Five Favorite Episodes of "STAR TREK DEEP SPACE NINE" Season Two (1993-1994)

 

 

Below is a list of my five favorite episodes from Season Two of "STAR TREK DEEP SPACE NINE". Created by Rick Berman and Michael Piller; the series starred Avery Brooks as Commander Benjamin Siesko:



FIVE FAVORITE EPISODES OF "STAR TREK DEEP SPACE NINE" SEASON TWO (1993-1994)



1. (2.23) "Crossover" - First Officer Major Kira Nerys and Dr. Julian Bashir accidentally cross into an alternate world known as the Mirror Universe, where a Klingon-Cardassian alliance rules over the quadrant's former rulers, Terrans (Humans), who are now the enslaved.

2. (2.24) "The Collaborator" - When a Bajoran collaborator named Kubus Oak announces his intentions to return home from exile and is denied passage by Kira Nerys; he contacts Vedek Winn, who is engaged in a power play to become Kai against Vedek Bareil, with evidence that the latter may have been partially responsible for a Cardassian massacre during the latter's occupation of Bajor.

3. (2.10) "Sanctuary" - The Skrreea, displaced humanoid farmers and political refugees from the Gamma Quadrant, seek to make Bajor their new home, despite opposition from the Bajoran government.

4. (2.22) "The Wire" - Dr. Bashir fights to save the life of former Cardassian spy-turned-tailor when a device implanted in the latter's brain, designed to alleviate pain in the event of torture, begins to malfunction and slowly kill him.

5. (2.08) "Necessary Evil" - When Deep Space Nine's local bar owner Quark is shot, the station's constable Odo relives memories of a five-year-old investigation when he served under the Cardassians.

"THE SITTAFORD MYSTERY" (2006) Review

 

"THE SITTAFORD MYSTERY" (2006) Review

I have never read Agatha Christie's 1931 novel, "The Sittaford Mystery". And I have read a lot of her novels. But since the novel did not feature Hercule Poirot, Miss Jane Marple, or Tommy and Tuppence Beresford; I never took the trouble to read it. Well, that is not fair. I can think of at least two or three Christie novels that did not feature any of these sleuths that I have read. But I have never read "The Sittaford Mystery".

So, imagine my surprise when I discovered that the ITV channel had aired an adaptation of the novel in which Geraldine McEwan appeared as Jane Marple. Okay. This is not the first time this has happened, considering that Christie did not write that many Miss Marple novels. "THE SITTAFORD MYSTERY" revolved around the murder of a politician who is viewed as a potential Prime Minister in the 1950s. The story begins in the 1920s Egypt, where Clive Trevelyan and a few companions stumble across an important archaeological discovery. Then the story jumps nearly thirty years later when Trevelyan, now a politician, returns to his home Sittaford House in Dartmoor with his aide John Enderby, while Parliament decides on whether he will become Britain's new Prime Minister, following the retirement of Sir Winston Churchill. Due to his friendship with the novelist Raymond West, Trevelyan finds himself forced to accept the latter's elderly aunt, Miss Jane Marple, as a house guest.

Much to Miss Marple and Enderby's surprise, Treveylan decides to chance the snowy weather outside and stay at a local hotel six miles away. The hotel include guests who seemed to be very familiar with Treveylan or familiar with an escapee from the local Dartmoore prison. One of the guests conduct a séance using a Ouiji board, which predicts Treveylan's death. Hours later, the politician is found stabbed to death in his room. With Miss Marple stuck at Sittaford House (temporarily); Enderby; a young journalist named Charles Burnaby; and Emily Trefusis, the fiancee of Treveylan's wastrel ward James Pearson; set out to find the murderer. However, it is not long before the trio find themselves seeking Miss Marple's help.

"THE SITTAFORD MYSTERY" strikes me as a rather confusing tale. I have a deep suspicion that in his effort to somewhat change the plot from Christie's original novel, screenwriter Stephen Churchett ended up creating a very convoluted story . . . right up to the last reel. I have seen this movie twice and for the likes of me, I still have no real idea of what was going on . . . aside from the first fifteen minutes and the movie's denouement. I was aware that the hotel featured guests that had connections with or knew Treveylan, including a former lover, her wallflower daughter, a middle-aged woman who seemed to be a fan of Treveylan, and an American businessman and his aide.

