True Detective Navigates through NoirLand
by Paulette Reynolds
August 4, 2015
Like all devoted True Detective fans, HBO had me at Season 1, Episode 1 - and so I all came breathlessly back for more mystery and crime at the beginning of Season 2.
From the first sad, regretful strains of T-Bone Burnett's theme song, Nevermind, (sung by the song's original creator, Leonard Cohen), I sensed that we were being lead straight into the heart of NoirLand. While some panned this season as "too slow" and vented about Vince Vaughn's character, I settled back to enjoy my favorite genre of all, which sadly ends on August 9.
The main cast of Vince Vaughn (Frank Semyon), Rachel McAdams (Ani Bezzerides), Colin Farrell (Ray Velcoro), Taylor Kitsch (Paul Woodrugh), and Kelly Reilly (Jordan Semyon) play out a familiar plot strand from Polanski's Chinatown 1974 (city corruption at the top) - and that's ok - because Nic Pizzolatto's crisp, taut dialogue reminds us to always listen for the sub-text, because things - and people - aren't always typecast here in the fictional gritty city of Vinci, California.
Vince Vaughn is the full-time crook and part-time existentialist seer, Frank Semyon, who spends a fair amount of time warning his wife, Jordan, and flunkie friend Ray of the impending doom and gloom that is creeping up the welcome mat. Frank acts as the moral compass, however skewed that may be, because - well, someone has to keep everyone’s eye on the prize. And yes, Vince Vaughn does an excellent job convincing everyone of the wisdom in following his linear vision, whether by carefully parsing his words - or violence - to get the point across.
Watching Vaughn breath life into Frank Semyon is a thing of beauty, as his intentions and thoughts are delivered in small micro-movements where nothing is wasted. Frank’s deceptive weakness at being edged out of the action is just that, since he has no plan to roll over and play dead for anyone. Whether he’s instructing doubting minions or mollifying his skeptical, but loyal wife Jordan, we know that Frank will do more than survive, because lowballing himself is not an option in his playbook.
Ray, Ani, and Paul are a team of dysfunctual cops, each nursing their own particular brand of inner angst, while vainly trying to solve the mystery of a missing city commissioner and lots of mob money. Ray is an alcoholic, recovering from a failed marriage, who uses violence as his go-to solution for just about everything. Ani is a cynical loner, a former New Age flower child who discovered that her father’s communal haven had some muddy waters. And Paul, a military veteran, seethes with rage, fighting a losing battle with himself over his homophobia and feelings for another man. Every action and encounter leaves this trio unsatisfied as they bob and weave through stakeouts and set-ups, never quite shaking off their estrangement from loved ones, enemies, each other and ultimately, themselves.
The city - as in any noir landscape - is the fifth character here, with the camera snaking lazily along the clogged veins and arteries of concrete streets, tangled highways and the isolated hills of California's treacherous terrain.
True Detective's color palette helps create the necessary feelings of these mean streets: Muted, washed-out blues, burnt umbers, and smoky garish yellows for the city night shots contrast against the blinding brightness of Vinci’s unnatural daytime environment. Both extremes help drive the urban narrative as the cast navigates both worlds with a mixture of uneasy dread, as though they're fighting back the urge to look over their shoulder.
Unfortunately, the single most deadly problem that faced season two of True Detective wasn't the superior cast but the seven directors - all male - bumping into each other's episode - and it shows. (Are there no female directors connected enough to direct even one episode? Apparently not.) Add some mind-numbing pacing (calling all editors) and it's easy to see why some viewers chose to opt out after the first few episodes.
However, for me, my tastes are simple - a noir story, fine actors - together with some pretty unforgettable lines - and I was in for the long con. All this season needed was Rod Serling's voice - soberly reminding us that these players are stuck in a place called NoirLand - and we all know that you can check out any time you want - but you can never leave.
For more True Detective Season Two quotes and some wonderful artwork:
http://truedetectivequotes.blogspot.com
http://truedetectivequotes.tumblr.com
August 4, 2015
Like all devoted True Detective fans, HBO had me at Season 1, Episode 1 - and so I all came breathlessly back for more mystery and crime at the beginning of Season 2.
