"Deadwood" series review

“Deadwood” – Saddle up, c*cks*ckers!

David Milch was a name known to me from his work on “Hill Street Blues” and “NYPD Blue”, both of which are TV shows that I loved when they were new.  Though now dated to modern eyes, they still retain a nostalgic charm.  Being the older show, “Hill Street Blues” creaks quite a bit.  Much of the humor is more rooted in caricature rather than character, and the transitions from comedy to drama are sometimes abrupt.  “NYPD Blue” works much better in balancing the professional and personal lives of the players, but the purposeful shaky cam, which felt fresh at the time, is now somewhat seizure inducing.

When “Deadwood” first premiered on HBO, I wasn’t particularly interested, even knowing of David Milch’s involvement.  How relevant could a Western TV show be in the 21st Century?  Well, to my everlasting joy, “Deadwood” revealed itself to be one of the absolute best shows about the human condition that I’ve ever seen.  The only reason that I place “The Wire” above it is because that show was able to finish its run and complete its story.  While “Deadwood” was cut down before it had finished growing, the three seasons that exist are astonishing in their psychological complexity and heady cornucopia of human foibles.

The Writing

David Milch’s writing for “Deadwood” evokes the density of a German Chocolate cake and matches it both in darkness and deliciousness.  The double and sometimes triple inversions of sentence structure make digesting dialogue a challenging and alluring mystery.  It also makes re-watching a delight as you get closer to understanding what some the characters are actually saying.  This particular style also gives the verbal exchanges an antiquity that feel real instead of artificial, and each character has a slightly different delivery, which further distinguishes their individuality and temperament.

The Acting

The cast of “Deadwood” is legendary, and though it is comprised of grizzled veterans and pink-faced newcomers, all deliver sterling performances.  Ian McShane as bar and brothel operator Al Swearengen appears at first to be a rapacious beast with barely enough humanity remaining to walk upright.  Yet as the episodes unfold, Al reveals the faintest glimmer of compassion underneath his raging, blustery armor.  Al Swearengen is the rageaholic version of Ebeneezer Scrooge, and yet Al is lovable despite his cruel tyranny and marrow-targeted jibes.  Even the most base of human animals have the capacity for empathy, and Al constantly teases the promise of his reclamation.

Every single other member of the cast acquits themselves in superlative fashion, with one personal exception.  Though my wife would disagree, for me there is something missing from Kim Dickens’ turn as Joanie Stubbs, the fragile blonde madam of the Bella Union.  Her limited emotive range fails to do justice to the ghastly emotional pain that roils within her.  Joanie Stubbs’ personal history would be enough to unhinge anyone, but the mostly placid eyes, static mouth and unwrinkled face do not convey the weight of psychological torment that threatens to pull her down.

The Costume Design

As with special effects, I also believe that excellent costume design should not call attention to itself.  It should be seen, but not noticed.  I hope that makes sense!  Every character in “Deadwood” displays a mode of dress that reflects their history, personality and status.  Whether dressed in the latest East Coast silks & taffeta of the aspiring socialite or in the cracked, sun-blasted leathers of the weary but hopeful prospector, the level of detail and texture in every character's wardrobe tells us who they are or what they would like to be.  The wear and tear, the dirt and the dust are all applied in just the right amount, which further distinguishes each denizen of Deadwood.

Production Design & Cinematography

Beyond the variety of each character's costume, the streets and houses of “Deadwood” are another filthy yet fascinating feast for the eyes.  Every hotel room, hovel or tent is filled with mementos, totems and other objects that enhance the sense of these spaces as being lived in.  The motes that swirl inside of the dust-caked windows, the smoke that curls serpentine into the cool evening air and the omnipresent atmosphere of grime and stench can almost be tasted on the tongue.  “Deadwood” is so dirty that you can practically feel the grit crunching between your back molars.  Yet, there is a captivating beauty to be found amidst the mud and refuse, and the cinematography often achieves a dreamlike state despite the frequently nightmarish setting.

Story & Character Development

What sets “Deadwood” apart from so many other shows is how the characters grow individually and in reaction to one another.  Initially, Al Swearengen is the epitome of evil; an alcoholic, abuser and adamant opponent to all who would dare challenge him.  But as the series progresses, others are introduced who make Al seem. . . not so bad.  It’s not just because we’ve learned a little bit more about Al and from where his anger erupts, it’s that “Deadwood” keeps topping your expectations.  Just when you think you have a character figured out, something happens to turn all your predictions to naught.  Most importantly, these revelations expand our understanding instead of confounding us with contradictions.

Just when we’re sure that Al Swearengen is the worst excuse for a human being that we’ve ever had the displeasure to know, Cy Tolliver rolls his wagons, whores and card sharks into town and sets up a brand new brothel. The gussied-up Bella Union with its fancy décor and perfumed pros stand in stark contrast to the creaky planks and threadbare slatterns of Al's Gem Saloon.  However, Cy has an even bigger anger management problem, and we now have a new devil to loathe.  Then the infamous George Hearst descends upon Deadwood to further expand and consolidate his gold mining enterprise, and we are forced to reevaluate our opinions for a third time.  Is George Hearst’s heart as black as the hills of South Dakota?

Unfortunately, “Deadwood” was never able to fully answer this and many other questions, as numerous behind-the-scenes events conspired to prevent the show from starting its fourth and possibly final season.  David Milch did not plan for the story to run much longer than this because his intent was solely to explore the murky minefield of flawed but resolute people who are forced to cohabitate and collaborate in their attempt to create order out of chaos.  Milch was fascinated with the process by which these disparate souls would struggle to find their way together toward an uncertain future.  The show may have ended before its time, but the struggles and triumphs that “Deadwood” depicts regarding community and sacrifice are timeless.