Churchett created a script filled with so many red herrings - unnecessary, as far as I am concerned - that I simply gave up in trying to guess the murderer's identity and waited for Miss Marple to expose him or her. Upon my first viewing. Upon my second viewing, I tried to examine the plot for any hints or clues that would lead to the killer's identity. Unfortunately, that did not happen until at least fifteen minutes before Miss Marple revealed the killer. I was also disappointed with how the movie resolved the romantic entanglements of Emily Trefusis, Charles Burnaby, James Pearson and a fourth character. I found it so contrived, for it came out of left field with no set up or hint whatsoever. What I found even more unconvincing was the last shot of the murderer staring at the camera with an evil grin. This struck me as an idiotic attempt by director Paul Unwin to channel or copy Alfred Hitchcock's last shot of Anthony Perkins in the 1960 movie, "PYSCHO". I found that moment so ridiculous.

I will give kudos to Rob Harris, the movie's production designer. I thought he did a competent job in creating the movie's setting - a snowbound English community in the early-to-mid 1950s. But do to the majority of the film being limited to either Treveylan's home and the hotel, Harris really did not have much to work with. Frances Tempest certainly did with her costume designs. I found nothing outstanding about them. But I must admit that I found them rather attractive, especially the costumes that actress Zoe Telford wore. On the other hand, I found Nicholas D. Knowland's cinematography rather odd . . . and not in a positive way. I did not like his photography, if I must be brutally honest. His unnecessary close-ups and odd angles struck me as an amateurish attempt by him and Unwin to transform "THE SITTAFORD MYSTERY" into an independent film or Hammer-style horror flick.

The performances in "THE SITTAFORD MYSTERY" proved to be a mixed bag. I have usually been a fan of Geraldine McEwan's portrayal of Miss Jane Marple. But I feel that she took the whole "verbose elderly lady" act a bit too far . . . especially in her scenes with Timothy Dalton during the first fifteen to twenty minutes. If I must be honest, most of the performances in the film seemed to be either over-the-top or close to being over-the-top. This was especially the case for Michael Brandon, Zoe Telford, Laurence Fox and Patricia Hodge. James Murray managed to refrain himself during most of the film. But even he managed to get into the act during the movie's last fifteen minutes or so. Carey Mulligan's performance seemed competent. She did not blow my mind, but at least she did not annoy me. Robert Hardy made a cameo appearance as Prime Minister Winston Churchill. This marked the eighth or ninth time the actor portrayed the politician and honestly, I could see this appearance was nothing more than a walk in the park for him. There were only four performances I truly enjoyed. One came from Mel Smith, who gave a very competent performance as Treveylan's right-hand man, John Enderby. I could say the same about Rita Tushingham, who gave a nuanced performance as a mysterious woman with knowledge of an ugly part in Treveylan's past. The role proved to be his last, for he passed away not long after the film's production. James Wilby was satisfyingly subtle as the town's local hotel owner, who had a secret to maintain. For me, the best performance came from Timothy Dalton, who was dazzling at the story's main victim, Clive Trevelyan. Considering that he was portraying a somewhat theatrical character, it is amazing that he managed to keep his performance under control, and struck a tight balance between theatricality and subtlety.

It is obvious to anyone reading this review that I did not like "THE SITTAFORD MYSTERY". I could complain about the changes made to Agatha Christie's novel. But I have never read it, so I saw no point in making any comparisons. But I still cared very little for the movie. I found the direction and photography rather amateurish. And aside from a few first-rate performances, I was not that impressed by the majority of the cast's acting - including, unfortunately, Geraldine McEwan's.

