"LOST" (2004-2010): Favorite Character Centric Episodes - Part III

Below is Part III of a list of my favorite episodes featuring "LOST" characters:



"LOST" (2004-2010): FAVORITE CHARACTER CENTRIC EPISODES - Part III


Claire Littleton



1. (1.10) "Raised By Another" - Claire endures a series of bad dreams of someone attacking her, which leads to Hurley checking the plane's passenger list. Flashbacks reveals Claire's discovery of her pregnancy and a psychic urging her not to hand over the baby for adoption.




2. (2.15) "Maternity Leave" - When Aaron becomes sick, Claire, Kate and Danielle Rousseau travel to where Claire was held captive, an abandoned Dharma medical station, in the hope of finding a cure. Flashbacks reveal her memories of being a captive of the Others.





John Locke



1. (3.13) "The Man From Tallahassee" - Locke, Sayid, and Kate encounter the Others' homes for the first time and find Jack relatively happy amongst them. Flashbacks reveal how an encounter with his father left Locke paralyzed.




2. (5.07) "The Life and Death of Jeremy Bentham" - This episode featured Locke's efforts to reunite the Oceanic Six and return them to the island.




3. (1.04) "Walkabout" - Locke leads an expedition to hunt boars, which leads to his first encounter with the Smoke Monster. Flashbacks reveal that he was in a wheelchair before Oceanic 815's crash.




4. (1.19) "Ex Deus Machina" - While searching for a means to open the hatch, Locke discovers that he is losing sensation in his legs. And both he and Boone find a Beechcraft 18 teetering on the edge of a cliff. Flashbacks reveal Locke's first meetings with his parents.





Charlie Pace



1. (3.21) "Greatest Hits" - Desmond Hume has another vision of Charlie's death, but this time his death ultimately will result in Claire's rescue. Meanwhile, the survivors discover that an attack by the others is even more imminent than originally expected.




2. (1.15) "Homecoming" - Claire is back among the survivors, but still has no memory beyond the plane flight. Ethan confronts Charlie, threatening to kill the other castaways one by one until he gets Claire back, leading the former rock star to take action. In his flashbacks, Charlie tries to get drug money by stealing from a rich girl.





Hugo "Hurley" Reyes



1. (4.01) "The Beginning of the End" - Upon learning that Penny Widmore did not send the freighter to find Desmond, the survivors of Oceanic 815 split into two groups led by Jack and Locke. Hurley deals with being one of the "Oceanic Six" survivors in the flashforwards.




2. (1.18) "Numbers" - Hurley finds that some of Rousseau's documents contain the repeated numbers 4, 8, 15, 16, 23 and 42; the same numbers that he had used to win a lottery jackpot. Hurley sets off on his own to find Rousseau.





Jack Shephard



1. (3.22-3.23) "Through the Looking Glass" - Jack's plans to kill a group of Others bent on kidnapping some of the castaway women backfire. The episode also featured scenes of Jack spiraling in drugs and alcohol during his off-island life.




2. (6.14) "The Candidate" - Sawyer and Jack hatch a plan to divert the Man in Black's attention and leave the island without him on Widmore's submarine, but disastrous consequences await them. In the flash sideways, Jack investigates the cause of Locke's paralysis and offers treatment.




3. (1.11) "All the Best Cowboys Have Daddy Issues" - Jack, Kate, Locke and Boone engaged in a search for Claire and Charlie, who had been kidnapped by Other spy Ethan Rom.




4. (2.11) "The Hunting Party" - Jack leads an expedition to search for Michael, who has left to find the kidnapped Walt. Flashbacks revealed the last days of Jack's marriage.

"The Power of One" [PG-13] - 16/20

"THE POWER OF ONE"

PART XVI

Scott Yi entered the squad room, the following morning, holding a brown folder. "I've dug up all the information I could find on Daley Bakker," he said, before dumping the folder on Olivia's desk. "It's not much. But then . . . her record is squeaky clean."

Olivia opened the folder and read. She learned that Daley Bakker had been born on August 3, 1966; in Oakland as Daley Anwar. Her parents were also native Californians. However, her paternal grandparents came from Alabama in the early 1930s. Anwar earned a Bachelor's Degree in Biology and Biochemistry from Calfornia State University in San Marcos in 1988; and a Master's in Biochemistry in 1990. She worked for the Bloom Pharmeceutical Company as a chemist upon earning her Master's. After three years, she left the company and opened her own herbal cosmetic company/shop called The Blue Orchid on Telegraph Road.

"Andre was right about her," Olivia said. "She's clean. Not one arrest, whatsoever. Not even for speeding." The red-haired witch continued to read the file. "She married a man some fifteen years her senior in 1990. About three years later, he dropped dead from a heart attack." Olivia gave her colleague a meaningful glance. "Heart failure at 42 years old. Naturally, Mrs. Bakker collected the insurance."

"Did her husband . . .?"

Olivia finished, "Orlando Bakker. That was his name. He owned a small pharmacy, here in the city."

"Hmmmm. And he had a heart condition?" Scott shook his head. "I bet the insurance company must have been taken by surprise."

Olivia glanced at the folder. "Maybe they were. They had investigated Mrs. Bakker's claim, stating that her husband did not have a heart condition, when he first bought his policy. But they couldn't find any traces of foul play. About six months after her husband's death, she formed The Blue Orchid. Not only does she sell herbal beauty products, she creates her own products, as well. Natural ingredients. Allegedly. Looks like her factory is located somewhere on Bayshore Boulevard."

Scott murmured, "I'll check it out."

"I don't know, Scott," Olivia said with a slight frown. "This is a private matter and I don't want to get you into trouble."

But Scott refused to deny Olivia any help. "Look, I don't mind. If this Mrs. or Ms. Bakker has that kid's powers, she might end up as a threat to a lot of people." Although a Taoist disciple, Scott also happened to be magic practitioner.

"I don't know. It's a good chance that Ms. Bakker has already abandoned her factory." Olivia paused, as she contemplated another thought. "Then again, she might still be operating. And you could find yourself in serious trouble."

Scott sat down in the chair next to her desk. "She has to kill the baby, doesn't she? To make sure that the power transfer is permanent?" Olivia nodded. "Well . . . it looks as if you might have to lure her into a trap. Because that's the only way I can see you helping Wyatt."

Olivia nodded. "And to lure her, we'll have to use Wyatt. But before we can allow her to get near him, we'll have to find a way to reverse the ritual."

