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Finding Forrester (2000)
Could have been great, with a better "Losing Family" scene
Excellent, offbeat story, failed by its climax scene.
It started out telling the story of a (reluctant) teacher and a (wary) student. But, like all good stories, it evolved into what it had to become - a Father/Son story. In many ways, William Forrester became a father figure to Jamal Wallace. The "father" saw the potential of the "son". He also saw, like many fathers do, a bit of himself in the son - both what he was, and what he could have been.
Unfortunately, the film was let down by a poor climax scene. Instead of having Forrester recite the entire letter Jamal wrote for Forrester - about Forrester, really - the director cuts that short. All we hear is. "Losing Family obliges us to find our family. Not only the family that is our blood, but the family that can become our blood. And should we have the wisdom to open our door to this new family..." and that is all. The rest of the words are obscured from us. Amazing. A story about two people who respect and revere words - and the words that would capture the essence of the entire story are.. kept from us. Instead of the music and the thunderous applause (complete with "woop, woop") from the students, at the end, we could have had a scene where the entire class and faculty heard the entire passage - perhaps stunned into silence, reflecting on those great words. A scene where Jamal got to tell Forrester what he really meant to him. How a son gets to tell a father how he really feels about him, in a way that does not come easily in conversation.
A shame really. Especially for a film about language.
With that scene done right, 10/10. As is, 7/10.
Star Trek: All Our Yesterdays (1969)
One of the three best in Season 3, and I put it in my top 10 for the entire series.
IMHO, "All Our Yesterdays" is one of the three best in Season 3, and I put it in my top 10 for the entire series. I would also give it a score of 9/10.
Here are some of my thoughts
First, we can agree that there are some holes in this plot. Yes, Spock's behavior reverts to his Vulcan ancestry whilst McCoy's does not. And yes, perhaps Mr. Atoz did not need to stay after everyone else had gone (although have you ever known a librarian that would close the library early if it was a slow day?) But how could everyone miss the first problem that I see – the Enterprise is coming to a planet that is about to be destroyed, to evacuate, presumably to their star ship, the entire planet's population (Thousands? Hundreds of thousands? Millions?) which will be destroyed by a supernova - in just over 3 hours? I mean, I know they can use the shuttle craft for the overflow crowd, but still. (Oh wait, if there are too many, Kirk will have to play Kodos the Executioner all over again?)
All that aside, this is a great story. They were able to blend the concept of time travel into a story that is essentially a tragedy – Spock finding that rare place where he can spend his life with a woman who feels much like himself (Zarabeth: "Do you know what it is like to be alone? Really alone?" Spock: "Yes. I know what it is like.")
Like all fine stories, this one has many fine ideas just below the surface. The two most interesting ideas that I saw both involved Spock and Zarabeth. First, of the 4 primary characters that went back in time(Kirk, McCoy, Spock, and Zarabeth), only Zarabeth and Spock were changed – Zarabeth was changed by the Atavichron, Spock by his "connection" to his Vulcan ancestry. And because they were changed, they could both start a new life, different from the one into which they were born, and find happiness, on that island of solitude, with each other.
The second idea is the one involving tragedy (fitting, since the episode's title comes from one of the greatest tragedies of them all). Zarabeth and Spock both shared tragedy. Zarabeth's was one of exile and solitude. She will never know love, physical affection, motherhood (the one thing that makes all women complete). And she would have had the chance for that, and more, with Spock, were he to remain. And she realizes this, even to the end (the single tear running down her face). And no less a tragedy is visited upon Spock. He is in love with Zarabeth, in a way that he could never be with any other woman, because the ancestral connection that is growing within him is allowing it. If you doubt this, just remember the last thing he wanted from Zarabeth – a moment alone with her to say good bye. ("How much time do we have?") He even tries to throw McCoy into the portal ahead of him. But he cannot – they came through together and must return the same way. He can't even have that small, private moment with her, just the two of them. Tragic. And once Spock gets back, he is back to being trapped in his world of logic ("She is dead and buried, long ago."), but with the memory of another type of life he could have led, one filled with warmth and love (ironically in the midst of a frozen wasteland).
