I think that next to
Mad Men, Southland has some of the most beautiful, thoughtfully composed shots on tv.
Ben and John, divided:
They have almost symmetrical expressions, and the leg provides a sort of jagged, broken-picture effect. So cool.
And then it pans to this:
The kid's cowlick is even perfect. I think for someone just tuning in, it is so brief, you wouldn't notice. But if you've followed Ben's arc and back story, it's a subtle callback to that 10-year-old kid who had his teeth knocked out and learned to shoot at the Beverly Hills Gun Club still frozen in time, trapped in a moment of abuse.
Then there's Sammy, in and out of the light:
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| Darkness... |
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| Heading into the light |
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| Realization at sunrise... |
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| Dip back into darkness... |
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| I love the positioning of the stop signs and the fact that Sammy has been engulfed... |
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| Leaving darkness behind (sorry, those of you still waiting for a further breakdown) | | |
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But enough of the serious stuff:
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| So charming it's nearly debilitating |
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A profile in biceps courage. |
And because he deserves it: Shawn Hatosy's shifting expressions...
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| It was the smile that killed me (how it just wavered and crashed after a moment or two) |
The half-hearted smile when Mariella told him they were leaving was just...oh man, Sammy.
ReplyDeleteI'm still a week behind, but I watched this episode tonight. No point rehashing what you and K. have discussed, but one thing that struck me was outside the bank, it turns from Sammy comforting Mariella to her comforting him. "Getting the guy" isn't paramount for her like it is for him. His grief was becoming a burden to her, and I wonder if he recognized that at the end.
ReplyDelete"Getting the guy" isn't paramount for her like it is for him. His grief was becoming a burden to her, and I wonder if he recognized that at the end.
ReplyDeleteThat's a great point. I noticed her confused reaction, but I think I missed her saying "Okay" in that head-patting way.