"Allow?"

"That's right. Allow." Then she closed the file and leaned back into her chair with a sigh.

----------

The images flashed in Cecile's mind, as she recalled the objects she had found inside that blanket, last night. Objects that had formed part of an altar for Daley Bakker's ritual. Why had she used those particular objects for . . .?

"Cecile?" The elder Mrs. McNeill's voice had interrupted the young priestess' thoughts. "Is there something wrong? You seem a bit quiet."

Cecile sighed. "I was thinking of that blanket I had found at the Halliwells', last night. "You know, the one with objects for an altar."

"Oh." The elderly woman nodded. "Have you recalled something?"

In her quest to identify the ritual used to strip Wyatt of his powers, Cecile had dropped by the McNeills' house for more information. The family library possessed one of the biggest collections of books and notes on the world's mythologies . . . and on the supernatural world. So far, she and Mrs. McNeill had failed to find anything on what ritual that Daley Bakker had used. "No, I haven't. And that's the problem. I mean . . . I can think of one or two rituals for psychic transference. But they didn't require an altar like the one I had found. That altar . . . I don't know. I have the feeling that Don . . . I mean, Ms. Bakker had used a very old ritual."

"Not surprising," Mrs. McNeill commented. "Wyatt's powers are very strong." She joined Cecile in front of the bookshelf. "If she did use an old ritual, I'm surprised that she would know about it. A lot of old Celtic and Druid spells have been lost, since the early days of Christianity."

Cecile continued to peruse the bookshelf. "It's the same in Hoodoo. Many of our old rituals have disappeared in the past century or so. But we still know a good number of them." She paused, as a book caught her attention. The title read "THE SUPERNATURAL WORLD OF THE IVORY COAST". "Well, this looks interesting," Cecile commented, as she pulled the book from the shelf. The publishing date inside read 1911. "Have you ever read this?"

The elderly woman took the book from the young priestess and stared at the cover. "Oh that! I remember Ken's father - my father-in-law - showing me this book, years ago. He had bought it at a bookstore in London, just a month or two after the war. World War I, by the way." She flipped through the pages. "Do any of these spells look familiar?" Mrs. McNeill handed the book back to Cecile.

"Let me see." The Vodoun priestess sat down in the nearest chair and began to pour through the book. After nearly fifteen minutes, she finally came upon what she had been looking for. "This is it!" she cried. "I think I've finally found the ritual that Daley Whatshername may have used."

-----------

Later that afternoon, Cecile and Mrs. McNeill met with the others at the Halliwell manor. There, the Vodoun priestess revealed her discovery. "Some British anthropologist had spent several years at this village in present day Togo," Cecile explained. "He recorded many aspects of the villagers' lives - including the spiritual and the supernatural. This . . . Sir Jonathan Close had learned all about Vodoun beliefs and African folk magic rituals from a local houngan. Including a ritual that can transfer the essence or psychic abilities from one person to another. I think this is the spell that had been used on Wyatt."

Piper, who held Wyatt in her arms, frowned. "Essence?"

Cecile looked at the oldest Charmed One. "Well, of course. Our psychic powers and our abilities to perform magic come from our essence. Right?" Before Piper could answer, Cecile finished, "Anyway, the items I had found in that blanket matches those that are to be used in the ritual found in this book. And since this ritual involves psychic abilities, Ms. Bakker must have appealed to Kalfu."

"Who?"

Andre answered for Cecile, "He's a loa. A spirit god associated with evil. Like Legba, he controls the crossroads of the spirit world. But for darker purposes. Legba is his opposite."

"Which is whom I will have to summon to reverse the ritual," Cecile added.

"Does the book show a way to reverse it?" Phoebe demanded.

Nodding, Cecile answered, "Don't worry. It does. I just have to get similar items for the ritual. But since I'll be summoning Legba for help, I won't have to wait until dark to perform the ritual. However, it has to be performed either by the last day of the moon's first quarter . . . which is tomorrow. Or we'll have to wait until the last quarter moon begins."

"We're doing it tomorrow," Piper insisted.

Cecile added, "And we also need to lure Donna or Daley back here. We'll need a sample of her blood. Or hair."

Cole snorted. "Good luck on that one," he murmured.

"Can't we just get a hair sample from her bedroom?"

Cecile gazed at the youngest Charmed One. "Can you get inside? I know you can teleport, Paige. But for all we know, Ms. Bakker might have a protection ward around her house."

Olivia sighed. "In other words, we'll have to lure her to the house, before we can get a blood or hair sample from her. Now that she knows about Cole, that won't be so easy."

"She'll have no choice but to show up," Andre commented. "Especially if she wants to keep Wyatt's powers . . . permanently." A light gleamed in his dark eyes. "However, I do have an idea." He regarded Cole with thoughtful eyes. "Do you have to be in the same room with someone to use telepathic suggestion?"

Cole stared at his friend for a long moment. "No," he finally answered. "No, I don't. I can use it on anyone from a distance. But this Daley Bakker . . . she has Wyatt's powers. I don't know if I can . . ."

"Might as well try," Andre said. "Besides, I have a feeling that your powers might slightly be stronger than Wyatt's."

Piper immediately spoke up. "You don't know that for sure. After all, when Wyatt was born, all magic had ceased . . ."

"Didn't Cole still have his powers that day? I had heard of a few others who also did." And before Piper could respond, the houngan turned to the half-daemon. "Now, this is what I want you to do." Andre then proceeded to reveal what he had in mind.

---------

Daley stood before the liquor cabinet, inside her living room. "What do you guys want to drink?" she asked the two men, who sat on the sofa.

Marc replied, "Bourbon."

"I'll have a whiskey straight," the second man answered. Like Marc, Clive Davis happened to be one of Daley's lieutenants. He usually supervised the manufacturing and packaging of her Methacathinone. "Shouldn't we be making a run for it, or something like that? Now that the cops probably know about us?" The other two stared at him. "I saw an unmarked police car outside the warehouse, this afternoon."

Marc added, "I forgot. There was one parked outside your store, as well."

Daley impatiently dismissed the men's worries. "We're not leaving," she declared in a resolute tone. "Why should we? The only cop who knows about us is that red-haired bitch. And probably a friend or two on the force. She can't say anything to the Department without bringing up magic. And if the cops do try anything . . . I'll take care of them." She allowed a cruel smile to curve her lips. Then her smile disappeared. "However, we do have two problems. Getting rid of Wyatt Halliwell. And that Cole Turner fellow." She handed Marc a glass of bourbon. "Did your warlock friend know anything about him?"

