Most Helpful Customer Reviews
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57 of 58 people found the following review helpful:
5.0 out of 5 stars
Has to be 5 stars..., 17 Aug 2006
I'm not a western fan. I grew up watching a lot of them with my dad, but aside from the Gunfight at OK Corral, I never really got into them. So I wasn't sure about this, but I thought I'd have a look due to some very positive reviews.
Now this is going to sound a little bit weird, so I apologise... but I'm not sure if I'm glad that I did look. I've had to rate the series 5 stars because I sat glued to every episode in Season 1 and Season 2, so it's undeniably gripping television, very slickly directly, well scripted, and imaginatively filmed, but it's not a pleasant experience. There's nothing uplifting here. This is televisual nihilism. Dark, murky, filthy and frequently horrific. There are some much needed comic moments, due to a cast of very colourful characters, but the base tones here are black, brown and grey.
I have no problem at all with the frequent swearing. I didn't even notice it much, to be honest. Can't really understand why so many people get their knickers in a twist over it. More grisly murders than you can shake a stick at, and they get flustered over the F and C words. Crazy. I did feel a little bit uncomfortable with the feeling I got in a couple of episodes that some scenes of horror were veering very close to gratuitous wallowing, though. Shock for shock's sake. But this was not the norm- just a feeling I got in maybe 2 of the episodes. I'm not usually bothered by explicit material either, but again, an explicit blowjob while a character is giving a soliloquy can smack a little of... well, going out of your way to offend the easily offended. I do like the risk-taking element, though, and the bravery of the concept. Very original, and tastefully pulled off for the most part.
I've no doubt you'll be riveted by this series if you choose to give it a go, but if you're at all of a melancholic, depressive bent, I'm not sure if I should actively recommend it. It's very haunting, and very unsettling in parts. Thought-provoking, most definitely, but I don't think it's something I could watch again, or would want to watch more than once. Is it worth owning on dvd then? I'm not sure, considering you get no extras on the UK edition. I think that extras might have left me with a slightly sweeter taste in my mouth... helped me to appreciate the art behind the production, and sponge away a bit of the bleakness. As it was, I watched all the episodes, then felt that I needed a very long shower. With carbolic soap. And a little counselling. And a holiday. The craft here cannot really be faulted, but the content is very, very heavy. Approach with caution and handle with care.
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25 of 26 people found the following review helpful:
5.0 out of 5 stars
Breathtaking TV, 3 Jun 2007
Can I just quote an earlier reviewer (Nobby Yates, see below): "A masterclass in screenwriting, beautiful TV cinematography, Shakespearean-like storylines, a clever fusion of fact and fiction, a strong core of characters, top-class acting, and an aura of authenticism make Deadwood S1 a must watch/buy".
That is right on the money. Deadwood is an absolutely stunning serial that oozes quality. The first thing you need to get over quickly is the language, as a viewer and as a reviewer. This is the most eye-watering script you will have ever encountered - it makes Goodfellas look like Lovejoy. But the language used is also really sophisticated and beautifully used - it IS very Shakespearean at times, most noticably of course during the soliloquies, when Swearengen or Farnum are postulating to themselves about the various plots. I must confess to watching it iwth subtitles switched on - because there is so much nuance and complexity in the script that you do not want to miss.
The collection of characters are just wonderful and rich - I know this is an overused term in reviews these days but this really is an ensemble piece. There are no weak characters - each is fully rounded and given due attention from the peripheral crippled floorsweeper Jewel, via just wonderfully acted characters like the local newsman Merrick, the toadying hotellier Farnum, the excitable Chinaman Wu, the enigmatic and grumpy Charlie Utter, the imposing saloon rival Cy Tolliver all the way to the kingpin Al Swearengen. Women, it struck me, are particularly well written for in Deadwood too. I think if I had to pick out any relatively weak performances in the whole series I'd have to go for former marshal Seth Bullock and upper class widow Alma Garrett, both of whom are a little one-dimensional and unconvincing at times.