One more thing: The final shot of the Enterprise flying away, leaving the nova and the destruction of the planet behind, was one of the best images of the entire series. I agree with those who believe that it was this episode should have been the series finale.
Finally, there is some great writing:
McCoy: "Spock, you pointy-eared Vulcan!" ...Spock (grabs McCoy by the throat): "I don't' like that. I don't think I ever did. Now I am sure."
Magistrate (pompously and officiously): "I'm here to see that you get a fair trial in front of the Inquisitional Tribunal." ... Kirk: "You must help me get back to the Library." ... Magistrate: "I can't." ... Kirk (a serious look comes upon his face): "Then I'll denounce YOU to the Inquisitor". ... Magistrate (pompous look is gone, replaced by one of horror): Please. I beg you. They will burn me."
Star Trek: That Which Survives (1969)
Losira: The Ultimate Symbol...
I read a previous review (granted, from a few years back) that was titled "Symbolism personified" (written by ewaf58 from United Kingdom). In that review, there is mention of various symbols and what they represent. Interesting points are made.
However, I write this review to point out the ultimate symbol: The very name Losira - The Siren. In Greek mythology, the Siren was a woman who enticed explorers - always men - to visit her as they passed by her remote island, so that she could lure them to their death. She was dangerous, yes, but also very beautiful - so beautiful that the men could not resist her call, regardless of the danger. Curiously, there was very little joy in the way the Siren went about this - actually, there was a sense of sadness within her - as if she bore no hatred toward these men, she was just doing what she always did, what she was created to do.
We see much of this in Losira. The sadness and regret she would have felt in killing was apparent (and somehow transferred to her replicas), and integral to the plot.
Incedentally, the casting of Lee Meriwether as Losira was a stoke of genius. While she brought the needed beauty to the role, she also brought the needed sadness. She rarely smiled - and when she did, it was a smile of sorrow and resignation (usually whilst saying "I have come for you"), so as to reassure her victim not to worry, that in a moment he would be at true peace (and a truly restful one at that).
You can clearly see how she struggles, when answering Kirk, to explain why her "coming for" Kirk's men is necessary. She takes no pleasure in it. Indeed, it is as if she has no control over it. So in that way, she is all powerful (killing someone instantly, transporting the Enterprise nearly 1000 light years away in a flash, etc) and yet quite vulnerable. The producers could have chosen from among a host beauties of the 1960's - Jill St. John, Shelley Fabares, Mary Ann Mobley (like Meriwether, a former Miss America), but they went with Meriwether - who was beautiful, strong, intelligent, elegant (in manner) and, above all, determined. That Meriwether was able to include an element of sadness to this role is what makes her performance truly memorable. Also, unlike the previously mentioned actresses, she was not a girl, she was a woman - ALL woman (Meriwether was 34 years old, with 15 years experience in front of a camera, at the time of filming), which brings a level in mature understanding to the character that a younger actress may not have been able to provide.
It is easy to see how Kirk could be (in order) intrigued by her, afraid of her, sympathetic toward her, and ultimately, admiring of her. Indeed, when he is explaining to Mr. Spock that she was the last survivor of the Kalandan race, he said "she must have been a remarkable woman", with a sense of regret and sadness that was much like the way Losira (via her replica) spoke to him. I still can remember the wistful look on his face when he said this - William Shatner really is a fine actor.
As for the rudeness of some of the characters toward each other, there is some truth in this. However, I will point out that the following exchange, between Spock and Scotty is one of the funniest I ever heard in the entire series...
Spock: "Can you give me warp eight?"
Scotty: "Aye, sir. And maybe a wee bit more. I'll sit on the warp engines myself and nurse them."
Spock: "... That position, ... Mister Scott ... would not only be unavailing but also ... undignified."
Spenser: For Hire: The Road Back (1987)
Spenser: A strong willed man, whose confidence is severely tested...
