Homeland: Season 4 and Bridge of Spies (WARNING: Spoilers included)
My, how time flies. Seems like only yesterday I was pondering Homeland‘s Season 1 and wondering just how far Claire Danes could take Carrie Mathison and this week I was binge-watching Season 4, which was easily the strongest season since the first. Not that she, or the show, have ever really backed off, as I feared they might. The basic concept, that we’re now in the hands of crazy people with conveniently shifting moral codes (shifting that is, for their own convenience and if that happens to coincide with “national security” aren’t we all lucky!) because who else would ever want to be part of this game, has remained intact.
But, Damian Lewis’s Nicholas Brody wasn’t exactly the highlight of Season 1 (either as a character or a performance) and he and his family situation became a real drag on Seasons 2 and 3. Frankly I had always believed any chance to look at Morena Baccarin, who played Brody’s long-suffering wife, doing absolutely anything at all was worth whatever one had to go through, but Brody made me seriously question my commitment. That he ended up dying a heroic death while Carrie was pregnant with his baby didn’t exactly set my little patch of woods on fire. Better for Carrie, Danes and the show if she had offed him.
Well that didn’t happen but at least he’s gone and that meant there was a possibility they (character, actress and Homeland) could all get back to pushing the envelope: And that’s exactly what they did.
I’m amazed that some of this show’s fans/critics get concerned with things like the plausibility of some bit of narrative (or just the whole thing) or whether the show is sufficiently sensitive to the Other.
The “narrative” is that this woman is as crazy as a loon. She can’t possibly operate anywhere except deep inside a security state that could care less about its own side as anything but a cocoon to exist within, let alone any Other that might exist for any reason except to give the cocoon a reason to keep on keeping on.
And she will do absolutely anything to stay embedded in the only world that will have her.
Oh sure, they have subplots and all. Carrie having a baby which her sister has to take care of, or her long estranged mom showing up at her dad’s funeral gives everybody a chance to pretend she’s got problems just like the rest of us. But that’s all a crock, just like Brody’s various family problems were in the first three seasons. Carrie’s crazy. That’s what the show’s about.
Oh, and, on the big things, Carrie’s right. I mean, she would be wouldn’t she?
Inside the house of vile mirrors we now call a government, who but a crazy person with the moral compass of a hungry cat could be expected to see anything at all? Every time she doesn’t kill people, even more people die. And when she’s stopped from killing Saul Berenson at mid-season here (in as good as scene as anybody’s ever going to play on television), not only do lots more people die as a result, but Saul himself (still being played by a Mandy Patinkin who keeps pulling off the miracle of being Danes’ equal, as both performer and character, a miracle that will sink the show if it ever stops happening, because it’s clear by now that Danes, who might be the first actor/producer who is applying the Method full bore crazy at both ends, is going to wipe everybody else off the screen if he doesn’t keep popping in every ten minutes) loses a piece of his soul.
Apparently Season 5 is going to be about whether he can buy it back. At least they set it up that way. And at this point, I’m almost convinced they’ll all be brave enough to realize he can’t. That is, they’ll be brave enough to realize nobody can, even if they don’t believe in souls.
Which brings be to Bridge of Spies, which. after a long night cozying up to Homeland, I finally caught on a fourth try (many long stories involving missed times, no need to bore you further) and which exemplifies Steven Speilberg’s efforts to hold on to the notion that, if we were sane once, we might be sane again, if we could only remember how to find our way back.
I too, would like to believe that having people of principle in positions of responsibility is still a viable option. But we’ll need to find new definitions for most of the words in that sentence, something like a new language, before we can even hope to grope our way forward out of the new darkness. Finding a way back usually just means going backwards and, if we go backwards from where we are right now–in the world Homeland does such a good job of delineating–we’ll either head straight to Tyranny or make one stop at Chaos along the way.
That said, this is a fine effort. Speilberg’s a romantic of the old school, so it’s always a bit touching to see him operating in a world where he’s now so clearly an anachronism. But he seems to have realized this about himself, and, if he can’t quite excise his tendency to go woozy on occasion, even with a Coen Brothers script helping (whatever their multitude of sins, overt sentimentality isn’t one of them), he at least keeps the vice to a minimum here and creates a genuine nostalgia for Cold War clarity and an old fashioned decency that would have Saul Berenson and Carrie Mathison wondering just what Tom Hanks’ Jim Donovan is really up to.
So, in a way, Bridge of Spies, trapped in a past that’s as far from us as the Old West was from John Ford, and is, unlike Ford’s west, no longer deemed worth remembering and thus dying a quick death at the box office, is simultaneously mired as deeply in the modern malaise as Homeland.
But Claire Danes is the real auteur now. Unless, of course, somewhere deep inside the security state where we can’t see, there’s some real life version of Carrie Mathison running loose at at the back of it all, absolutely convinced she can keep us safe from everyone but herself.