"HELL ON WHEELS" Season One (2011) Photo Gallery

Below are images from Season One of the AMC Series, "HELL ON WHEELS". Created by Joe and Tony Gayton, the series stars Anson Mount, Colm Meany, Common and Dominique McElligott: 


"HELL ON WHEELS" SEASON ONE (2011) Photo Gallery

"NORTH AND SOUTH" (1975) Review

"NORTH AND SOUTH" (1975) Review

I had been a fan of Elizabeth Gaskell's 1855 novel, ever since I first saw the 2004 television adaptation a few years ago. Mind you, I had never read the novel. And I still have yet to read it. Despite this, I became a fan of the story. And when I learned that the BBC planned to release an older adaptation of Gaskell's novel, which first aired in 1975, I looked forward to seeing it. 

As one would assume from reading this review, I eventually purchased a copy of the 1975 adaptation on DVD. And if I must be honest, I do not regret it. "NORTH AND SOUTH" proved to be a pretty damn good adaptation. Like the 2004 version, it consisted of four (4) fifty-minute episodes. Gaskell's novel told the story of one Margret Hale, who returns home after ten years to her cleric father's rector in Helstone, after attending the wedding of her cousin, Edith Shaw. Margaret's homecoming is short-lived when she and her mother learn that her father Richard Hale has left the Church of England as a matter of conscience, after he has become a dissenter. His old Oxford friend, Mr. Bell, suggests that the Hales move to the industrial town of Milton, in Northern England; where the latter was born and own property. 

Not long after the Hales' arrival in Milton, both Margaret and mother Maria Hale find Milton harsh and strange. Due to financial circumstances, Mr. Hale works as a tutor. One of his more enthusiastic students turn out to be a wealthy cotton manufacturer named John Thornton, master of Marlborough Mills. Appalled by the conditions of the poverty-stricken mill workers, Margaret befriends the family of one Nicholas Higgins, a union representative. She also develops a dislike of Thornton, finding him gauche and seemingly unconcerned about his workers' condition. Unbeknownst to Margaret, Thornton has grown attracted to her. The volatile relationship between Margaret and Thornton eventually plays out amidst the growing conflict between mill owners and angry workers.

As I had stated earlier, "NORTH AND SOUTH" proved to be a pretty good adaptation. I have a tendency to regard BBC miniseries produced in the 1970s with a jaundice eye, considering their tendency end up as televised stage plays. Thanks to the conflicts, social commentaries and romance featured in "NORTH AND SOUTH", the miniseries was never boring. Many viewers who have seen this version of Gaskell's novel claim that it was a more faithful adaptation than the 2004 miniseries. I cannot agree or disagree, considering that I have yet to read the novel. But I have never been too concern with the faithfulness of any movie or television adaptation, as long as the screenwriter(s) manage to come up with decent script that adheres to the main narrative of the literary source. Fortunately, David Turner did just that. His screenplay, along with Rodney Bennett's direction, explored all of the aspects of Gaskell's 1855 novel - the reason behind the Hales' move to the North, the labor conflicts between the workers and the mill owners, Margaret Hale's conflict/romance with John Thornton, the latter's relationship with his mother, Nicholas Higgins' conflict with fellow mill worker Boucher, and the fragmentation of the Hale family. Also, Bennett directed the entire miniseries with a steady pace that kept me alert.

It is a good thing that Bennett's pacing kept me alert . . . most of the time. Like many BBC productions in the 1970s,"NORTH AND SOUTH" did come off as a filmed play in many scenes. Aside from Margaret's arrival in Helstone inEpisode One, the labor violence that erupts within the grounds of Marlborough Mills in Episode Two and the delivery of Boucher's body in his neighborhood; just about every other scene was probably shot inside a sound stage. And looked it. This even includes the Milton train station where Margaret says good-bye to her fugitive brother, Frederick. Now many would state that this has been the case for nearly all BBC miniseries productions from that era. Yet, I can recall a handful of productions from the same decade - 1971's "PERSUASION", 1972's "EMMA" and even "JENNIE, LADY RANDOLPH CHURCHILL" from 1974 - featured a good deal of exterior shots. And there were moments when some scenes continued longer than necessary, especially in Episode One. Margaret's conversation with her cousin Edith and Mr. Hale's announcement of his separation from the Church of England seemed to take forever. And due to this problem, there were moments went the miniseries threatened to bog down.

