Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Mondays, I will be reviewing Crime Story, which ran on NBC from 1986 to 1988. The entire show can be found on Tubi!
This week, Luca has to prove himself.
Episode 1.5 “The War”
(Dir by Leon Ichaso, originally aired on October 7th, 1986)
Luca is in trouble.
Last week’s episode ended with Max Goldman on the receiving end of a beating from Noah Ganz’s goons. Goldman survives and returns with a message. Ganz is not happy that Luca tried to steal his book. Bartoli, Weisbord, and Fosse all inform Luca will have to resolve the Ganz situation on his own.
Luca tries to get public defender David Abrams (Stephen Lang) to act as a negotiator for him but David doesn’t want to get involved in the mobster lifestyle that made his father rich. David just wants to defend the poor and play sax in a jazz club. When Luca is attacked while driving in Chicago, he realizes that negotiating with Ganz is a dead end.
Instead, he just kills Ganz. In a bravura sequence, Luca shows up at a hotel and, with the help of sniper, takes down Ganz’s bodyguards. Then he uses a bomb to take out Ganz while the latter is holding court in an elevator. A plume of white smoke puffs out of the hotel’s exhaust vent.
Having taken care of the issue, Luca is welcomed back into the family. Weisbord says, “Call me Mac.” Fosse (played by Michael Madsen) nods and slowly smokes a cigarette.
Meanwhile, Torello’s wife miscarries. This is the episode that features the clip of Torello walking down a lonely Chicago street on a rainy night. (The clip is prominently featured during the show’s opening credits.) In fact, both Torello and Luca end up spending a good deal of time walking around at night while David Abrams plays his saxophone. It’s a scene that is so overstylized that it shouldn’t work but somehow, it does. If nothing else, it reminds us that Crime Story of two dangerously obsessed men on a collision course.
This was a good episode, if just because it showed that Luca can be a clever criminal when he needs to be. Before this episode, Luca seemed to be clearly outmatched by Torello. With this episode, Luca proved himself to be Torello’s equal.
Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Mondays, I will be reviewing Crime Story, which ran on NBC from 1986 to 1988. The entire show can be found on Tubi!
This week, everyone’s going to Missouri. Can you blame them?
Episode 1,4 “St. Louis Book of Blues”
(Dir by Leon Ichaso, originally aired on September 30th, 1986)
After Ray Luca discovers that his henchman, Frank Holman (Ted Levine), has been compromised by Torello, he decides to deal with the situation by sending Holman down to St. Louis. A gangster named Ganz (Raymond Serra) has a home in St. Louis and, according to Ganz’s associate Johnny Fosse (Michael Madsen, doing his slow-talking, cigarette-smoking Madsen thing), there is a book in Ganz’s shelf that contains the name of every bookie, coach, and sports-fixer in America. Ray, who is hoping to start up his own nationwide gambling syndicate, wants that book.
Far be it for me to question Ray Luca’s strategy but it does seem strange that his response to one of his people screwing up is to give that person an even more important job to do. I get that Ray is trying to be a manager now and, as a result, he no longer personally robs anyone but Frank really does seem like the last person he should trust to pull this off.
And, to no one’s surprise, Frank doesn’t pull it off. Torello and his men follow him all the way to St. Louis. They not only arrest him but they also get their hands on Ganz’s book. They do this despite the operation nearly being ruined by an ambitious and publicity-hungry sheriff named Hartman (Allen Swfit).
Unfortunately, when Frank offers to inform on the entire “St. Louis mob,” Hartman releases him from jail. Frank promptly flees town. When he calls Ray, Ray orders him to stay out of Chicago and instead to go to Cleveland. Frank replies that if he has to choose between Hell or Cleveland …. he’ll go to Cleveland. Good thinking, Frank!
(Actually, I’ve never been to Cleveland so I don’t know if it’s really good thinking. Wasn’t Dennis Kucinich from Cleveland?)
As this episode ends, Ganz is ready to declare war on Luca and it appears that Max Goldman might be the first victim. The funny thing about Max is that he’s played by a young Andrew Dice Clay and, in every scene in which he appears, Clay’s facial expressions are totally and completely over-the-top, as if Clay was determined to make sure that no one forgot he was in the scene. I hope that Max survives, just for the sake of entertainment,
This episode returned to the idea of Torelllo being dangerously and tightly wound. Before he followed Frank to St. Louis, he nearly firebombed a furniture store because the owner hadn’t delivered the table that he had ordered. Torello was talked out of doing so by his fellow cops but the store owner still got the message. The table arrived at Torello’s apartment. Of course, it was the wrong table. That made me laugh. People have no idea how close Torello is to snapping and killing everyone around him.
