The Pacific: Season 1, Episode 10 “Home” (B+)
The conclusion of this ten-part trip back in time to World War II proves fitting as a sendoff for and final tribute to these characters. Having surrender announced abruptly and skipping directly to all of the marines heading home makes for great drama and an insightful immersion into their lives back home. Leckie’s initial return seems like itw on’t work out too well since he’s told that he should have called first and there’s barely a place for him to sleep. His initiative, however, ends up helping him considerably and he’s able to go back and demand his job as a sports reporter at the newspaper back. Asking Vera out in front of her date was another bold move that paid off as well and enabled him to score a dinner date with her that very night (and a life spent together, as it turns out). It’s also very interesting to learn that Leckie never sent any of his letters because he wasn’t sure he’d make it back. Basilone’s widow coming to visit his family was a particularly moving scene. Her desire to simply give his family a piece of him rather than ask for money was also quite touching. Sledge’s conversation regarding his employment was powerful: “isn’t there anything the Marine Corps taught you?” / “they taught me how to kill Japs – I got pretty damn good at it.” The portrait of the ensuing times of Sledge’s life was an intriguing way to see how he broke down, but I think the way the episode ended was a wise move. Bringing these characters to life by finishing their stories make it an even more intimate experience. Expect this one to collect a bunch of Emmys at the end of August.
Miniseries grade: A-
Showing posts with label The Pacific. Show all posts
Showing posts with label The Pacific. Show all posts
Thursday, May 20, 2010
Thursday, May 13, 2010
What I’m Watching: The Pacific
The Pacific: Season 1, Episode 9 “Okinawa” (B+)
As we’re nearing the end of this mini-series, things certainly aren’t slowing down and, if anything, they’re getting even more intense. After deliberating on many moral dilemmas regarding treatment of the enemy, the marines now encounter the problem of families being on the battlefield and how to handle them, especially when some are wearing bombs wired to explode. Two scenes in sequence towards the end were particularly powerful, starting with the baby being picked up slowly and then Sledge holding the gun to the mother’s head before cradling her. Immediately following that, Sledge pointing his gun and then wavering when he saw the expression on the faced of the scared young Japanese soldier was powerful, and made even more serious by someone else shooting him and then cheering about it only seconds later. There were so many cries of “Cease fire!” in this episode, making clear just how senseless and confusing war can be in the midst of battle. This show has definitely done an excellent job of probing that, and it continues to dwell on it, episode after episode. The quote “We’re here to kill Japs – why does it matter how?” is particularly indicative of the attitude of the marines towards their orders and the prohibitions on what exactly they’re allowed to do. The confrontation with the captive Japanese soldiers made for a moving scene along those lines. To this point, I haven’t singled out many performers, but I would like to make special mention of Rami Malek, who does a terrific job of playing Corporal Merriell Shelton, also known as Snafu, and also often has the best lines.
As we’re nearing the end of this mini-series, things certainly aren’t slowing down and, if anything, they’re getting even more intense. After deliberating on many moral dilemmas regarding treatment of the enemy, the marines now encounter the problem of families being on the battlefield and how to handle them, especially when some are wearing bombs wired to explode. Two scenes in sequence towards the end were particularly powerful, starting with the baby being picked up slowly and then Sledge holding the gun to the mother’s head before cradling her. Immediately following that, Sledge pointing his gun and then wavering when he saw the expression on the faced of the scared young Japanese soldier was powerful, and made even more serious by someone else shooting him and then cheering about it only seconds later. There were so many cries of “Cease fire!” in this episode, making clear just how senseless and confusing war can be in the midst of battle. This show has definitely done an excellent job of probing that, and it continues to dwell on it, episode after episode. The quote “We’re here to kill Japs – why does it matter how?” is particularly indicative of the attitude of the marines towards their orders and the prohibitions on what exactly they’re allowed to do. The confrontation with the captive Japanese soldiers made for a moving scene along those lines. To this point, I haven’t singled out many performers, but I would like to make special mention of Rami Malek, who does a terrific job of playing Corporal Merriell Shelton, also known as Snafu, and also often has the best lines.