After taking a sip of his bourbon, Marc sighed. "Oh Daley, I think we may have walked into a world of shit with this dude."

"Meaning?"

Marc continued, "Have you ever heard of a daemon named Belthazor? From the Brotherhood of the Thorn?"

During her years of criminal activity, Daley had done business with various supernatural beings and organizations outside the Anansi Order. Including business with the Brotherhood of the Thorn. She had also heard of a daemonic assassin named Belthazor, who was said to be one of the best. "Yeah, I've heard of him. I also heard that he had been killed by these three witches who . . ." She stared at Marc. "Are you saying that Cole Turner is Belthazor? But, he's supposed to be dead!"

"Yeah," Marc said with a nod. "He was killed by the Charmed Ones. Apparently, he had fallen in love with one of them - Phoebe Halliwell. A year after they had met, he lost his powers, became a mortal for a few months and then ended up being possessed by some dude called the Source, who was supposed to be the leader of some daemonic realm. The sisters killed the Source again, along with Turner. Who came back from the dead a few months later with more powers. In fact, he's supposed to be more powerful than ever. My friend didn't know whether he's more powerful than the Halliwell kid. I mean, you."

Recalling how the dark-haired man or daemon had easily blocked her electrokinetic attacks, Daley suspected that she might have stolen powers from the wrong person. "You know anything else about him?"

"He's supposed to be half-daemon/half-mortal," Marc added. "Turns out he and Phoebe Halliwell had been married for a few months. And he's now involved with another witch. That red-haired cop, Olivia McNeill."

Daley sighed. "That's just great. No wonder I can't teleport inside the Halliwell house. I bet he must have cast some protection ward over the damn place."

Marc took another sip of his drink. "One last thing . . . he's a close friend of Andre Morrell."

"So, how do you plan to deal with him?" Clive asked.

Another sigh left Daley's mouth, as poured herself a glass of ginger ale. "One problem at a time. I still need to get near Wyatt Halliwell and kill him. Does anyone . . ." She paused, as an idea came to her.

"Shape shift," a voice inside her head suggested. "Shape shift into one of the Charmed Ones. Only then you will get inside the house and near the boy."

Daley cried out, "Of course! Why didn't I think of that before?"

Marc stared at her. "Of course . . . what?"

"I've figured out how to get close to Wyatt." Excited over her new idea, Daley continued, "Shape shift. All I have to do is glamour. Shape shift into one of the sisters and enter the house. I wouldn't have to worry about a protection ward."

"And which sister do you plan to impersonate?" Marc asked. "What if she shows up before you can get rid of the kid?"

Daley stared at her two companions. "Well, Clive is going to make sure that she doesn't."

"Huh?" Clive stared at his boss.

"You, Angela and Ramon are going to snatch one of the Halliwells. Tomorrow is Saturday. They're not going to stay inside that house forever. Grab her in some secluded spot and take her to the old lab on Kearny Street. Drug her, if you have to. Once I kill Wyatt, you can let her go." Then another idea came to Daley. "Or better yet, kill her. I don't care."

Marc and Clive exchanged questioning looks. The latter asked, "Which Halliwell do I grab?"

Clive's question reverberated within Daley's mind for a few seconds. Then her inner voice spoke again. She replied, "Phoebe Halliwell. I hear that she sometimes work on Saturdays. She's not a teleporter, like the youngest. And I'm sure that Piper will be at home with Wyatt. By the way, Phoebe knows martial arts, so be careful."

"No problem," Clive said. "I know it, myself. And I don't think she'll be in a position to fight back, for what I have in mind for her." He paused. "Where do you want us to meet you?"

Daley strolled toward an empty chair near the sofa and sat down. "The BAY-MIRROR. I'll call you first . . . just to make sure that she'll be there. And if she does show up, make sure that someone is there to keep an eye on her, so that he or she can tell us when she's leaving."

Marc asked, "And what if she doesn't leave the house?"

"Then I'll use her boyfriend to make sure that he does." Daley sank into the chair, as she took a sip of her drink. "And once Clive grabs her, I'll simply take her place."


END OF PART XVI

"APPOINTMENT WITH DEATH" (2008) Review

"APPOINTMENT WITH DEATH" (2008) Review

Looking back on the number of Agatha Christie movie adaptations I have seen, I find it surprising that only a handful of Christie titles have been adapted for the movies or television more than once. One of those titles happened to be the author’s 1938 novel called "Appointment With Death".

The most well known adaptation before the 2008 one had been produced and directed by Michael Winner some twenty years earlier. Released in 1988, the movie starred Peter Ustinov in his last appearance as the Belgian-born sleuth, Hercule Poirot; and is not considered among the best of Christie adaptations before the premiere of "Agatha Christie’s POIROT" around 1989. The production values of the 1988 version of "APPOINTMENT WITH DEATH" almost had a cheap, B-movie quality about it. Nevertheless, I feel that it is a masterpiece in compare to this recent version that starred David Suchet as Poirot.

"APOINTMENT WITH DEATH" told the story of Hercule Poirot’s investigation into the murder of a wealthy, middle-aged American woman named Lady Boynton (Mrs. Boynton in the novel). But screenwriter Guy Andrews made so many changes from Christie’s original tale that it would seem pointless for me to recap the plot. One, the victim is not a widow. Instead, she is in the middle of a second marriage to a British peer and archeologist named Lord Boynton. Only Lennox Boynton is her stepson by marriage . . . and his name has become Leonard. The others – Carol, Raymond and Ginerva (Jinny) – had been adopted before her marriage to Lord Boynton. And yes, Jinny is no longer her child by blood. Lady Boynton never spent time as a warden for a women’s prison. Instead, she was an astute businesswoman. The character of Nadine, Lennox’s wife, did not appear in this adaptation. Jefferson Hope was transformed from the Boynton family’s attorney, into an American traveler with business ties to Lady Boynton. Dr. Gerard’s nationality and profession had been changed from French psychologist to British medical doctor. The American-born Member of Parliament, Lady Westholme, became British-born world traveler Dame Celia Westholme. And former nursery governess Miss Amabel Pierce, became known as "Nanny"; Lady Boynton’s nervous and very reluctant henchwoman in the abuse of the murder victim’s many adopted children. Andrews also added a new character – a Polish-born nun, who had befriended Jinny, named Sister Agnieszka. However, Dr. Sarah King remained intact – in both characterization and profession. The story’s setting is changed from Petra to Syria. The novel featured a single killer. This movie featured two killers . . . and a different motive. These changes allowed Andrews to give the murderers a fate straight from the finale of 1937’s "Death on the Nile".