But as much as I liked Turner's adaptation of the novel, it seemed far from perfect. One aspect of the script that really irritated me was that Turner had a habit of telling the audiences what happened, instead of showing what happened. InEpisode One, following their arrival in Milton, Margaret tells her parents that she met the Higgins family. The miniseriesnever revealed how she met Nicholas or Betsy Higgins in the first place. The series never revealed the details behind Boucher's death in Episode Four. Instead, a neighbor told Margaret, before his body appeared on the screen. We never see any scenes of Fanny Thornton's wedding to mill owner Mr. Slickson. Instead, John tells Mr. Bell about the wedding in a quick scene between the two men on a train. Also, I found Margaret's initial hostility toward John rather weak. A conversation between the two about the mill workers took part after audiences met the Higgins family. It is easy to see that John's arrogant assumption regarding his control of his workers might seemed a bit off putting to Margaret. But it just did not seem enough for her hostility to last so long. And while the script probably followed Gaskell's novel and allowed John's regard for Margaret to be apparent before the end of Episode One, I never felt any growing attraction that Margaret may have felt toward John. Not even through most of Episode Four. In fact, Margaret's open declaration of her love for John in the episode's last few minutes seemed sudden . . . as if it came out of the blue.

The above mentioned problem may have been one reason why I found Margaret and John's romance unconvincing. Another problem was that I found the on-screen chemistry between the two leads, Rosalie Shanks and Patrick Stewart, rather flat. In short, they did not seemed to have any real chemistry. The two leads gave first-rate, if somewhat flawed performances in their roles. Aside from a few moments in which I found Shanks' Margaret Hale a bit too passive, I thought she gave an excellent, yet intelligent performance. Stewart seemed as energetic as ever, even if there were moments when his John Thornton seemed to change moods faster than lightning. But they did not click as an on-screen couple. Also, Turner's screenplay failed to any signs of Margaret's growing attraction toward John. It simply appeared out of the blue, during the series' last few minutes. 

I certainly had no problems with the other performances in the miniseries, save for a few performances. Robin Bailey did an excellent job in portraying Margaret's well-meaning, yet mild-mannered father, Richard Hale. Bailey seemed to make it obvious that Mr. Hale was a man out of his depth and time. Kathleen Byron perfectly conveyed both the delicate sensibility and strong will of Margaret's mother, Maria Hale. I was very impressed by Rosalie Crutchley's portrayal of the tough, passionate and very complex Mrs. Hannah Thornton. I could also say the same about Norman Jones, who gave a very fine performance as union representative Nicolas Jones . . . even if there were times when I could barely understand him. Christopher Burgess' portrayal of Boucher struck me as very strong . . . perhaps a little on the aggressive side. And Pamela Moiseiwitsch gave a very funny portrayal of John's younger sister, Fanny; even if her performance came off as a bit too broad at times. It was a blast to see Tim Pigott-Smith in the role of Margaret's fugitive brother, Frederick Hale. I say it was a blast, due to the fact that Pigott-Smith portrayed Richard Hale in the 2004 miniseries, 19 years later. As much as I enjoyed seeing him, there were times when his performance came off as a bit hammy.

Overall, "NORTH AND SOUTH" is a pretty solid adaptation of Elizabeth Gaskell's novel. Aside from a few changes, it more or less adhered to the original narrative, thanks to David Turner's screenplay and Rodney Bennett's direction. And although it featured some fine performances, the miniseries did suffer from some narrative flaws and a lack of chemistry between the two leads - Rosalie Shanks and Patrick Stewart. However, "NORTH AND SOUTH" still managed to rise above its flaws . . . in the end.

Janeway's Decision in (3.04) "The Swarm"

JANEWAY'S DECISION IN (3.04) "THE SWARM"

Over an hour ago, I had just finished watching the early Season 3 "STAR TREK: VOYAGER" episode, (3.04) "The Swarm". And after watching it, I was reminded on why I have disliked it so much for so many years. 