Wednesday, May 5, 2010
What I’m Watching: The Pacific
The Pacific: Season 1, Episode 8 “Iwo Jima” (B+)
After several installments completely full of battle scenes, this was the first time we really got a chance to take some time off from the war and see just how much one marine wants to get back into action. Since he was sent home prematurely to sell war bonds due to his heroic actions, John Basilone has grown as a celebrity since last we saw him. His reputation precedes him, and women fawn over him the moment that they see him. Since there are so few women ever present on this show, it’s especially interesting to see how Basilone operates and interacts with them. I like how he set his eyes on one woman and refused to give up pursuing her. He didn’t do anything terribly uncouth in his efforts to seduce her, but she still wasn’t immediately swayed by his charm. I really enjoyed how the episode portrayed their discussion about “what’s next” and then went immediately to the scene of their wedding. For a show about so much pain, it was a pleasure to see two people very much in love and happy. Their tranquility was short-lived however, as the show executed a flash from the bliss of their honeymoon to right in the middle of D-Day. Those last ten or fifteen minutes were non-stop in their intensity, but framing the episode along with Basilone’s joy was truly very interesting because it helps to remind that there is life going on back home while these marines are losing their lives fighting for the United States across the world.
After several installments completely full of battle scenes, this was the first time we really got a chance to take some time off from the war and see just how much one marine wants to get back into action. Since he was sent home prematurely to sell war bonds due to his heroic actions, John Basilone has grown as a celebrity since last we saw him. His reputation precedes him, and women fawn over him the moment that they see him. Since there are so few women ever present on this show, it’s especially interesting to see how Basilone operates and interacts with them. I like how he set his eyes on one woman and refused to give up pursuing her. He didn’t do anything terribly uncouth in his efforts to seduce her, but she still wasn’t immediately swayed by his charm. I really enjoyed how the episode portrayed their discussion about “what’s next” and then went immediately to the scene of their wedding. For a show about so much pain, it was a pleasure to see two people very much in love and happy. Their tranquility was short-lived however, as the show executed a flash from the bliss of their honeymoon to right in the middle of D-Day. Those last ten or fifteen minutes were non-stop in their intensity, but framing the episode along with Basilone’s joy was truly very interesting because it helps to remind that there is life going on back home while these marines are losing their lives fighting for the United States across the world.
Wednesday, April 28, 2010
What I’m Watching: The Pacific
The Pacific: Season 1, Episode 7 “Peleliu Hills” (B+)
From the end of last episode when the soldiers needed to take one of their own company out for the good of the group and well established in this episode, the enemy is no longer just the Japanese, but also forces that cause the marines to turn on each other, however accidentally. The shooting of two American marines mistaken for Japanese combatants in the middle of the night is another stark and unfortunate incident in a series of unfortunate and tragic unnecessary deaths in the course of this war. This episode in particular took things to a more personal extent, featuring much more direct hand-to-hand, face-to-face combat than ever before. The wounded Americans calling out the names of their fellow marines while in the midst of combat also makes watching it even more difficult to get through in terms of evoking emotion. The new moral center of the show with Leckie not seen in this episode is just as compelling, calling out “Christ! Put him out of his misery!” as the other marines tortured a wounded Japanese soldier. There is an increasing number of breakdowns as the trauma goes on, and there’s such an incredible difference between how it’s handled in big groups versus the more intimate settings, employing comfort rather than stifling. The post-battle rain scenes were very effective, but what’s even more intense and memorable is all of the dialogue between the marines, like “You can’t dwell on it, you can’t dwell on any of it,” a line which is repeated by a marine after it’s first uttered. Thanks for reading, CG! Any additional thoughts?