I have to make one thing clear regarding the changes made by Guy Andrews. I have nothing against a writer making changes from a literary source to accommodate a screen adaptation. There are some things that do not translate well to the screen. But I feel that most of the changes made by Andrews did NOT serve the movie’s plot very well. In fact, I would say that the opposite happened. Despite its B-movie atmosphere; the 1988 movie seemed like an elegant affair in comparison to this 2008 version. Mind you, the latter had some virtues. David Suchet gave a subtle performance as Hercule Poirot. Peter Greenhalgh’s photography struck me as beautiful and rich in colors. Even Sheena Napier’s costume designs managed to capture the mid-to-late 1930s quite well. Elizabeth McGovern’s portrayal of a British or Irish female seemed surprisingly competent, despite her being American-born. Both Tim Curry (as Lord Boynton) and John Hannah (as Dr. Gerard) gave entertaining performances. And I also felt impressed by Christina Cole (Dr. Sarah King) and Mark Gatiss (Leonard) performances as well. So, why do I have such a low opinion of this movie?

My main beef with "APPOINTMENT WITH DEATH" was the changes made to the story. I simply found them unnecessary. The change in the story's setting from Petra to Syria, created a small confusion. In the 1930s, part of Syria was under British control and the other half was under French control. Yet, the movie featured a very British Colonel Carbury (portrayed by Paul Freeman), who had French troops under his command. Confusing. And was it really necessary to include characters like Lord Boynton and Sister Agnieszka, who did not exist in the novel? No. Lord Boynton was nothing more than a red herring created to distract viewers of the teleplay. And Sister Agnieszka was used to include a subplot that was never in the novel and had nothing to do with the main narrative. Was it necessary to change the number of murderers from one to two? Again . . . no. By changing the number of murderers, Andrews changed the motive behind the victim’s murder from preserving a secret to an act of revenge. Worse, by changing the number of murderers and motive, Andrews complicated the plot to such a ridiculous level that by the end of the story, I found myself shaking my head in disbelief. Even more ridiculous was the convoluted method used by the killers to bump off Lady Boynton. Was it necessary to include a subplot about the sex slave trade, which had nothing to do with Lady Boynton’s murder? I would say no. Especially since the subplot was never included in Christie’s novel.

In the novel, Mrs. Boynton inflicted a great deal of psychological abuse upon her step-children and her daughter, Jinny. This movie had Lady Boynton bullying a hired nanny – Nanny Taylor - into inflicting physical abuse upon the many children she had adopted over the years – including Raymond, Carol . . . and Jinny. Was the change necessary? I certainly do not believe it was. Both the novel and the 1988 film made it painfully obvious how harmful Mrs. Boynton’s psychological abuse was upon her stepchildren. Apparently, Andrews, director Ashley Pierce and the producers thought it was not dramatic enough and decided to be more drastic by including physical abuse. To emphasize the horror of Lady Boynton’s domestic situation, they allowed Nanny Taylor to fall into a catatonic state following her employer’s death out of guilt. I found these changes unnecessary. I found the idea of Nanny Taylor remaining with the family after the children became adults irrelevant. And if I must be brutally honest, I was not that impressed by Angela Pleasance’s slightly hammy performance as the tormented nanny.

In a review of "MURDER ON THE ORIENT EXPRESS", the 2010 version of Christie’s 1934 novel, I had complained about the religious themes that permeated that movie. Apparently, "MURDER ON THE ORIENT EXPRESS" was not the first movie in the series to emphasize religion. The same happened two years earlier in "APPOINTMENT WITH DEATH". As I had stated earlier, one of the new characters turned out to be a Polish-born Catholic nun. I had to endure a sanctimonious conversation between her and Ginerva. Lord Boynton’s archeological quest turned out to be a search for John the Baptist’s head. I had never heard of anything so ridiculous. How was anyone supposed to figure out whether the head of John the Baptist or some citizen of the region had been found? And to make matters worse, once Lord Boynton thought he had found the object of his quest, he had Sister Agnieszka lead the rest of the party into a prayer over said skull. The scene struck me as too ludicrous to believe. The over-the-top choral music that permeated Stephen McKeon’s score did not help matters.

When it comes to adapting a novel or play for the screen, I have no problems with screenwriters making changes to the story or any of the characters . . . if those changes manage to serve the film. After all, some aspects of a novel or play do not translate well into film. But the changes I found in "APPOINTMENT WITH DEATH" struck me as unnecessary. They not only failed to serve the movie’s plot, I found them convoluted and over-the-top. The addition of a religious theme simply made matters worse. The movie had a few virtues – including a solid performance from David Suchet. But not even he could save the amount of damage inflicted upon this movie.

"KING SOLOMON'S MINES" (1950) Screencaps Gallery

Below are images from "KING SOLOMON'S MINES", the 1950 adaptation of H. Rider Haggard's 1885 novel. The movie starred , Deborah Kerr and Richard Carlson:


"KING SOLOMON'S MINES" (1950) Screencaps Gallery

"WESTWARD HO": Introduction

Below is the introduction to an article about Hollywood's depiction about the westward migration via wagon trains in the United States - especially during the 1840s:


"WESTWARD HO!": Introduction

I. History vs. Hollywood

Between 2001 and 2004, the A&E Channel used to air a series called "HISTORY vs. HOLLYWOOD". Each episode featured experts that were interviewed about the historical accuracy of a film or television special that was based on a historical event. These experts or historians would examine a newly released film - usually a period drama - and comment on the historical accuracy featured in the story. Not surprisingly, most productions would receive a verdict of "both Hollywood fiction and historical fact".

A rising demand for more historical accuracy seemed to have become very prevalent in recent years. I cannot explain this demand. And if I must be honest, I do not know if I would always agree. If such accuracy ever got in the way of a whopping good story, I believe it should be tossed in favor of the story. Many of William Shakespeare's dramas have proven to be historically inaccurate. I can think of a good number of well-regarded productions that I would never consider to be completely accurate as far as history is concerned - "GONE WITH THE WIND" (1939), "GLORY" (1989), "ENIGMA" (2001) and "THE TUDORS" (2007-2010).

