Did anyone following the season’s arc really doubt it would end this way? Gillian Darmody (Gretchen Mol) may have made the claim to Nucky that “there is still graciousness in this world,” but like any great anti-hero tragedy…there is more likely justice. And there are the damned and the damned.
And justice was served in the series finale. Capone (Stephen Graham), who just when he was becoming a painful caricature yet again, has a heartfelt moment with his deaf son (yet again) and then laps up the limelight of his tax-evasion trial while tipping his hat in gentlemanly fashion to the fed that successfully infiltrated his gang. Real men (even royal scumbags) know when to fight and know when they’re beat.
Meanwhile, Luciano (Vincent Piazza) is sitting comfortably atop his throne and orders a righteous hit on that vile piece of sweet talking human excrement Narcisse (Jeffrey Wright), who finally gets what he deserves. And in front of his blind blubbering followers, in public! Oh, what sweet justice the lord hath wrought!
Written by: Howard Korder, Christine Chambers and Riccardo DiLoreto
The Spin: Coulter masterminded his best Scorsese impression, harkening back to the style of the Marty helmed pilot, with montages and narration and a tick-tock-gun-shot-gavel-pounding score accentuating this written-by-committee penultimate episode. It was a refreshing and impressive piece of workmanship coming off the jaw-dropping events of the previous episode and the scattershot nature of the season prior to this.
AS ALWAYS, BEWARE OF SPOILERS: The gang war between Luciano (Vincent Piazza) and Nucky reaches a fever pitch that results in the nabbing of Ben Siegel (Michael Zegan) as a bargaining chip. Luciano one-ups Nucky, however, by nabbing Eli’s eldest son (Ben Rosenfield) in return. Continue reading →
The Spin: SUPER DUPER SPOILERS AHEAD – A skipping record plays over the closing credits of Korder’s masterfully penned slow-build to the two-fold finale, and Daughter Maitland’s (Margot Bingham) rendition of “Dream a Little Dream” haunts the hour as our dear Chalky (Michael K. Williams) makes a deal with the devil Narcisse (Jeffrey Wright) in order to give Daughter and her/his daughter a chance (even if only in a dream). It’s been a roller coaster season of highs and lows and mostly frustration, but Korder, who has always been the most reliable of the Boardwalk scribes, operates on this one with the expert precision of a Shakespearian surgeon. Did anyone ever really doubt this was a tragedy?
The Spin: The title of tonight’s episode refers to the picture of the king the Norwegian Mrs. Muller hangs in the kitchen. Turns out she’s been having drunken afternoon tristes with Eli (Shea Whigham) who can only barely remember a thing. Too bad his memory gets jogged by the mustachioed regent, and Mrs. Muller chose to reveal the tawdry details at a disastrous dinner where Eli’s pregnant wife had come to visit from Atlantic City, a dinner that could only have gotten worse if say, I dunno, the Feds had shown up. Oh, they did. The Muller formerly known as Van Alden (Michael Shannon) and Eli have been paired as a some sort of tragic comedy team this year where they try to one up each other with their sad, ironic life events. Two former law men nabbed by the feds who now want their help getting the books on Capone so they can nail him on tax evasion – what a joke. And sadly it was about the only interesting turn of events tonight.
Written by: Christine Chambers, Howard Korder and Terence Winter
The Spin: There’s been a melancholic pall hanging over Boardwalk Empire’s fifth season. Yes, it’s the last, which is sad enough alone, but it’s also strangely fitting that in the real world the actual current Atlantic City is on a generational decline with the closing of multiple casinos (most notably the lavish Revel) and nothing seeming to go the city’s way. Watching the flashbacks to “The Education of Nucky Thompson” where the city was but one resort and a modest boardwalk before the turn of the 20th century reminds those localized to its current perils just how far the city has come and how long the way down is (I fear in the real world we ain’t seen nothing yet about how down and out AC can get). You see this mirrored in the lethargy of 1930’s Nucky, a man who’s gonna have to wake up. And could Capone’s warning call to Nucky about Luciano’s insinuation that the Italians should cut out Nucky from their empire at the end of tonight’s episode be that wake up call? Nucky is a man who’s come so far (from Dickensian beginnings so painstakingly tailored in the flashbacks) and runs the risk of falling ever harder.