In this episode, we see Spenser both different, and the same. How is he the same? He is Spenser the fighter - tough guy with strength and courage - courageous against the powerful to help the weak. We see his desire to help some poor people (including a young Frank Whaley) who are being evicted from their tenement building, as well as the local congressman who is trying to prevent it, via legislation to build a homeless center for them. For this, Spenser is targeted, by a slumlord, with violence - including a pair of assassins who try to kill Spenser. In the gunfight that ensues, Spenser manages to stop (permanently) one of the assassins, but is severely wounded by the other one. Though Spenser survives the attempt, it soon becomes apparent that he may lose his right arm. Naturally, being the fighter he is, Spenser refuses accept this possibility - he continues to work out, and look for the surviving assassin. Equally important, he rebels against accepting help from his friends Lt. Quirk, Sgt. Belson, and D.A. Rita Fiore, beautifully illustrated when they try to cook for him one night and he can take no more of their "help" (i.e. cutting his food for him), he walks out of his own home, leaving them there to finish dinner). Spenser will not even take help (other than information) from his friend Hawk. Seeing how Spenser is now, essentially, a one armed man, Hawk wants to help - he tries to counsel Spenser on this ("I've known you as a tough man Spenser, known you as a brave man - seen that many times. But I have never known you as a fool"), but Spenser is determined to go it alone and find the remaining assassin before the assassin finds him (the two assassins were brothers, and the surviving one wants vengeance).
How is he different? In the way he faces his own vulnerability. There is a wonderful scene with Spenser and Rita, where she apologizes (and apologies don't come easy for her) for the way she treated him at the dinner (Rita: "I was patronizing you, coddling you. I was treating you as if you were helpless. It was wrong of me." Spenser: "It was awful" (smiling warmly). And I was so good about it." Rita: "You could have been better" (smiling warmly back at Spenser)). And then, when Rita asks to stay with Spenser, "to be with" him, to look after him while he faces an uncertain future, Spenser declines, but he does so gently, caring deeply for her feelings (she is as vulnerable to him, emotionally, as he is vulnerable physically). Spenser looks her in the eye and tells her the truth: "You are the best thing that has happened to me in a long time. I want you in my life. But right now, for the first time, I'm not sure what that is". Such vulnerability being shown by such a tough guy! And, by the way, what a pleasure it is to see a man and a woman, attracted to each other, talking openly and honestly about their feelings. Theirs was truly close friendship between a man and a woman, that both were willing to let develop into something more.
Later, with the help of a wise physical therapist, and a boy who is handicapped, Spenser is able to see things in a different light, able to at least consider the possibility of leading the remainder of his life in a very different way. There is a wonderful scene where, via photos in an album, he looks back and reflects on his life. He is moved to call his father on the phone, just to hear his voice and suggest he will soon come visit him. And telling him he loves him. And then... he is visited by the assassin, and manages to vanquish him using nothing but his wits, his one good arm, and a very high window. He also manages to convince the congressman to stay the course (the congressman, seeing what happened to Spenser, had decided to call off his plan to build the homeless center in the face of the intimidation from the slumlord's hired thugs). Then he goes to visit the slumlord to make his feelings known with his words, and his Berretta 9mm – he can still shoot with his other arm, even if he is not as accurate as usual ("I'm not very good with my left hand") - convincing the slumlord that he, Spenser, is prepared to visit his vengeance upon him ("I see the anger in your face". "Anger like that can drive a man to revenge".)
At the conclusion, he shows his surgically repaired right arm to Rita when she comes to take him home from the hospital (once again, he is at his most vulnerable in front of her), and she shows him (with a warm, intimate kiss) that he could not possibly have pleased her more than he did in sharing that moment with her. And in the final scene, we see Spenser and Hawk, and what a deep friendship between two strong silent types looks like. So there you have it: Robert Urich as Spenser, tough on the outside, but thoughtful, reflective, and compassionate to others on the inside. Avery Brooks as Hawk, who is, well... Hawk. And Carolyn McCormick as Rita, a determined, dedicated professional D.A., but woman enough to let her guard down and share her true feelings with Spenser.
One more note: The physical therapist was played by Heather Menzies, wife of Robert Urich. In addition to playing the scenes with her husband, she is quite good – balancing warmth (to show him that he is not alone in this) and determination (reinforcing the need for him to come to terms with what he is facing). All in all, this is one of the best episodes of the entire series.