All of this brings me to this article's main topic - namely the depiction of the 19th century western migration in various movies and television productions. I thought it would be interesting to examine five productions and see how they compare to historical accuracy. I will focus upon two movies and three television miniseries:

*"HOW THE WEST WAS WON" (1962)

*"THE WAY WEST" (1967)

*"CENTENNIAL: The Wagon and the Elephant" [Episode 3] (1978-79)

*"THE CHISHOLMS" (1979)

*"INTO THE WEST: Manifest Destiny" [Episode 2] (2005)


II. The Essentials of Western Travel

Before I start making comparisons, I might as well focus on the correct essentials needed by westbound emigrants during their trek to either Oregon, California or other destinations. The essentials are the following:

1. Farm wagon/Prairie schooner vs. Conestoga wagon - The Conestoga wagon is well-known among those who study American history during the late 18th and early 19th centuries. It was a heavy, broad-wheeled covered wagon used extensively during that period in the United States east of the Mississippi River and Canada to transport goods up to 8 tons. It was designed to resemble a boat in order to help it cross rivers and streams.

However, the Conestoga wagon was considered too large and bulky for the 2,000 miles journey between Western Missouri and the West Coast - especially for the teams of stock pulling the wagon. It was highly recommended for emigrants to use regular farm wagons. The farm wagon was primarily used to transport goods. However, small children, the elderly, and the sick/or injured rode in them. But since the wagons had no suspension and the roads were rough, many people preferred to walk, unless they had horses to ride. The wagon - depending on luck - was sturdy enough for the 2,000 to 3,000 westbound trek. More importantly, the wagon would not wear down the team of animals pulling it.


2. Draft animals - The westbound emigrants depended upon draft animals to haul their wagons for the long trek. Horses were out of the questions. A single rider could travel to Oregon or California astride a horse. But horses were not sturdy enough for the 2,000 miles trek and would die before reaching the end of the journey. It was recommended that emigrants use oxen or mules to pull their wagons.

Both oxen and mules were considered sturdy enough for the long trek. However, most would recommend oxen to haul a wagon, for they were cheaper and could survive slightly better on the grazing found along the trails. Mules could do the same, but at a lesser rate. But they were more expensive than oxen. They had a tendency to be temperamental. And they were more inclined to attract the attention of Native Americans.


3. Supplies and Goods - It was very essential for emigrants to haul supplies and goods during their long, westward trek. Upon leaving Independence, Missouri; there were very little opportunities to purchase food and supplies. The only locations that offered such opportunities to purchase more goods were a small number of trading and military outposts along the western trails. However, many emigrants attempted to bring along furniture, family heirlooms and other valuable possessions. They realized it was wiser to rid said possessions in order to lighten their wagon loads. And this would explain why these discarded possessions practically littered the major emigrant trails during the second half of the 19th century.


4. Western Outposts - As I had stated earlier, westbound emigrants encountered very little opportunities to re-stock on supplies during their journey west. Only a series of trading or military outposts on the western plains offered emigrants opportunities for more supplies. Emigrants encountered Fort Laramie (present day eastern Wyoming), Fort Hall (present day Idaho) and Fort Laramie after 1848 (present day Nebraska) along the Oregon/California Trails. Along the Santa Fe Trail, they would eventually encounter Fort Leavenworth (present day northeastern Kansas). Fort Bent (present day southeastern Colorado) and eventually Santa Fe in the New Mexico Territory.


5. Native American Encounters - The portrayal of emigrants' encounters with Native Americans during the western trek could either be chalked up to Hollywood exaggeration, American racism or a mixture of both. But many movie and television productions about the western migration tend to feature large scale attacks upon wagon trains by Native American warriors. One, such attacks never happened - at least as far as I know. The various nations and tribes possessed too much sense to attack a wagon train that was likely to be well-armed. And the number of Native Americans portrayed in these cinematic attacks tend to be ridiculously large. A small band of warriors might be inclined to steal some horses or stock in the middle of the night, or attack a lone wagon traveling on the plains for the same reason. However, westbound emigrants either socialized or traded with the Native Americans they encountered. Or perhaps some trigger-happy emigrant or more might be inclined to take pot shots at a lone rider or two. But large scale attacks by Native Americans ended up being figments of a filmmaker's imagination.


In the following article, I will focus upon the history accuracy or lack thereof featured in 1962's "HOW THE WEST WAS WON".

"The Power of One" [PG-13] - 5/20

"THE POWER OF ONE"

PART V

Piper felt more than happy that she had finally found the perfect nanny for Wyatt. Donna Thompson turned out to be a Voudon practioner - a mambo, like Cecile Dubois. Although Ms. Thompson's power happened to be thermokinesis, she also possessed the ability to use other forms of psychic powers through spells and chants. Nor did she seem to mind dealing with the constant demonic attacks upon Wyatt. It seemed that Ms. Thompson had experienced plenty of them, during her years as a mambo. But it was Wyatt's immediate acceptance of her that led Piper to finally hire her.

"So, when can you start?" the Charmed One asked the priestess. She lowered Wyatt back in his basquinet.

Ms. Thompson replied, "Is tomorrow okay?"

"Sounds great." Piper led the other woman out of the Solarium. "Uh, how about eight in the morning? Is that okay?"

"Fine by me."

Piper continued, "You know, I didn't realize there were any Vodoun practioners here on the West Coast. I mean, my sisters and I had once encountered this witch doctor, but we thought he came from somewhere else." She noticed that the other woman had stiffened slightly. "Is there something wrong?"

Flashing a prim smile, Ms. Thompson replied, "We Vodoun practioners don't like the term 'witch doctor'. We find it insulting. And the word - witch - is considered . . . an insult in the Vodoun world. I know that it isn't in your world. But it is in ours."

"Oh. Uh . . ." Now there was something that Cecile or the McNeills had never bothered to reveal. "I, uh . . . didn't know that. Maybe this guy was a priest. Anyway, I don't think he was from around here. And Cecile and Andre are from New Orleans. Besides, I've always thought that Vodoun was only practiced back East."

Ms. Thompson added, "I didn't realize you were that familiar with Vodoun. You've been to New Orleans?"