From the end of last episode when the soldiers needed to take one of their own company out for the good of the group and well established in this episode, the enemy is no longer just the Japanese, but also forces that cause the marines to turn on each other, however accidentally. The shooting of two American marines mistaken for Japanese combatants in the middle of the night is another stark and unfortunate incident in a series of unfortunate and tragic unnecessary deaths in the course of this war. This episode in particular took things to a more personal extent, featuring much more direct hand-to-hand, face-to-face combat than ever before. The wounded Americans calling out the names of their fellow marines while in the midst of combat also makes watching it even more difficult to get through in terms of evoking emotion. The new moral center of the show with Leckie not seen in this episode is just as compelling, calling out “Christ! Put him out of his misery!” as the other marines tortured a wounded Japanese soldier. There is an increasing number of breakdowns as the trauma goes on, and there’s such an incredible difference between how it’s handled in big groups versus the more intimate settings, employing comfort rather than stifling. The post-battle rain scenes were very effective, but what’s even more intense and memorable is all of the dialogue between the marines, like “You can’t dwell on it, you can’t dwell on any of it,” a line which is repeated by a marine after it’s first uttered. Thanks for reading, CG! Any additional thoughts?
Wednesday, April 21, 2010
What I’m Watching: The Pacific
The Pacific: Season 1, Episode 6 “Peleliu Airfield” (A-)
As this miniseries proceeds along, it shows no signs of letting up as its best installment yet brings out and highlights its strongest elements. This episode featured astonishing cinematography, including selected overhead shots and intense dramatizations of the conflict. The scene where one marine passed around his canteen and everyone took a small sip of water was extremely moving, but it was nothing compared to watching thee marines fight their way across to the airfield. It was an extensive sequence that took at least fifteen minutes and didn’t let up at all. While we’ve seen combat already on this show, we haven’t seen this kind of brutal warfare for such a lengthy and unabridged period of time. Keeping track of the characters becomes nearly impossible in that kind of scenario where even the marines can’t distinguish who is who, but focusing on Leckie’s quest to go back made it considerably less difficult and provided an anchor for the scene. His failure to complete his objective, resulting in hospitalization, made it even starker and more effective as a plot point. Seeing Leckie looking completely out of it, wounded and back in a hospital facility yet again, was powerful and intense. Back in the heart of the battle, the commander’s sarcastic woof provided an all-too-brief moment of levity, contrasted by the tragic brutality of the unfortunate death of a marine having a nightmare only moments later. The justification of his death by the marines was another particularly moving scene with showed that, especially in war, nothing is ever quite black and white.
As this miniseries proceeds along, it shows no signs of letting up as its best installment yet brings out and highlights its strongest elements. This episode featured astonishing cinematography, including selected overhead shots and intense dramatizations of the conflict. The scene where one marine passed around his canteen and everyone took a small sip of water was extremely moving, but it was nothing compared to watching thee marines fight their way across to the airfield. It was an extensive sequence that took at least fifteen minutes and didn’t let up at all. While we’ve seen combat already on this show, we haven’t seen this kind of brutal warfare for such a lengthy and unabridged period of time. Keeping track of the characters becomes nearly impossible in that kind of scenario where even the marines can’t distinguish who is who, but focusing on Leckie’s quest to go back made it considerably less difficult and provided an anchor for the scene. His failure to complete his objective, resulting in hospitalization, made it even starker and more effective as a plot point. Seeing Leckie looking completely out of it, wounded and back in a hospital facility yet again, was powerful and intense. Back in the heart of the battle, the commander’s sarcastic woof provided an all-too-brief moment of levity, contrasted by the tragic brutality of the unfortunate death of a marine having a nightmare only moments later. The justification of his death by the marines was another particularly moving scene with showed that, especially in war, nothing is ever quite black and white.
Tuesday, April 13, 2010
What I’m Watching: The Pacific
The Pacific: Season 1, Episode 5 “Peleliu Landing” (B+)
This miniseries is doing a good job of keeping its focus on the conflict abroad while checking in appropriately with its characters that are stateside. As his female friend suggests, Basilone seems to be coping well with his newfound fame and the need to be at home selling war bonds while the war is still raging overseas. In that same light, it’s interesting to see newly enlisted young men shipping out because the conflict is already underway, and it’s important to remember that people are coming in and out constantly, perhaps unaware of the extent to which things are happening on these islands. The slow, generally peaceful first half of this episode was just preparation for a deep dive in the second half. That shot of the doors opening and the marines preparing to head out onto the beach was incredible. This kind of scene has been filmed many times before, most notably in “Saving Private Ryan,” and it’s impressive that it’s still able to be fresh and compelling, and that’s an enormous credit to this show. The same painful, ringing silence experienced by Tom Hanks’ Captain Miller in “Saving Private Ryan” is present here, and it’s just as powerful. This extended battle scene, like the ones that came in the installments before it, sucks you in and doesn’t allow you to leave for the whole of its fifteen-plus minutes. It’s impossible to escape from these horrors of war, and this miniseries continues to do an excellent job driving that point home.
