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Douglas Pratt

By Douglas Pratt Pratt@moviecitynews.com

DVD Geek: The Killing

More and more, movies seem like short stories and TV shows seem like novels. It took two ‘seasons’ (actually, each is a half-length season) for the murder mystery program, The Killing, to reach its highly satisfying conclusion. Set in Washington State, it is stocked with more red herrings than Seattle’s Pike Place Fish Market. But if you sit down over a weekend and watch the whole two seasons at once, it is a wonderfully involving mystery with rich character development and nearly constant suspense. You know they aren’t finding the killer in the second episode, but that doesn’t stop you from thinking that they have.

The Killing: The Complete First Season, opens with an outright spoof of the opening of Twin Peaks and then proceeds along much the same lines, minus the close-ups of traffic lights, as a Seattle cop, played by Mireille Enos, continually postpones her retirement to investigate the murder of a high school coed. Sure enough, like Twin Peaks, at first the coed appears to be innocent and pure, but eventually it appears that she was hooking on the side at a nearby casino. Originally broadcast in 2011, thirteen 45-minute episodes (the last episode runs 48 minutes) are spread to four platters. Each episode represents a day in the investigation, and it seems like each opens with a new suspect that just has to be the one who did it, only to close with the focus shifting to someone else. Indeed, much to the consternation of fans but in keeping with its witty storytelling, the entire season ends just the same way. At the same time, there is a mayoral election approaching and the victim is discovered in the trunk of a car belonging to one of the campaigns. Enos is a little vague as the heroine, both as a detective and as a single mom, but Joel Kinnaman is terrific as her stoner partner and the program, as it leaps from suspect to suspect, is highly addictive. There is a substantial amount of time devoted to the grieving family, and the program does a good job at charting the arc of that grief. It also is always raining, which is different from the real Seattle, where it is always just drizzling (it actually rains more in New York), but is great for moody murder mysteries. Agnieszka Holland directed one of the episodes.

Each platter has a ‘Play All’ option. The picture is presented in letterboxed format only, with an aspect ratio of about 1.78:1 and an accommodation for enhanced 16:9 playback. The color transfer looks fine, despite all the dark and rain. The 5.1-channel Dolby Digital sound is quite good, with a strong dimensionality and some nice directional effects. There are optional English, French and Spanish subtitles. The final platter contains a passable 17-minute production featurette (as usual with shows set in Seattle, most of the program was shot in Vancouver—and the cast members, including Enos, occasionally mispronounce local names), a 5-minute blooper reel and 13 minutes of wisely trimmed sequences, although there is one nice segment where the younger brothers of the victim get into a fight, and a little more elaboration to the season’s final minutes. The first and last episodes are also accompanied by commentary tracks featuring a couple of members of the cast and the crew. They talk about the aspects of the show that they feel are unique, a few of the challenges that confronted them (Enos was pregnant during some of the shoot) and how everybody wants to know who the murderer really is. “We were sworn to secrecy. We swore an oath of secrecy and I believe it’s only the writers in the room who know who the killer is and we had to talk to each other about keeping our faces passive when we spoke to cast members and people in the beginning would try to get it out of us. It’s like, ‘I’m sorry. Pain of death. I cannot tell you.’”

Demonstrating a bit of a lack of faith, Fox released The Killing The Complete Second Season directly onto the Internet as a Fox Cinema Archives title. Spread to three platters, there are another thirteen 43-minute episodes, and each platter has a Play All option. In keeping with the cost-cutting manner of its release, however, the sound is dialed back to a standard stereo mix that is not as pleasingly dimensional as the 5.1 mix on First Season, and there is no subtitling or captioning. The picture quality and format are commensurate with First Season. There is one special feature, a 5-minute video that was ‘shot’ by the victim.

First and foremost, Second Season, originally broadcast in 2012, picks right up where First Season left off, and brings the story, by the end, to a fully satisfying and resolute conclusion. Secondly, the rain continues. Some viewers may feel the story is stretched out, but that just makes the final few episodes leading up to the end all the more nail-biting, and the atmosphere along the way all the more succulent. The writers have a tough juggling act, telling the story in just four weeks or so, because the characters go through so much—one character is even shot and paralyzed, but is up and about in a wheelchair a couple of days/episodes later. The background of Enos’ character is developed a bit more, and she seems more comfortable in her part than she did in First Season, as her character’s desperation becomes more frustrated—her performance is outstanding in a psychiatric ward sequence.

 

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The Ultimate DVD Geek

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“When Bay keeps these absurd plot-gears spinning, he’s displaying his skill as a slick, professional entertainer. But then there are the images of motion—I hesitate to say, of things in motion, because it’s not clear how many things there are in the movie, instead of mere digital simulations of things. It doesn’t matter. What matters is that there’s a car chase through London, seen from the level of tires, that could have gone on for an hour, um, tirelessly. What matters is that the defenestrated Cade saves himself by leaping from drone to drone in midair like a frog skipping among lotus pads; that he and Vivian slide along the colossal, polished expanses of sharply tilting age-old fields of metal like luge Olympians. What matters is that, when this heroic duo find themselves thrust out into the void of inner space from a collapsing planet, it has a terrifyingly vast emptiness that Bay doesn’t dare hold for more than an instant lest he become the nightmare-master. What matters is that the enormous thing hurtling toward Earth is composed in a fanatical detail that would repay slow-motion viewing with near-geological patience. Bay has an authentic sense of the gigantic; beside the playful enormity of his Transformerized universe, the ostensibly heroic dimensions of Ridley Scott’s and Christopher Nolan’s massive visions seem like petulant vanities.”
~ Michael Bay Gives Richard Brody A Tingle

How do you see film evolving in this age of Netflix?

I thought the swing would be quicker and more violent. There have been two landmark moments in the history of French film. First in 1946, with the creation of the CNC under the aegis of Malraux. He saved French cinema by establishing the advance on receipts and support fund mechanisms. We’re all children of this political invention. Americans think that the State gives money to French films, but they’re wrong. Through this system, films fund themselves!

The other great turning point came by the hand of Jack Lang in the 1980s, after the creation of Canal+. While television was getting ready to become the nemesis of film, he created the decoder, and a specific broadcasting space between film and television, using new investments for film. That once again saved French film.

These political decisions are important. We’re once again facing big change. If our political masters don’t take control of the situation and new stakeholders like Netflix, Google and Amazon, we’re headed for disaster. We need to create obligations for Internet service providers. They can’t always be against film. They used to allow piracy, but now that they’ve become producers themselves, they’re starting to see things in a different light. This is a moment of transition, a strong political act needs to be put forward. And it can’t just be at national level, it has to happen at European level.

Filmmaker Cédric Klapisch