"TITANIC" (1953) Photo Gallery

Below are images from "TITANIC", the 1953 movie version of the sinking of the S.S. Titanic. Directed by Jean Negulesco, the movie starred Barbara Stanwyck and Clifton Webb:

"TITANIC" (1953) Photo Gallery

"CHARMED" RETROSPECT: (2.14) "Pardon My Past"

 

"CHARMED" RETROSPECT: (2.14) "Pardon My Past"

In the "CHARMED" Season Two episode, (2.14) "Pardon My Past", one of the Charmed Ones – Phoebe Halliwell - is haunted by a spirit from her past life. The past life turned out to be one P. Russell, a first cousin of the Halliwell sisters' great-grandmother.

To find out why she is being haunted by P. Russell’s spirit, Phoebe visited 1924 and discovered that P. Russell was a pyrokinetic witch who had been romanced by a warlock named Anton. While in the past, Phoebe also acquired a glimpse into the past lives of her older sisters – Prue and Piper. She discovers that they were former relatives of P. Russell that were out to destroy her and all the latter's future lives before any of them can become completely evil. Prue and Piper must then stop their past lives' curse in the present before Phoebe falls victim to it and dies.

Did this episode sound confusing? I thought it did. "Pardon My Past" was the second episode, following Season One's (1.17) "That 70s Episode" that revealed a bit of the Charmed Ones' family past history. And like many of these type of episodes . . . it had a lot of flaws. Let us take a look at them, shall we?

Flaws in "Pardon My Past"

*Ownership of the Manor – In this episode, it was revealed that the parents of the sisters’ grandmother – Penelope Johnson Halliwell – were living in the manor in 1924. Yet, according to the Season One episode, (1.15) "Is There a Woogy in the House?", the Halliwells (which happened to be Penny Halliwell's in-laws) had purchased the manor following the San Francisco Earthquake in 1906.

*The Ages of Phoebe Halliwell and P. Russell - While perusing the Warren family tree, Phoebe had this to say about her past life:

"I think that this one is me. (She points to P. Russell) She died February 17th, 1924. The same age I am also."

How was this possible? According to the family tree, P. Russell was born on July 1894 and died on February 17, 1924. She was 29 years old when her cousins killed her. The episode "Pardon My Past" occurred between February 16-18, 1924; and February 16-18, 2000. Phoebe was born on November 2, 1975; making her 24 years old at the time of the story, not 29 years old.


*Past Life for Leo Wyatt? - According to Phoebe, she had spotted the past life of the Charmed Ones' whitelighter, Leo Wyatt, in 1924; and was P. Baxter’s (Past Piper) lover. I am curious. How was this possible? The series has claimed that Leo was born in May 1924. But again, this is not possible. According to the Season One episode, (1.21) "Love Hurts", Leo had been a medical student when he joined the Army in 1942:

"No. World War II. I left med school and enlisted as a medic. I wanted to help save people not shoot them. The last thing I remember, I was bandaging a soldier's head wound and I felt a sharp pain and the next thing I know I was floating surrounded by White Lighters."

If Leo had been in medical school at the time when the U.S. entered World War II in December 1941, he should have at least older than 22 years old when he joined the Army. Which means that he should have already been alive at the time of P. Russell’s death in 1924.


*Phoebe’s Theory - How did Phoebe get the idea that she was going to die within a day, because of her encounter with her past spirit? From the moment she had encountered P. Russell’s spirit on the very anniversary that the latter was killed, Phoebe made this assumption:

"So, it doesn’t mean that I’m going to die today too, right?"

Even before she found out about the curse placed on P. Russell’s future selves, Phoebe came to the conclusion that she was doomed to die:

"Phoebe: Not much time. By midnight, I’ll be dead again.
Piper: By midnight? How do you know that?
Phoebe: Midnight, a full moon, what’s the difference? It’s always one or the other, right? I know I won’t make it to February 18th unless…
Leo: You go back to the past again and find some answers."

How on earth did she come to this conclusion without knowing the facts? Or was this another example of the Halliwells producing theories out from their respective asses?


*Phoebe’s Ability - Phoebe had asked Leo why she did not have a power like P. Russell’s – pyrokinesis. This is what Leo had told her:

"Well, if you screw up your regrets. Your past self must have abused the power. That's why it was taken away from you."