This miniseries is doing a good job of keeping its focus on the conflict abroad while checking in appropriately with its characters that are stateside. As his female friend suggests, Basilone seems to be coping well with his newfound fame and the need to be at home selling war bonds while the war is still raging overseas. In that same light, it’s interesting to see newly enlisted young men shipping out because the conflict is already underway, and it’s important to remember that people are coming in and out constantly, perhaps unaware of the extent to which things are happening on these islands. The slow, generally peaceful first half of this episode was just preparation for a deep dive in the second half. That shot of the doors opening and the marines preparing to head out onto the beach was incredible. This kind of scene has been filmed many times before, most notably in “Saving Private Ryan,” and it’s impressive that it’s still able to be fresh and compelling, and that’s an enormous credit to this show. The same painful, ringing silence experienced by Tom Hanks’ Captain Miller in “Saving Private Ryan” is present here, and it’s just as powerful. This extended battle scene, like the ones that came in the installments before it, sucks you in and doesn’t allow you to leave for the whole of its fifteen-plus minutes. It’s impossible to escape from these horrors of war, and this miniseries continues to do an excellent job driving that point home.
Monday, April 5, 2010
What I’m Watching: The Pacific
The Pacific: Season 1, Episode 4 “Gloucester/Pavuvu/Banika” (B+)
As this miniseries progresses, its scope is becoming even broader as it looks as the psychological implications of war on its participants as well as the people back at home. Robert Leckie is a strong lead character because he refuses to let anything bring him down, and he has an impressive ability to perceive how people see the world. His breakdown, therefore, is all the more meaningful and tragic. The most consistently staggering thing on this program is how people discuss what they believe happened “over there.” After seeing the battle scenes and the devastating violence that occurs, it’s clear that it’s not the work of one man who ends up with a medal, as one marine sarcastically remarks to the others. The time Leckie spends at the naval hospital is particularly telling of the effects of war, and it’s fascinating to see Leckie fully aware of what is going on with everyone else. Dr. Grant’s conversation with him about how most marines would jump at the opportunity to get some time off at a facility that serves pumpkin pie whereas Leckie is itching to get back to the front lines was very powerful. The notion that this war is never-ending continues to be emphasized as the marines are transplanted from one treacherous jungle to another without any sense of where it will lead and when an end might come is increasingly clear now as faces become blended and the dead count only gets higher. This trip to the Pacific is quite a heartening experience.
As this miniseries progresses, its scope is becoming even broader as it looks as the psychological implications of war on its participants as well as the people back at home. Robert Leckie is a strong lead character because he refuses to let anything bring him down, and he has an impressive ability to perceive how people see the world. His breakdown, therefore, is all the more meaningful and tragic. The most consistently staggering thing on this program is how people discuss what they believe happened “over there.” After seeing the battle scenes and the devastating violence that occurs, it’s clear that it’s not the work of one man who ends up with a medal, as one marine sarcastically remarks to the others. The time Leckie spends at the naval hospital is particularly telling of the effects of war, and it’s fascinating to see Leckie fully aware of what is going on with everyone else. Dr. Grant’s conversation with him about how most marines would jump at the opportunity to get some time off at a facility that serves pumpkin pie whereas Leckie is itching to get back to the front lines was very powerful. The notion that this war is never-ending continues to be emphasized as the marines are transplanted from one treacherous jungle to another without any sense of where it will lead and when an end might come is increasingly clear now as faces become blended and the dead count only gets higher. This trip to the Pacific is quite a heartening experience.