From the first sad, regretful strains of T-Bone Burnett's theme song, Nevermind, (sung by the song's original creator, Leonard Cohen), I sensed that we were being lead straight into the heart of NoirLand. While some panned this season as "too slow" and vented about Vince Vaughn's character, I settled back to enjoy my favorite genre of all, which sadly ends on August 9.
The main cast of Vince Vaughn (Frank Semyon), Rachel McAdams (Ani Bezzerides), Colin Farrell (Ray Velcoro), Taylor Kitsch (Paul Woodrugh), and Kelly Reilly (Jordan Semyon) play out a familiar plot strand from Polanski's Chinatown 1974 (city corruption at the top) - and that's ok - because Nic Pizzolatto's crisp, taut dialogue reminds us to always listen for the sub-text, because things - and people - aren't always typecast here in the fictional gritty city of Vinci, California.
Vince Vaughn is the full-time crook and part-time existentialist seer, Frank Semyon, who spends a fair amount of time warning his wife, Jordan, and flunkie friend Ray of the impending doom and gloom that is creeping up the welcome mat. Frank acts as the moral compass, however skewed that may be, because - well, someone has to keep everyone’s eye on the prize. And yes, Vince Vaughn does an excellent job convincing everyone of the wisdom in following his linear vision, whether by carefully parsing his words - or violence - to get the point across.
Watching Vaughn breath life into Frank Semyon is a thing of beauty, as his intentions and thoughts are delivered in small micro-movements where nothing is wasted. Frank’s deceptive weakness at being edged out of the action is just that, since he has no plan to roll over and play dead for anyone. Whether he’s instructing doubting minions or mollifying his skeptical, but loyal wife Jordan, we know that Frank will do more than survive, because lowballing himself is not an option in his playbook.
Ray, Ani, and Paul are a team of dysfunctual cops, each nursing their own particular brand of inner angst, while vainly trying to solve the mystery of a missing city commissioner and lots of mob money. Ray is an alcoholic, recovering from a failed marriage, who uses violence as his go-to solution for just about everything. Ani is a cynical loner, a former New Age flower child who discovered that her father’s communal haven had some muddy waters. And Paul, a military veteran, seethes with rage, fighting a losing battle with himself over his homophobia and feelings for another man. Every action and encounter leaves this trio unsatisfied as they bob and weave through stakeouts and set-ups, never quite shaking off their estrangement from loved ones, enemies, each other and ultimately, themselves.
The city - as in any noir landscape - is the fifth character here, with the camera snaking lazily along the clogged veins and arteries of concrete streets, tangled highways and the isolated hills of California's treacherous terrain.
True Detective's color palette helps create the necessary feelings of these mean streets: Muted, washed-out blues, burnt umbers, and smoky garish yellows for the city night shots contrast against the blinding brightness of Vinci’s unnatural daytime environment. Both extremes help drive the urban narrative as the cast navigates both worlds with a mixture of uneasy dread, as though they're fighting back the urge to look over their shoulder.
Unfortunately, the single most deadly problem that faced season two of True Detective wasn't the superior cast but the seven directors - all male - bumping into each other's episode - and it shows. (Are there no female directors connected enough to direct even one episode? Apparently not.) Add some mind-numbing pacing (calling all editors) and it's easy to see why some viewers chose to opt out after the first few episodes.
However, for me, my tastes are simple - a noir story, fine actors - together with some pretty unforgettable lines - and I was in for the long con. All this season needed was Rod Serling's voice - soberly reminding us that these players are stuck in a place called NoirLand - and we all know that you can check out any time you want - but you can never leave.
For more True Detective Season Two quotes and some wonderful artwork:
http://truedetectivequotes.blogspot.com
http://truedetectivequotes.tumblr.com
COPYRIGHT 2012/2015. Paulette Reynolds. All CineMata Movie Madness blog articles, reviews, faux interviews, commentary, and the Cine Mata character are under the sole ownership of Paulette Reynolds. All intellectual and creative rights reserved.