What the hell? How did Leo come to this conclusion? Although Past Piper (P. Baxter)’s ability, slow down others, was a variation of Piper’s ability; Past Prue (P. Bowen)’s ability turned out to be cyrokinesis (freezing ability), which had nothing to do with Prue’s abilities of telekinesis or astral projection. Nor did P. Russell’s ability (pyrokinesis) have anything to do with Phoebe’s ability of precognition. And why is Phoebe’s precognition ability considered a REGRESSION of P. Russell’s fire ability? Phoebe is a seer. She has the ability to summon information on the past, the present and the future through visions. Information is power. Both of her parents have told Phoebe that many magic practitioners would kill to be a seer. Apparently, Phoebe never believed them. Even the Source did not want Phoebe’s precognition ability . . . despite the fact that he had depended upon two seers. Which only told me that even intelligent individuals like Phoebe and the Source can be incredibly stupid.


*The Warlock – Anton - So, Anton(who was P. Russell’s lover) was supposed to be a warlock? How is that possible? It is quite apparent that Anton had never aged during the 76 years between 1924 and 2000. It was established in the series' first episode, (1.01) "Something Wicca Comes This Way" that warlocks were merely witches who had gone bad:

"A bad witch or a warlock . . ."

Despite what Leo has claimed, witches ARE mortals. If Piper could die from a bullet wound in an alternate timeline, then witches are mortals. And if witches are mortals, then warlocks should also be mortals. Which means that either Anton should have aged, used magic to prevent aging, or he was something other than a warlock. Also . . . the sisters and Leo have declared many times that evil cannot love. Yet, Anton was in love with P. Russell and had remained in love with her for a long time.


*Phoebe’s Warning in the Book of Shadows - Apparently, all of Phoebe's future lives are doomed to die in their early 20's unless they can somehow stop P. Bowen and P. Baxter’s curse from affecting them. They end up saving present Phoebe by putting the necklace on her, but the rest of her future lives are still doomed to die in their early 20's. Thus, Phoebe wrote a warning in the Book of Shadows to warn her future selves about this. What if Phoebe’s future selves do not end up as a member of the Warren family line? Had anyone stopped to think of this?


*Gordon Johnson’s Piano Talent . . . or Lack Of - Greg Vaughn, who portrayed the Charmed Ones’ great-grandfather, Gordon Johnson, was shown playing the piano in 1924. Unfortunately, it appeared that Vaughn lacked the talent to fake playing the piano. One can easily see that his fingers do not even reach the keys.


*The Confusing Warren Family Tree - This episode marked the only appearance of the Warren family (which began with Charlotte and Melinda Warren) tree. I came across some interesting entries that seem contradictory:

-Grams' age: According to the family tree, Penelope Johnson (the sisters’ grandmother) was born in 1937. She gave birth to her only daughter, Patricia Halliwell, in 1950. Are we really expected to believe that Grams gave birth to Patty at the age of 13? I rather doubt it. The family tree also stated that Grams had died on March 3, 1968. Gee, the creator of the family got the date of Grams' death wrong by 30 years and six months.

-Piper’s birth year: According to the family tree, Piper was born in August 1973. Yet, in one Season One episode, Piper had identified herself as a Gemini. Also, in another Season One episode, (1.03) "Thank You For Not Morphing",the Charmed Ones' father Victor Halliwell (later renamed Victor Bennett) made it apparent that she was three years older than Phoebe, who was born in 1975. The Season Three episode (3.09) "Coyote Piper" supported Victor’s words with its revelation that Piper had graduated from Baker High in 1990, making her birth date of 1972 very plausible. And I doubt that young Piper was less than two years old in "That 70s Episode".

-The name of the Charmed Ones’ grandfather: According to the family tree, the name of the sisters’ maternal grandfather happened to be Jack Halliwell. Yet in the Season Six episode, (6.11) "Witchstock", he was renamed Allen. All I can say is . . . what happened to Jack?