"No, I met Cecile and Andre, here in San Francisco. In fact, they're visiting the city, this week." The Charmed One told the Vodoun priestess about the two visitors from Louisiana.

For a brief second, Piper thought she saw Ms. Thompson's eyes widened in alarm. She realized that she had imagining things, when the other woman smiled. "Really? And this Miss Dubois is a telepath? And a clairvoyant? That's interesting. My grandmother was a seer."

"So is one of my sisters," Piper added. "Phoebe. She's also an empath." Then she sighed. "I should warn you about the latter. Phoebe had just received her empathic powers over a month ago. And it's been driving us all crazy."

Ms. Thompson smiled. "Thanks for the warning." Then she glanced at the floor and a frown appeared on her face. "Hey, what happened to that amulet? The one that daemon had been wearing."

Piper glanced around. "I don't know. I didn't see it after we had vanquished him. Maybe it was destroyed."

"Hmmm. Well," Ms. Thompson glanced at the grandfather clock, "I better get going. I had promised to pick up a friend in another twenty minutes. Uh . . . see you tomorrow morning? Around eight?"

"Around eight." The two women shook hands and bid each other good-bye. After Ms. Thompson had left, Piper heaved a smile and returned to the Solarium to begin the cleanup.

Two figures materialized into the room, taking Piper by surprise. It was Cole and Cecile. "My God!" the latter replied. "Piper! Are you okay? Have you been . . .?"

"Attacked? By a demon?" Piper nodded. "Yeah, but I'm fine. How did you, uh . . .?" Realization hit Piper, as she remembered one of Cecile's powers. "Oh. Yeah. Uh, everything's okay. I . . ."

Two more figures orbed into view. Phoebe and Chris. The former rushed toward her older sister. "Piper! You're alive!"

"No kidding," Piper murmured in her usual sardonic manner. "I'm fine. I'm okay. And the demon has been vanquished." She paused and stared at both Phoebe and Cecile. "You mean to say that the both of you had visions of me . . ."

Cecile interrupted. "Apparently so." She stared at Piper. "So, uh . . . you managed to fight off the daemon?"

Piper sighed. "Actually, I had a little help. I probably would have been dead, if it weren't for her."

Cole asked, "Who rescued you?"

"Wyatt's new nanny." Piper then proceeded to tell the others about Donna Thompson, and the demon who had attacked them. "It turns out that she's also a Vodoun priestess. Like Cecile. If she had not spotted that amulet . . ."

Chris frowned. "What amulet?"

Piper told them about the amulet that had protected the demon from her powers. "I think it may have been destroyed, when we vanquished him. We couldn't find it."

Phoebe enveloped her sister into a bear hug. "Who cares? As long as you're safe. And alive," she said. "Is this Miss Thompson here? I would love to thank her."

"You can do that, tomorrow. She'll be arriving around eight." She glanced around the Solarium. "Oh God! Look at this mess! I'm going to be cleaning this up, all day!"

"Why don't you use that spell that Paige had used when . . ." Phoebe broke off and shot an uncomfortable glance at Cole. Then she murmured, "Never mind."

But Piper knew what Phoebe was about to mention - namely the spell Paige had used to clean up Cole's penthouse, after they had killed him. She sighed and decided to thank her younger sister for the advice, later. "I guess I better start . . . cleaning up, right away. Meanwhile, you all can leave. Because once I'm finished, I'll have to feed Wyatt and then both of us will be taking naps."

The others mumbled their good-byes and teleported out of the house. Much to her relief.

-----------

The doorbell to Daley's house rang, later that evening. The sorceress made her way to the front door and opened it. Marc stood in front of the doorway, wearing an anxious look. "Well? How did it go?" he asked.

"Everything's just peachy," Daley wearily replied. "You're looking at Wyatt Halliwell's new nanny. Of course, I had to help his mama fight off a daemon in order to get the job."

"Say what?" Marc stepped inside the house. Daley led him to her large sitting room, just east of the foyer. He sat down in one of the chairs. "You had to do what?"

Daley settled on the sofa. "Help save her and the boy from a daemon. Some damn shapeshifter, I think. He had disguised himself as some Mexican woman, applying for the job. He tried to kill Piper . . ."

"Who?"

Annoyed by her assistant's dense questions, she threw a pillow at his head. Marc neatly caught it, instead. "The damn witch who had just hired me! Piper Halliwell! Who in the hell do you think I've been talking about?" Daley retorted. "Some daemon had tried to kill her. Strange that he didn't bother to simply snatch the kid."

"Maybe he wanted to make sure that this Halliwell witch didn't come after him. After all, she's supposed to be pretty powerful, herself."

Daley sighed. "Good point. Anyway, I helped Piper kill him. And in gratitude," she allowed herself a smug smile, "she hired me on the spot. No references were necessary."

Marc nodded approvingly. "So, everything's okay. Right?"

Daley's smile disappeared. "Not quite. It seems that one of the other sisters - the newspaper columnist - is clairvoyant. And empathic."

"That's not good," Marc said with a frown. "She might find out the truth about you, before you're ready to do the ritual."

"Oh, it gets worse," Daley added. "The Halliwells are friends of a Vodoun priestess named Cecile Dubois, who also happens to be clairvoyant. And she's a telepath. And guess who happens to be her boyfriend?" Marc shook his head. "Andre Morell. He's here in San Francisco. With her."

A low whistle escaped from Marc's mouth. "Are you shitting me?" he cried. "Have you ever met . . ."

"No! But, I've met the drug lord that he used to work for - Aaron Mercer. And there's a good chance that he has heard of me."

Marc shrugged his shoulders. "As long as you two have never met, and you're using a phony name . . . what's the big deal? You have nothing to worry about."

Daley paused, as she walked over to her bar. "Except for this Cecile Dubois, and Phoebe Halliwell. It'll be nearly a week before the half moon. I don't want to take the chance of being found out by a bunch of seers."

"So, what are you going to do? Kill 'em?"

A sigh left Daley's mouth. "I don't think that's a good idea. Not now. Maybe I'll . . ." She broke off and contemplated on how to deal with this psychic double threat. Until she spied an object resting on the bar's surface. It was the amulet that had been worn by the daemon killed by her and Piper Halliwell. She had snatched the amulet, while the witch's back had been turned. "Maybe I won't have to worry about them, after all."

"What's that?" Marc asked.