Wednesday, March 31, 2010
What I’m Watching: The Pacific
The Pacific: Season 1, Episode 3 “Melbourne” (B+)
The first non-battle episode of this miniseries is a roaring success. The enthusiasm with which the soldiers are greeted in Australia after just being in the throes of all this violence and death in the middle of the jungle presents a fascinating contrast between public perception of what’s going on “over there” and the reality of things. It’s also particularly interesting to see how this foreign crowd reacts to the American soldiers, and more entertainingly, how the Americans react to the Australians. The truth is that boys will be boys, and the amount of alcohol consumed and women flirted with within hours of landing in Melbourne is staggering. Some is certainly amusing, while the rest is definitely more serious and powerful. John has to deal with the unexpected consequences of being called and being awarded a medal of honor, and that last shot of the Golden Gate Bridge is a haunting shot, followed by a close-up of his face, as he prepares to deal with the fact that he now has to sell war bonds back home. Bob staying at Stella’s seems like a fantasy, even if it’s filled with sad stories about the past, and all of the conversations about religion and family are extremely intriguing. Seeing Bob get choked up when the mom says that she prays he’ll come back to them was a particularly moving moment. Of course it all has to get taken away so quickly when the soldiers are told they have to march 100 miles back to Melbourne and then arrives to find his lady no longer interested (“you’re dumping me because you think I’m going to get killed”) and himself reassigned as a result of his drunken behavior. This installment also served to really underline the effect of the war on people back at home, and did an extraordinary job of it.
The first non-battle episode of this miniseries is a roaring success. The enthusiasm with which the soldiers are greeted in Australia after just being in the throes of all this violence and death in the middle of the jungle presents a fascinating contrast between public perception of what’s going on “over there” and the reality of things. It’s also particularly interesting to see how this foreign crowd reacts to the American soldiers, and more entertainingly, how the Americans react to the Australians. The truth is that boys will be boys, and the amount of alcohol consumed and women flirted with within hours of landing in Melbourne is staggering. Some is certainly amusing, while the rest is definitely more serious and powerful. John has to deal with the unexpected consequences of being called and being awarded a medal of honor, and that last shot of the Golden Gate Bridge is a haunting shot, followed by a close-up of his face, as he prepares to deal with the fact that he now has to sell war bonds back home. Bob staying at Stella’s seems like a fantasy, even if it’s filled with sad stories about the past, and all of the conversations about religion and family are extremely intriguing. Seeing Bob get choked up when the mom says that she prays he’ll come back to them was a particularly moving moment. Of course it all has to get taken away so quickly when the soldiers are told they have to march 100 miles back to Melbourne and then arrives to find his lady no longer interested (“you’re dumping me because you think I’m going to get killed”) and himself reassigned as a result of his drunken behavior. This installment also served to really underline the effect of the war on people back at home, and did an extraordinary job of it.
Thursday, March 25, 2010
What I’m Watching: The Pacific
The Pacific: Season 1, Episode 2 “Basilone” (B+)
Episode two of this miniseries maintains the quality of the first installment while delving further into the conflict and the intensity of the situation in which the soldiers find themselves. All of the positives of the first episode are still there, and it appropriately has the same feel, which is helpful because this is a limited series and therefore should be cohesive, even though it spans a good amount of time and takes on a considerable breadth of events. Centering on a few specific characters is a great way of making the series relatable instead of simply gazing from afar at a huge army. Robert Leckie (James Badge Dale) seems to be the one with the most personality, and therefore he’s a good anchor for the show. Writing his letters to the girl back home is one way of staying connected to civilization and remaining sane, but his poetry is another helpful and intriguing thing that makes Leckie even more of a three-dimensional character. The battle scenes continue to be powerful and unrelentingly lengthy, and it’s not as if they’re becoming any less interesting or engaging as the show goes on. I’m certainly interested in continuing with this show even though I don’t have much to necessarily say about it since it seems to be keeping up the standard of quality that has been established by and has come to be expected from HBO. Eight more installments of this miniseries will definitely prove interesting., and I’m very much looking forward to them. Are you watching?
