's "I've always been big" and, really, almost every damn thing Morgan Earp did (thumb-sucking) or said ("I know I've not painted myself in the best of lights").
The Lucky Louie-fied Deadwood that appeared on Youtube a few weeks ago hit the nail on the head, in my opinion. The show has really made tremendous use of near slapstick comedy and scene closing one liners to relieve the tension that has been building over the season. And unlike some of the dramatic arcs this season (Is Alma cured just like that? Where do Cy and Joannie stand now, exactly, and what happened to Andy Cramed? Given his appearance last night, is Doc no longer a lunger? ) the comedic elements have been pretty reliable. More than that, the humor has conveyed how actual friendships can develop in the camp -- I think of Langrische patting Al's ass with a "Don't mistake my gesture", Al's comments about Aunt Lou's proportion and purpose when he and Bullock first see her (running down the thoroughfare), Jewel and Dan arguing about peaches on the table, Saul's "Do you want to fight?" to Bullock in last week's episode (knowing Bullock's in a bad mood), and Joanie's "so where do you think they'll put the stage?" (a joke more to the audience, but funny nonetheless). It is these "little" moments where characters connect with each other that have brought home how the citizens of Deadwood cope on a day to day basis -- the power of quips, jokes, and banter to ease social tensions.
This theme was of course amplified in the parade of performances at "Amateur Night," where the town gathered to party even as Pinkertons swarmed the camp. What good is it to have a removable eyeball or to be able to cry at will if you can't share your talent with your neighbors?
Anon
"Easy enough for you! You didn't know him!" has to be the corniest old chestnut the show has drug up so far. Still, kind of funny.
Matt, you and Alan are both doing an outstanding job with your TV coverage for the Star-Ledger. They should be proud to have you.
Anon: I agree completely. The brazen lowness of the humor is funny in and of itself. It's like Larry David meets Chaucer.
PS--Thanks for the link. There were three versions of the story up there at one point, and unfortunately the one that's up there now is not the most recent version. But it's close enough.
I, for one, was glad to see the return of the "soap with a prize" guy, peddling his scam among the amateur night audience!
Remember when Bullock beat on him for pulling his scam in front of the hardware store?
What is with that scam anyway? Is it really cheap soap? Is there really no prize inside? It's funny, but I can't figure out the scam angle at all. Any history buffs know this one?
vaughan,
I believe it is supposed to be the soap swindle associated with Soapy Smith.
Anon
Hey Anon, thanks! That was some quality info.
According to the answers site, "Soapy Smith" used this gem of a scam for twenty years with great success. The soap sell trick, along with other swindles, helped finance Soapy's criminal empires!
A minor-reflection of Hearst!
In this week's review, you included the following, "...we can only hope, perhaps in vain, that the cable channel's bosses will forget the behind-the-scenes melodrama that led to the show's untimely cancellation and give it another full season...".
Can you please provide more detail on what happened inside HBO that led to the decision to cancel? Perhaps you have a link to an existing/archived article which explains the situation?
Thanks very much.
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