I was a fan of Ian McShane's acting before this show but the marriage of McShane and the role of saloon/whorehouse keeper and underworld ruler of Deadwood Al Swearengen is one made in TV heaven. The first time you watch Deadwood Swearengen is a arch villain, an unscrupulous, heartless but clever gangster. But watch the series twice and you start to realise how complex he is, how compassionate, intelligent, trustworthy and just. He kills for mercy and for what's right as much as for financial gain or political expediancy. He berates and humiliates Jewel for being a cripple, yet still he employs her despite her inefficacy when others presumably wouldn't.
Similarly, the first time you watch Deadwood the overwhelming mood you'll detect is one of an uncomfortable scheming, brooding, murderous anarchy. The more you watch however you begin to see that it can be an ordered even hopeful place. It also is filled with moments of genuine comedy with pathos and running gags aplenty. The sets are wonderful, the photography beautiful and the research and energy there for all to see. TV of the very, very highest class.
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35 of 37 people found the following review helpful:
5.0 out of 5 stars
Lovewood, 1 Sep 2006
The Sopranos, Six Feet Under, Curb Your Enthusiasm, The Wire... HBO's resume is bursting with TV goodness. And it's from this network that the latest - some would say best - of the bunch now emerges.
The concept is fairly simple: Gold rush. Old west mining town. Lots of gold. Lots of whoring. Lots of double-crossing and murdering. But the show is so much more than your average 'Cowboys and Injuns'. Deadwood gives out as much as the audience is willing to put in. It is not an easy show to keep up with. The dialogue between the characters is superb, but a bizarre mixture between antiquated and modern colloqualism. But it works. In fact, it is entirely possible to watch the show, have no idea what is going on and on a superficial level, just enjoy watching the beautifully realized characters interacting with one another.
The plot, well-crafted and sometimes frustratingly complex as it is, can usually take a backseat to the other elements of the show - which is hugely impressive and a brave step for a flagship programme such as this. In fact, it seems the writers have gone out of their way to intentionally snub the classical approach to popular TV writing. David Milch, the godlike genius behind NYPD Blue, is probably responsible for this approach, as it can sometimes feel random and disorganised... in other words, more life-like.
You get the impression that the writers and actors love the characters. The show is certainly an ensemble piece as every member of the regular cast pulls their weight. Ian McShane deserves a large amount of the praise for his dispicable, human and ultimately quite likeable portrayal of Gem Saloon brothel owner Al Swearengen. Timothy Olyphant is excellent as the intense ex-Marshal-turned-Hardware-shop-owner Seth Bullock, as is William Sanderson, Brad Dourif, Powers Boothe, Keith Carradine, Paula Macolmson, Kim Dickens, Robin Weigert, etc, etc. Everyone holds their own and really, everyone deserves some kind of award. Even the incidental characters are well acted. EVERYONE is good in it.
One entertainingly bizarre consequence of the writers' affection for their creations is that, every-so-often and quite randomly, Ian McShane might be made to deliver a soliloquy to an inanimate object (like his severed Sioux-head in a box or his stuffed moose) about his difficult upbringing in an oprhanage. Or another character, such as sweaty-palmed Hotel owner E.B. Farnam might wander down the town's thorough-fare and complain to himself about his underappreciated social status. And in this environment of back-stabbing and shifting alliegences, these soliloquies reach Shakespearean heights. In fact Iago himself wouldn't look amiss, propped at the bar in a 10-gallon hat...
The underlying theme of the show is moral ambiguity, placed in the context of the beginnings of modern American history - which was after all founded on an enterprising spirit as much as a purely libertarian ethic. The only certain rule that show follows is that the Good generally have to make way for the Bad and the Ugly. Every character in the show has come to Deadwood - a real town in the South Dakota Black Hills, with a real history that the show is loosely based on - for selfish reasons. And any character that is there for unselfish reasons, suffers.
Whilst I had not understood why people have such a fascination with the Wild West, I think I'm beginning to. Western Mythology is tangible, as it was only just over a century ago that the "wild west" existed. What John Wayne and Clint Eastwood movies failed to make me enthusiastic about, Deadwood achieves in doing so. Deadwood also once again highlights the irritating trend in British television towards creating patronizing kitchen-sink melodrama instead of well thought out and imaginative dramatic storytelling. Take note BBC, ITV, Channel 4: you should be aiming for this level of brilliance.
By all of these DVDs and join me in cursing HBO for cancelling the final season.
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