This was a good episode. It was interesting to see a young Ted Levine, not to mention a young Michael Madsen as well. The corrupt and incompetent sheriff was identified as being a Democrat. I appreciated that. I’m looking forward to seeing where this show is going.
Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Mondays, I will be reviewing Crime Story, which ran on NBC from 1986 to 1988. The entire show can be found on Tubi!
This week, Torello’s war on Luca continues!
Episode 1.3 “Shadow Dancer”
(Dir by Leon Ichaso, originally aired on September 26th, 1986)
With the frequency killer now dead, Torello and his men are once again free to focus on trying to bust Ray Luca. The sooner they do it, the better. For one thing, Torello is becoming so obsessed that, even though his wife is pregnant, Torello’s dreams are still dominated by Luca taunting him. Also, Luca’s latest robbery has resulted in a death. Vincent Noonan (Michael Kemmerling), a former cellmate of Frank Holman’s (Ted Levine,) lost it during their latest home invasion and beat to death Mrs. Novak (Nancy Sheeber).
(Noonan, it turns out, has a history of losing control. It probably wasn’t a good idea to hire him in the first place but, with Luca no refusing to personally take part in robberies, the crew had to find a third man and quickly. Holman recommended Noonan because of how loyal Noonan was to him in prison)
Eager to solve the case and take down Luca, the Major Case Unit starts to put pressure on Luca’s boss, Phil Bartoli (Jon Polito). After his weekly craps game is broken up by Danny Krychek, Bartoli tells Luca that he has to do something to get the police to back off. Bartoli orders him to turn Noonan over to the police. Luca, who no longer handles dirty work himself, tells Holman to take care of it. Holman sends Noonan on a job and then tips off Torello. Despite Danny telling him that Noonan would die before turning into a rat, Torello is convinced that, if he takes Noonan alive, he’ll be able to get Noonan to give up Luca. (What Torello doesn’t realize is that Noonan has never actually met Luca. To quote Willy Cicci, “The family had lots of buffers.”)
It’s all for naught, though. Torello and the cops chase Noonan all over the streets of Chicago and, in the end, Noonan dies while trying to escape. Much like Homicide’s Luther Mahoney, Luca appears to be untouchable …. for now.
This episode worked best as a character study. After last week’s somewhat over-the-top villain, this episode reminded us that Luca and Torello are two tightly-wound men who struggle with emotion. Beyond his own self-absorption, Luca lacks the emotions necessary to truly understand his fellow humans. Torello, meanwhile, gets too emotional. Whether he’s pursuing Ray Luca or snapping at a condescending salesman, Torello is a self-styled crusader who appears to be going slowly but surely insane. This wasn’t a particularly complex episode but it felt important. It was a reminder of what this show is all about.
Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Mondays, I will be reviewing Crime Story, which ran on NBC from 1986 to 1988. The entire show can be found on Tubi!
This week, Torello and company search Chicago for a serial killer.
Episode 1.2 “Final Transmission”
(Dir by Leon Ichaso, originally aired on September 19th, 1986)
Mike Torello and the members of the MCU would really like to go after Luca and his crew but, unfortunately, there’s a serial killer on the loose in Chicago. Realizing that the MCU is going to be tied up trying to track down Ray Pernell (John Snyder) before he kills again, Luca orders his crew to commit even more robberies. Luca explains to a crestfallen Paulie that Luca will no longer be taking part in the robberies. Luca is the boss and the boss doesn’t get his hands dirty. Instead, Luca spends most of this episode meeting with Murray Weisbord’s man in Chicago, Max Goldman (Andrew Dice Clay).
This was an odd episode. On the one hand, the show went out of its way to recreate Chicago in the early 60s. The soundtrack was early rock and roll. The cars all had tailfins. The suits, the cigarettes, Luca’s haircut, all of the details screamed 1960s. But then the episode revolved around a serial killer who thought his mother was addressing him through the television and who looked and dressed like a late 70s punk rocker. I assume that Ray Pernell was based on Richard Speck, the notorious Chicago serial killer who, in 1966, murdered 8 student nurses. Like Speck, Pernell had an identifying tattoo and both men were traced through the National Maritime Union. That said, Pernell just seemed so out-of-place, with his sleeveless shirt and his punkish haircut that he just didn’t seem to belong in the world of Crime Story.