Daley stared at the object in her hand. "I don't know. Judging from the symbol on this thing, it may have been created by a dominion spirit. All I know is that it prevented that daemon from being affected by the witch's powers."

Marc stared at her. "Do you think it'll work against the two seers?"

"I'll find out, tomorrow."

----------

Cole and Andre stepped out of the elevator and made their way toward Olivia's apartment. They found the two women finishing the last of their breakfast.

"You mean to say that you two aren't ready, yet?" the houngan protested in jest.

Cecile remained silent, while Olivia shot Andre an amused look. "My, we are impatient this morning! You must really enjoy going through my shop."

Andre shrugged. "I have to admit that I find it interesting. Reminds me of when I was studying mythology and anthropology in college." He leaned down to plant a kiss on Cecile's cheek. "I guess I'll be seeing you later, baby. Take care."

"You too," Cecile murmured. She and Cole watched the other two leave the apartment. Once Olivia and Andre had left, she stood up and headed for the living room. "I'll be ready in a minute."

Cole replied, "No problem."

A few minutes later, Cecile emerged from her bedroom, carrying her portfolio and a suitcase. "Okay. Let's go." The pair left the apartment and traveled down to the building's underground garage, via the elevator. After they climbed into Cole's black Porsche, the half-daemon heaved a sigh. Cecile stared at him. "What's wrong?" she asked.

Cole shook his head. "Nothing. I . . ." He paused, before continuing. "I was thinking about that attack on Piper, yesterday."

"She got out of it, okay. She's alive. What's the big deal?"

Another sigh left Cole's mouth. "Nothing. I just find this whole idea of her hiring a nanny, a big mistake. Maybe she should try to get in touch with Leo."

Cecile snorted with derision. "Seems like he's more interested in being some high-level guardian angel than being a husband and father."

Her acid response drew a long and hard stare from Cole. "What brought this on?"

"Brought what?"

"Why are you so bitter? Are you speaking of Leo? Or Andre?"

Rolling her eyes, Cecile retorted, "What are you talking about? Andre hasn't abandoned me!"

"No, you seem more interested in abandoning him," Cole shot back. "Olivia told me about that little rant against men. About how we end up shoving the women in our lives into the background. You were talking about Andre, right? Do you think he's no longer interested in you? Is that why you want to get married?"

Cecile stared at the half-daemon. "Are you always in the habit of asking so many questions, at once?"

"C'mon, Cecile! Don't bullshit me!" Cole continued, "Do you honestly think that a marriage is going to help you?"

Resentment flickered in Cecile's dark eyes. "I guess you don't."

It took all of Cole's efforts not to roll his eyes in contempt. "Why do people believe that a wedding ring is going to solve all of their problems?" He slipped his key into the car's ignition, and switched on the engine.

"This isn't about solving a problem!" Cecile retorted. "I just . . . I just want something different in my life. Something more solid than a convenient boyfriend on the other side of town. After what you told me about what led you to propose marriage to Phoebe, I thought you would understand!"

The Porsche rolled out of the parking lot and merged into San Francisco's early morning traffic. "Yeah, well now I know better! I found out that marriage didn't make my life better or improved my relationship with Phoebe. In fact, our relationship ended in the toilet. Our marriage didn't solve one fucking thing!"

"You had been possessed around the time you got married!" Cecile retorted.

Cole shot back, "And you honestly think that Phoebe and I would still be together, if the Source hadn't possess me? Because I can tell you right now that we wouldn't. I was in love with a woman who wanted a fantasy romance, and who's still incapable of growing up. And I would have remained a mortal - a state that I hated with every goddamn breath in my body - for nothing! Trust me. Our marriage would have ended, just as our little summer 'romance' did, over two months ago. Maybe a wedding ring might give you a little stability with Andre for a while. But sooner or later, your marriage will become a routine that will bore you out of your mind. And once again, you'll find yourself longing for a change. For something new. You know, you and Andre have a good thing going. Why can't you appreciate it?"

"Because it's no longer a good thing! At least to me." Cecile's eyes narrowed. "If what you and Phoebe had before your marriage was such a good thing, why did you ask her to marry you?"

The Porsche rolled to a stop at a red light. Cole took a deep breath and growled in a low voice, "Because I was too fucking stupid to appreciate what we had! That's why!"

"Hmmph! Just as you probably thought that your friendship with Olivia was good enough, I bet," Cecile said with a sneer. "Until she got frustrated and started paying attention to that bastard, Paul Margolin. Tell me Cole, what if Olivia decides that she wants to be more than your girlfriend? Are you going to make the same mistake that you did, last spring? Pretend that your relationship is fine as it is?"

The light turned green. The Porsche roared into life and continued toward downtown. Cole opened his mouth to say something. Tell Cecile that she was wrong. Unfortunately, he could not find the right words.


END OF PART V

"ESCAPE FROM FORT BRAVO" (1953) Review

"ESCAPE FROM FORT BRAVO" (1953) Review

Years ago, I used to watch a great deal of old movies on late night television. My two favorite channels that offered these movies were Turner Network Television (TNT) and the American Movies Classic (AMC), which used to air movies without any commercial breaks. On TNT, I had stumbled across a Western movie originally released by MGM Studios in 1953 called "ESCAPE FROM FORT BRAVO" (1953) and fell in love with it. After watching my recently purchased DVD copy of the movie, I could see why it became a favorite of mine.

Directed by John Sturges during the first decade of his directorial career, "ESCAPE FROM FORT BRAVO" told the story of a Union Army officer that served as the second-in-command of a prisoner-of-war camp located in the Arizona Territory in 1863. The movie’s opening pretty much set the stage of what kind of character Captain Roper was, as it depicted him dragging an escaped Confederate prisoner back to Fort Bravo. The fact that Roper was on horseback and his prisoner – a Lieutenant Bailey – was on foot pretty much established the Union officer as a hard-nosed and ruthless man. That flint-like personality was exacerbated by his cynicism, revealed in his reactions to the other characters’ disapproval of his treatment of Bailey. However, chaos soon arrived in the form of one Carla Forrester, a Texas belle who arrived at Fort Bravo to serve as maid-of-honor at the wedding of Alice Owens, the daughter of Fort Bravo’s commanding officer, Colonel Owens. Carla was also there to ensure the escape of the prisoners’ ranking officer, her fiancé Captain John Marsh and a few of his men. In order to keep their Union jailers distracted, Carla set out to seduce and romance the fort’s most feared man – Captain Roper.