I wish I could say that "Pardon My Past"’s glimpse into the Warren family line was interesting. But it was filled with so many inconsistencies that I cannot help but harbor a little contempt for screenwriter Michael Gleason, who had penned this episode; and for Constance Burge who produced it in the first place.

R.I.P. Shannen Doherty (1971-2024)

"BAND OF ANGELS" (1957) Review

 

"BAND OF ANGELS" (1957) Review

I have been a fan of period dramas for a long time. A very long time. This is only natural, considering that I am also a history buff. One of the topics that I love to explore is the U.S. Civil War. When you combined that topic in a period drama, naturally I am bound to get excited over that particular movie or television production.

I have seen a good number of television and movie productions about the United States' Antebellum period and the Civil War. One of those productions is "BAND OF ANGEL", an adaptation of Robert Warren Penn's 1955 novel set during the last year of the Antebellum period and the first two years of the Civil War.

The story begins around 1850. Amantha Starr, the privileged daughter of a Kentucky plantation owner, overhears one house slave make insinuations about her background to another slave. Before Amantha (or "Manthy") could learn more details, she discovers that Mr. Starr had the offending slave sold from the family plantation, Starwood. He also enrolls Amantha in a school for privileged girls in Cinncinati. A decade later in 1860, Amantha's father dies. When she returns to Starwood, Amantha discovers that Mr. Starr had been in debt. Worse, she discovers that her mother had been one of his slaves, making herself a slave of mixed blood. Amantha and many other Starwood slaves are collected by a slave trader and conveyed by steamboat to New Orleans for the city's slave mart.

Upon her arrival in New Orleans, Amantha comes dangerously close to be purchased by a coarse and lecherous buyer. However, she is rescued by a Northern-born planter and slave owner named Hamish Bond, and becomes part of his household as his personal mistress. She also becomes acquainted with Bond's other house slaves - his right-hand-man named Rau-Ru, his housekeeper and former mistress Michele and Dollie, who serves as her personal maid. Although Amantha initially resents her role as a slave and Bond's role as her owner, she eventually falls in love with him and he with her. But the outbreak of the Civil War and a long buried secret of Bond's threaten their future together.

Many critics and film fans have compared "BAND OF ANGELS" to the 1939 Oscar winner, "GONE WITH THE WIND". Frankly, I never understood the comparison. Aside from the setting - late Antebellum period and the Civil War - and Clark Gable as the leading man, the two films really have nothing in common. "GONE WITH THE WIND" is a near four-hour epic that romanticized a period in time. Although "BAND OF ANGELS" have its moments of romanticism, its portrayal of the Old South and the Civil War is a bit more complicated . . . ambiguous. Also, I would never compare Scarlett O'Hara with Amantha Starr. Both are daughters of Southern plantation owners. But one is obviously a member of the Southern privileged class, while the other is the illegitimate and mixed race daughter of a planter and his slave mistress. Also, Gable's character in "BAND OF ANGELS" is a Northern-born sea captain, who became a planter; not a semi-disgraced scion of an old Southern family.

Considering the political ambiguity of "BAND OF ANGELS", I suppose I should be more impressed with it. Thanks to Warren's novel, Ivan Goff and Ben Roberts' screenplay and Raoul Walsh's direction; the movie attempted to provide audiences with a darker view of American slavery and racism. For instance, Amantha's personal journey as a slave proved to be a harrowing one, as she deals with a slave trader with plans to rape her, a traumatic experience at the New Orleans slave mart, Bond's lustful neighbor Charles de Marigny and her attempts to keep her African-American ancestry a secret from a Northern beau later in the film. The film also touches on Rau-ru's point of view in regard to slavery and racism. Despite being educated and treated well by Hamish Bond; Rau-ru, quite rightly, is resentful of being stuck in the role of what he views as a cosseted pet. Rau-ru also experiences the ugly racism of planters like de Marigny and slave catchers; and Northerners like some of the Union officers and troops that occupied New Orleans and Southern Louisiana in the movie's last half hour. I also noticed that the movie did not hesitate to expose the ugliness of the slave trade and the system itself, including the reveal the fate of a great number of slaves who found themselves being forced by Union forces to continue toiling on the cotton and sugar plantations on behalf of the North.

