“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.