Although most of the story focused around Kes' efforts to save the Doctor's degrading matrix, the B-plot focused around Voyager's efforts to cut short fifteen months of their journey by trespassing through the territory of a species named by Voyager's crew as the Swarm. Now, Tuvok tried to remind Janeway that the territory belonged to these aliens and that they had every right not to allow other travelers through their space. After two seasons, Janeway decided to adopt the"Maquis way" and ignore Tuvok. Instead, she labeled the Swarm as "bullies" - as if that was a sufficient reason for Voyager to trespass into their space.

I am quite certain that most Trek fans would disagree with me, but I found Janeway's actions to be more of a "bully" than the Swarm. If some aliens had decided to trespass into Federation space, despite Starfleet's decision to ban them, I bet that both Janeway and Chakotay would be among the first to defend Starfleet's decision. But being the arrogant Starfleet officers that they were, I guess they decided that they simply lacked the patience to add fifteen months to a journey that already left Voyager with 68 or 69 years left to reach Earth. Fifteen months against 68 or 69 years. Hmmmm. Was Janeway's effort to ignore the Swarm's wishes really worth it? Personally . . . I do not think so. 

In the first two seasons, Janeway struggled to rigidly stick to Starfleet protocols. In "The Swarm", she decided to drop this command style and adopt Chakotay's method of utilizing "the Maquis way". This decision eventually led to Janeway's disasterous alliance with the Borg during their war against Species 8472.

I have read both Jim Wright and Julia Houston's reviews of this particular episode. Wright practically celebrated Janeway's decision to ignore Tuvok's advise and trespass into the Swarm's territory. Frankly, I was not surprised. During the show's first three seasons, Wright had made it clear that he disliked Tuvok. In fact, I can only wonder if his dislike of Tuvok had blinded him to Chakotay's constant taunting of the Vulcan during the show's first season. Apparently, anything that would cut the Vulcan down to size seemed to satisfy him. And I also noticed that he also seemed to enjoy a vicarious thrill in Janeway telling the Swarm to go fuck themselves. Perhaps her aggressive aggressive move brought back memories of the"good old days" of Captain James T. Kirk's arrogant "gunboat diplomacy" attitude toward species hostile toward the Federation.

Then I read Julia Houston's review. Although she seemed to believe that Tuvok was right in advising Janeway not to invade the Swarm's territory, a small part of her felt a "twinge of imperialistic satisfaction" that Voyager did it anyway. Apparently, the Swarm's attitude to keeping invaders at bay irked her. What can I say? I get the feeling that deep down, she was just as thrilled as Wright.

Frankly, I found Janeway's decision a little repellent. I have never cared for any of the other Starfleet captains' arrogant attitude toward other aliens. It was this same attitude that led Starfleet to ignore the Dominion's wishes and invade their space in the Gamma Quadrant in "STAR TREK: DEEP SPACE NINE". A decision that led to a brutal two-year war against the Dominion. I also recalled an "STAR TREK: ORIGINAL SERIES" episode called (1.23) "A Taste of Armageddon" in which Jim Kirk forced two societies to end their war by destroying the computers that had conducted the war, and insisted that Federation society was better than theirs. This act forced the two warring aliens to turn to the Federation in the end. That episode had repelled me just as much as Janeway's decision in "The Swarm". 

Do not get me wrong. I am a big fan of the STAR TREK franchise. I always have and I always will. But there are some aspects of STAR TREK in all five TV shows that have turned me off. One of those aspects was the habit of Starfleet captains making arrogant decisions against the wishes of those aliens they sometimes encounter. Decisions that the Federation would have definitely resented if some group of aliens had done the same to them. I guess that in their view, what is good for the Federation (or Starfleet) was not good for those other aliens. I find such attitudes rather distasteful.

"FANTASTIC FOUR: RISE OF THE SILVER SURFER" (2007) Photo Gallery

Below are images from "FANTASTIC FOUR: RISE OF THE SILVER SURFER", the 2007 sequel to 2005's"FANTASTIC FOUR". Directed by Tim Story, the movie starred Ioan Gruffudd, Jessica Alba, Michael Chiklis and Chris Evans: 


"FANTASTIC FOUR: RISE OF THE SILVER SURFER" (2007) Photo Gallery