Episode two of this miniseries maintains the quality of the first installment while delving further into the conflict and the intensity of the situation in which the soldiers find themselves. All of the positives of the first episode are still there, and it appropriately has the same feel, which is helpful because this is a limited series and therefore should be cohesive, even though it spans a good amount of time and takes on a considerable breadth of events. Centering on a few specific characters is a great way of making the series relatable instead of simply gazing from afar at a huge army. Robert Leckie (James Badge Dale) seems to be the one with the most personality, and therefore he’s a good anchor for the show. Writing his letters to the girl back home is one way of staying connected to civilization and remaining sane, but his poetry is another helpful and intriguing thing that makes Leckie even more of a three-dimensional character. The battle scenes continue to be powerful and unrelentingly lengthy, and it’s not as if they’re becoming any less interesting or engaging as the show goes on. I’m certainly interested in continuing with this show even though I don’t have much to necessarily say about it since it seems to be keeping up the standard of quality that has been established by and has come to be expected from HBO. Eight more installments of this miniseries will definitely prove interesting., and I’m very much looking forward to them. Are you watching?
Thursday, March 18, 2010
What I’m Watching: The Pacific (Miniseries Premiere)
The Pacific: Season 1, Episode 1 “Guadalcanal/Leckie” (B+)
Leave it to HBO to convince you by the end of the opening credits that what you’re watching is the single greatest television production ever made. The main title design certainly is fearsome, and HBO has quite a reputation for its quality-heavy shows and its extremely successful “Band of Brothers” miniseries from a number of years ago (which I haven’t seen, but I’ve only heard great things). This marks the first time that I’m watching an HBO miniseries live as it airs, after failing miserably to catch up on “John Adams” in time to make it past the first episode. All the grandeur and the hype leading up to it doesn’t mean that the first installment of this miniseries falls short. It may not be the most magnificent event in the history of television, but it’s still an impressive presentation. The introductory sequences back on the United States mainland help to ground the show in the time period and explain the motivations of its young heroes for going off to war. Once there, it feels like the full experience of war almost instantly, and this is only the beginning. With nine installments to come, it’s definitely going to get more intense and we’ll really get a look into the minds and souls of these characters. James Badge Dale’s character, PFC Robert Leckie, is already being established as a conscience among this corps when he mercifully ends the Japanese soldier’s life by shooting him instead of letting his fellow soldiers finish him off slowly and painfully. This may as well be a bona fide HBO series, but since it only takes place over a specific period of time and is set to play out over one season, it’s considered a miniseries. In terms of the casting, it’s a real pleasure to see not one but two “Wonderfalls” alumni appearing in an HBO production, Caroline Dhavernas as Robert’s neighbor back home and William Sadler as the passionate Lieutenant Colonel Chesty Puller.
Leave it to HBO to convince you by the end of the opening credits that what you’re watching is the single greatest television production ever made. The main title design certainly is fearsome, and HBO has quite a reputation for its quality-heavy shows and its extremely successful “Band of Brothers” miniseries from a number of years ago (which I haven’t seen, but I’ve only heard great things). This marks the first time that I’m watching an HBO miniseries live as it airs, after failing miserably to catch up on “John Adams” in time to make it past the first episode. All the grandeur and the hype leading up to it doesn’t mean that the first installment of this miniseries falls short. It may not be the most magnificent event in the history of television, but it’s still an impressive presentation. The introductory sequences back on the United States mainland help to ground the show in the time period and explain the motivations of its young heroes for going off to war. Once there, it feels like the full experience of war almost instantly, and this is only the beginning. With nine installments to come, it’s definitely going to get more intense and we’ll really get a look into the minds and souls of these characters. James Badge Dale’s character, PFC Robert Leckie, is already being established as a conscience among this corps when he mercifully ends the Japanese soldier’s life by shooting him instead of letting his fellow soldiers finish him off slowly and painfully. This may as well be a bona fide HBO series, but since it only takes place over a specific period of time and is set to play out over one season, it’s considered a miniseries. In terms of the casting, it’s a real pleasure to see not one but two “Wonderfalls” alumni appearing in an HBO production, Caroline Dhavernas as Robert’s neighbor back home and William Sadler as the passionate Lieutenant Colonel Chesty Puller.
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