The episode oozed a calming dread in almost every scene.
The Spin: Plots thickened and women showed their cunning nature during crisis situations in this Chambers and Korder penned hour. Early in the episode, Nucky and Sally (Patricia Arquette) share over the phone “Happy Days are Here Again” playing on the radio after he tells her about the presumed Kennedy deal, but are they counting chickens before they hatch? On the run, our old friend Chalky White (Michael K. Williams) and his volatile chain gang compatriot pull off a sloppy home invasion of a mother and her teenage daughter. Chalky shows his true colors as he’s still clearly ravaged by the brutal death of his own teenage daughter, Maybelle, years ago, but these ladies prove to be more resilient than either foolish man could know. Out in Harlem, Luciano and Siegel begin to systematically threaten Narcisse’s operations in no uncertain terms. Meanwhile, Margaret (Kelly Macdonald) is forced to pay a visit to the Rothstein widow (Shae D’lyn in a pitch perfect cameo) who has her own plot to hatch that involves the blackmail of…you guessed it…the Nuckster.
The Spin: Director Coulter takes advantage of this being the last season by adding some compelling directorial flourishes, and was that a nod to Twin Peaks and Lynch in the opening “through an ear” dissonant audio-visual cross-cuts, which were bookended nicely in the end with an all-too noticeable missing ear? It’s nice to see the regular series directors give it their all, but it has me worried that Winter felt the need for such a ho-hum filler episode when the there’s only six left to go after this. This week we got (mis)treated to some bizarre sequences in a women’s sanatorium where Gillian (Gretchen) has been spending her days that played with our prurient-minded expectations, continued grim flashbacks to Nucky’s childhood, Nucky turning to Torrio to see who tried to nab him last week in Cuba, Lansky still plotting with Luciano and Siegel to up their game (at the Nuckster’s expense?), the Muller formerly known as Van Alden still making a mess of things at home and at work (with no help from a drunk-as-a-skunk Eli), Capone getting all Capone-y (seriously his character has become a clichéd bore after some shining moments in seasons’ past), young Will Thompson vying for an Assistant DA spot, and some distracting Look, Ma, who it is! guest-appearances by Joe Kennedy Sr. (Matt Letscher) and Eliot Ness.
The Spin: The final season opens with the haunting Gretchen Mol reading a voice-over from the children’s periodical “Golden Days for Boys and Girls” where she’s seemingly telling the young lads we see diving into ocean after coins, “Be honest and true boys! Whatever you do boys, let this be your motto through life.” A moving flashback to Nucky’s hardscrabble childhood in 1884 Atlantic City (which was merely a pier and one Corner Hotel on a tiny boardwalk) is expertly interwoven into a flash forward to 1931, where will the help of the effervescent and ever-saucy Sally Wheet (Patricia Arquette, all bosoms and moxy), the Nuckster has become Our Man in Havana, using a screwy senator as his pawn to talk a Rum King into hatching a deal to get Bacardi into the States as soon as Prohibition is inevitably repealed. But trouble always seems to find our anti-hero, and Havana might be too hot to handle for the aging kingpin, who for the first time in his life is placing his biggest bet on a legal operation. Continue reading →
Walker Evans (1903-1975) was undoubtedly one of America’s greatest photographers. His black-and-white images stand as time capsules of an America now gone but still familiar. Evans is best known for his iconic images of sharecroppers hit hard by The Great Depression as part of his work for the Farm Security Administration. During my recent visit to Cooperstown, NY and the Fenimore Art Museum, I was able to see their amazing collection of Walker Evans’ photographs. I was struck most not by his most famous images from the Dust Bowl and America’s Heartland, but by his images of America’s East Coast during the same time period. His photographs of people and places spanning the hardened core of America’s original thirteen states from New York City to Atlanta captured an America that was shell-shocked but resilient, an over-developed and industrialized stretch of the Eastern Seaboard that was crumbling and decaying but populated by survivors — an America that would eventually pull through the Great Depression and produce the Greatest Generation defined by their heroic actions in World War Two.