There are other aspects of the movie that I found admirable. Not all of "BAND OF ANGELS" was shot at the Warner Brothers Studios in Burbank. A good of the movie was shot on location in Louisiana. I have to give credit to cinematographer Lucien Ballard for doing an exceptional job for the film's sharp and vibrant color, even if the movie lacked any real memorable or iconic shot. If I must be honest, I can say the same about Max Steiner's score. However, I can admit that Steiner's score blended well with the movie's narrative, I just did not find it memorable. Marjorie Best, who had received Oscar nominations for her work in movies like "ADVENTURES OF DON JUAN" and "GIANT", served as the movie's costume designer. I was somewhat impressed by her designs, especially for the male characters, ironically. However, I had a problem with her costumes for Yvonne De Carlo. Nearly dress that the Amantha Starr character wore, possessed a low cut neckline that emphasized her cleavage. Even her day dresses. Really?

After reading a few reviews about "BAND OF ANGELS", I noticed that some movie fans and critics were not that impressed by the film's performances. I have mixed feelings about them. Clark Gable seemed to be phoning it through most of the film. But there were a few scenes that made it easy to see why he not only became a star, but won an Oscar well. This was apparent in two scenes. One of them featured the Hamish Bond character recalling the enthusiasm and excitement of his past as a sea captain. And in another scene that impressed me, Bond recalled the "more shameful" aspects of his past. At age 34 or 35, I believe Yvonne De Carlo was too old for the role of Amantha Starr, who was barely into her twenties in the story. Some would say that the role could have benefited from being portrayed by a biracial actress and not a white one. Perhaps. But despite the age disparity, I still thought De Carlo gave a very strong performance as the passionate and naive Amantha, who suddenly found her life turned upside down. Ironically, I thought her scenes with Sidney Poitier seemed to generate more chemistry than her ones with Gable. Speaking of Poitier . . . I might as well say it. He gave the best performance in the movie. His Rau-ru bridled with a varying degree of emotions when the scene called for it. And the same time, one could easily see that he was well on his way in becoming the Hollywood icon that Gable already was at the time.

There were other performances in "BAND OF ANGELS", but very few of them struck me as memorable. The movie featured solid performances from Rex Reason, who portrayed Amantha's Northern-born object of her earlier infatuation - Seth Parson; Efrem Zimbalist Jr., who not only portrayed Amantha's later suitor Union officer Lieutenant Ethan Sears, but was already on the road as a television star; Carroll Drake, who portrayed Hamish Bond's introverted and observant housekeeper Michele; Andrea King, who portrayed Amantha's hypocritical former schoolmistress Miss Idell; William Schallert, who had a brief, but memorable role as a bigoted Union Army officer; and Torin Thatcher, who portrayed Bond's fellow sea captain and friend Captain Canavan. Many critics had accused Patric Knowles of bad acting. Frankly, I found his performance as Bond's neighbor and fellow planter Charles de Marigny effectively slimy . . . in a subtle way. Ray Teal was equally effective as the slimy and voracious slave trader Mr. Calloway, who had conveyed Amantha to the slave marts of New Orleans. The only performance that hit a sour note from me came from Tommie Moore, who portrayed one of Bond's house maids, the loud and verbose Dollie. Every time she opened her mouth I could not help but wince at her over-the-top and if I may say so, cliched performance as Dollie. I think I could have endured two hours in the company of characters like Prissy and Aunt Pittypat Hamilton from "GONE WITH THE WIND" than five minutes in Dollie's company. I guess I could have blamed the actress herself. But a part of me suspect that the real perpetrators were screenwriters John Twist, Ivan Goff and Ben Roberts; along with director Raoul Walsh.