When I first saw "ESCAPE FROM FORT BRAVO", I never thought I would become such a diehard fan of the movie. Do not get me wrong. It was not the best or innovative Western I had ever seen. Screenwriters Frank Fenton and an unaccredited Michael Pate had created a solid character study about conflicts – both political and personal – between the Union and Confederate troops in the Civil War Southwest, and the conflict between the Apaches and everyone else. The movie even had a happy ending – somewhat. Yet, Sturges, Fenton and Pate managed to lift a solid tale into something more fascinating by infusing a great deal of emotion and complexity in the main characters And it were these complex characters that truly made "ESCAPE FROM FORT BRAVO" for me. The characters seemed to seethe with an array of emotions that eventually burst forth as the movie unfolded. Many of these emotions seemed to center around the story’s main character.

One of those characters happened to be Carla Forrester. And Eleanor Parker managed to do a top-notch job in portraying the bundle of contradictions that simmered underneath her ladylike façade. Parker portrayed Carla as a cool Southern belle with impeccable manners and a talent for seduction. Her Carla also possessed the ruthlessness to browbeat a reluctant pro-Southern storekeeper into helping Marsh and his men escape; a boldness that allowed her to chase after Roper in an age where women were valued for being passive; and a great deal of passion for Marsh and later, Roper. One of the more interesting aspects of Parker’s performance was expessing Carla’s struggles to suppress her feelings for Roper. Recently, I learned that Parker had earned the nickname Woman of a Thousand Faces. Judging from her portrayal of Carla Forrester, I would say that she deserved the name.

I have been a fan of John Forsythe since his years as Charlie Townsend’s voice in "CHARLIE’S ANGELS" (1976-1981) and his work on the ABC nighttime soap opera "DYNASTY" (1981-1989). But I must admit that I found his performance in "ESCAPE FROM FORT BRAVO" somewhat perplexing. On one hand, Forsythe did a excellent job in portraying John Marsh’s patience, intelligence and slightly caustic nature - especially in scenes that featured Marsh's exchanges with his fellow Confederate prisoners. However, there seemed to be something not quite . . . right about the character. I do not know if the fault lay with Forsythe’s performance or Fenton and Pate’s screenplay. The problem with the Marsh character or Forsythe’s acting seemed to be Marsh’s successful ability to suppress his emotions. There were times when I wondered if the only true feelings that Marsh seemed able to truly express, centered around his desire to escape. And when he finally did express his his jealousy toward Carla’s feelings about Roper – it came off as slightly unconvincing. Either Forsythe had failed to sell it . . . or Fenton and Pate failed to allow Marsh to express his jealousy until it was too late in the story.

I certainly cannot accuse William Demarest and William Campbell for giving unconvincing performances. The pair portrayed two of the Confederate prisoners – the wise "old" man Sergeant Campbell and the cocky young Cabot Young. The pair seemed to be engaged in some kind of verbal warfare that I found a lot of fun. Yet, it also seemed to hint some kind of mild dislike between the two – until the ending revealed their true feelings for each other. Two other performances caught my attention – John Lupo as the cowardly Confederate officer Lieutenant Bailey and Richard Anderson (of "THE SIX MILLION DOLLAR MAN" and "THE BIONIC WOMAN" fame) as the soon-to-be husband of Alice Owen, Lieutenant Beecher. What made these two characters interesting was that each man – in his own way – seemed capable of some kind of courage. Although a physical coward, Bailey possessed the courage to openly admit his limitations. And Beecher had no qualms about openly expressing his disapproval of Roper’s ruthlessness, despite being the captain’s subordinate.

While writing this review, it occurred to me that I had yet to comment on William Holden’s performance as the hard-nosed Captain Roper. The same year (1953) that MGM released "ESCAPE FROM FORT BRAVO", Paramount released Billy Wilder’s movie, "STALAG 17" - the movie that featured Holden’s Oscar winning performance. If I had my way, I would have given Holden the Oscar for his performances in both movies. What I found amazing about his portrayal of Roper is that in the hands of a lesser actor, the character could have easily ended up one-dimensional. Ironically, most of the supporting characters seemed to view him as a one-dimensional hard ass. Yet, Holden managed to effectively convey Roper’s complexity by perfectly balancing the character’s ruthlessness with an intelligent, witty and passionate man. In the end, he actor did a superb job in combining the many aspects of Roper’s personality into a complex and interesting character.

MGM’s Oscar winning costume designer Helen Rose added color to the movie with some lush costumes befitting the movie’s early 1860s setting. Unfortunately, Rose made one serious misstep with a yellow evening gown worn by Eleanor Parker:



The gown seemed more befitting of a movie set in the early 1950s, instead of the 1860s. It is not surprising that Rose had received her Oscar nominations and wins for movies in a modern setting. I also have to commend cinematographer Robert Surtees for capturing the Southwest landscape (Southern California and New Mexico) without overwhelming the performers. Surtees also made use of the Ansco cameras to give the movie a rich and lush aura, allowing the desert to seem more colorful than usual.

Surprisingly, Frank Fenton and Michael Pate’s script for "ESCAPE FROM FORT BRAVO" seemed to bear a small, yet striking resemblance to John Ford’s 1939 classic, "STAGECOACH". Both movies are basically character studies of a group of people in a Western setting – namely the Southwest – that included action against the Apaches in the final acts. And the Apaches in both films proved to be nothing more than plot devices to drive the characters’ situations forward. However, Sturges and the two screenwriters gave the Apaches’ roles a twist by portraying them as an organized military unit, instead of a bunch of rampaging "savages", during a sequence that featured Roper, Carla, Beecher, Marsh, Bailey, Campbell and Young under besiege by the Apaches’ "bombardment" of arrow similar to Henry V’s use of English and Welsh longbowmen at the Battle of Agincourt. And unlike the John Wayne and Claire Trevor characters in "STAGECOACH", this movie left the fate of Roper and Carla’s future romance in the air. After all, she had assisted in the Confederates’ escape.

It is a shame that "ESCAPE FROM FORT BRAVO" has never been considered when top Hollywood Westers are discussed. Or even when John Sturges’ career is discussed. Frankly, I believe the movie deserves to be considered. Sturges had taken Frank Fenton and Michael Pate’s sharp screenplay and a top notch cast to create a tense and complex Western that I feel is one of the best I have seen to come out of the Hollywood studio era.