I wish that was all I had to say about "BAND OF ANGELS". I really do. But . . . despite the movie's portrayal of the ugliness of slavery and racism, it ended up undermining its attempt. Quite frankly, I found "BAND OF ANGELS" to be a very patronizing movie - especially in regard to race. And the most patronizing character is this movie turned out to be Hamish Bond. Someone had once complained that although the movie initially seemed to revolve around Amantha Starr, in the end it was all about Bond. I do not know if I could fully agree with this, but I found it disturbing that the character "growths" of both Amantha and Rau-ru revolved around Bond and their opinion of him.

One aspect of "BAND OF ANGELS" that I found particularly bizarre was Amantha's opinion of Hamish Bond's connection to slavery. At first, she simply resented him for being her owner. But she eventually fell in love with him and opened herself to being his mistress. Amantha certainly had no problems during that ridiculous scene that featured Bond's field slaves lined up near the river side to welcome him back to his plantation with choral singing. Really? This was probably the most patronizing scene in the entire movie. Yet, when Amantha discovered that his past as a sea captain involved his participation in the Atlantic slave trade, she reacted with horror and left him. Let me see if I understand this correctly. Once she was in love with Bond, she had no problems with being his slave mistress or his role as a slave owner. Yet, she found his participation in the slave trade to be so awful that she . . . left him? Slave owner or slave trader, Hamish Bond exploited the bodies of black men and women. Why was being a slave trader worse than being a slave owner? Not only do I find this attitude hypocritical, I also noticed that it had permeated in a good deal of other old Hollywood films set in the Antebellum era. Even more disturbing is that after becoming romantic with an Union officer named Ethan Sears, Amantha has a brief reunion with her former object of desire, Seth Parsons. He reveals knowing about her mother's ancestry and her role as Bond's mistress, and tries to blackmail her into becoming his. In other words, Seth's knowledge of her racial background and her history with Bond leads Amantha to run back into the arms of Bond. And quite frankly, this makes no sense to me. Why would Seth's attempt to blackmail Amantha lead her to forgive Bond for his past as a slave trader? The movie never really made this clear.

I found the interactions between Rau-ru and Hamish Bond even more ridiculous and patronizing. Rau-ru is introduced as Bond's major-domo/private secretary, who also happens to be a slave. Despite receiving education from Bond and a high position within the latter's household, Rau-ru not only resents Bond, but despises him. And you know what? I can understand why. I noticed that despite all of these advantages given to Rau-ru, Bond refuses to give him his freedom. Worse, Bond treats Rau-ru as a pet. Think I am joking? I still cannot refrain from wincing whenever I think of the scene in which Bond's friend, Captain Canavan, visited and demanded that Rau-ru entertain him with a song without any protest from Bond. This scene struck me as very vomit inducing. What made the situation between Rau-ru and Bond even worse is that the former made an abrupt about face about his former master during the war . . . all because the latter had revealed how he saved Rau-ru's life during a slave raid in Africa and - get this - some bigoted Union Army officer tried to cheat Rau-ru from a reward for capturing Bond. The former sea captain/planter ended up leaving his estate to Rau-ru in a will. How nice . . . but I suspect he did so after Amantha had left him. If not, my mistake. And why did Bond failed to give Rau-ru his freedom before the outbreak of war? Instead, Rau-ru was forced to flee to freedom after saving Amantha from being raped by Charles de Marigny. In Robert Warren's novel, Rau-ru eventually killed Bond. Pity this did not happen in the movie.

Overall, I see that my feelings for "BAND OF ANGELS" is mixed. There are some aspects of the movie that I found admirable. I might as well admit it. The movie especially benefited from Lucien Ballard's colorful photography, an interesting first act and an excellent performance by Sidney Poitier. Otherwise, I can honestly say that "BAND OF ANGELS" focused too much on the Hamish Bond character and was a bit too patronizing on the subject of race and slavery for me to truly enjoy it.

"THE AMERICANS" Season One (2013) Photo Gallery

 

Below are images from Season One of "THE AMERICANS", the new FX television drama. Created by Joe Weisberg, the series stars Keri Russell and Matthew Rhys:




"THE AMERICANS" SEASON ONE (2013) Photo Gallery