That said, I will give this episode some credit. In the pilot, Luca often seemed like a clueless punk. In this episode, he quickly realized that the MCU would be too busy hunting for Pernell to devote much time to him and he took advantage of that fact. Luca’s not quite as dumb as he sometimes seems. This episode also showed that he was capable of thinking ahead. When he suspects that someone is listening in on his conversation with Goldman, he resists the temptation to burst into the room next door with his gun drawn. (If he had, he would have run straight into Torello and Danny.) This episode shows that Luca is learning and growing. He not the buffoonish hothead that Torello originally assumed him to be. In fact, he’s even more dangerous.
This episode ends with Pernell somehow (it’s not really clear how) taking an entire television news broadcast hostage. Torello takes him down as the cameras roll and the entire city of Chicago watches. It’s not a bad ending but it just doesn’t feel right for the show. It’s a Miami Vice ending. This is Crime Story!
Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Mondays, I will be reviewing Crime Story, which ran on NBC from 1986 to 1988. The entire show can be found on Tubi!
In 1986, riding high on the success of Miami Vice, Michael Mann signed on as executive producer of Crime Story, a cop show that Mann imagined would run for five seasons and which would follow a group of cops and gangsters from 1960s Chicago to 1980s Las Vegas. The show was co-created by former Chicago cop Chuck Adamson and it starred another former Chicago cop, Dennis Farina.
Though generally well-received by critics, Crime Story struggled in the ratings. The show’s highly serialized-nature made it difficult for audiences to follow. (This was in the pre-streaming age, when viewers couldn’t just get online and catch up with what they may have missed.) Crime Story only lasted for two seasons but it has since developed a strong cult following and is now regularly listed as one of the best cop shows ever made.
(Dir by Abel Ferrara, originally aired on September 18th, 1986)
In Chicago, on a rainy night in the early 1960s, a group of masked robbers hold up a fancy restaurant and then try to escape with a group of terrified hostages. On the scene is the Major Crimes Unit, led by the grim Lt. Torello (Dennis Farina, a former real-life cop). The end result is that all of the robbers end up dead, the hostages end up traumatized, and one of Torello’s men, the obviously doomed Wes Connelly (William Russ), appears to be losing his mind over the violence that he has to deal with every day.
The plot of the pilot is actually pretty simple. A gang of thieves is holding up restaurants, banks, and stores in Chicago. Torello believes that an ambitious gangster named Ray Luca (Tony Denison) is behind the robberies and Torello is correct. The cool and sociopathic Ray is working with Johnny O’Donnel (David Caruso). O’Donnel may be a childhood friend of Luca’s but his parents are friends with Torello. When gangster Phil Bartoli (Jon Polito) orders Luca to kill O’Donnel after the latter robs one of Bartoli’s jewelry stores, it’s personal all-around.
Plot-wise, it’s pure Michael Mann. The cops and the gangsters are both obsessive. Luca will kill anyone to get ahead in the underworld. Oddly, his only real loyalty seems to be to his dumbest henchman, Pauli Taglia (John Santucci, a real-life former jewel thief who was once arrested by Dennis Farina). Torello may be fighting on the side of the law but he’s often just as quick to resort to violence as Luca. Director Abel Ferrara’s style can be seen in a scene where Torello is visited by the ghost of the recently murdered Wes Connelly. Torello is burned out and paranoid, flying into a rage when he sees his wife, Julie (Darlanne Fluegel), dancing with another man at a wedding. (The man in question turns out to be Torello’s cousin, whom Torello didn’t even recognize because he apparently doesn’t have much of a connection to anyone outside of the police force.) Towards the end of the episode, there’s a shoot-out in a department store and it’s hard not to notice that neither the crooks nor the cops seem to be all that concerned with the innocent bystanders trying to not get caught in the crossfire.
The pilot is dark, gritty, and, in its way, as stylized as any episode of Miami Vice. It never seems to stop raining and, even during the day, the skies are permanently gray and dark. The early 60s are recreated like a fever dream of pop culture, with rock and roll on the soundtrack, cars with tail fins screeching down the street, and Bartoli living in a house that looks more like a tacky diner then a true home. Torello and his men wear their dark suits and trenchcoats the way that soldiers wear their uniforms.
It’s an effective pilot, though we don’t really get to know much about the men working with Torello at the Major Crimes Unit. Bill Smitrovich, in the role Detective Danny Krycheck, establishes himself as being Torello’s second-in-command but that’s about it. Stephen Lang appears in a handful of scenes as David Abrams, a liberal public defender who is the son of a prominent gangster. Both Luca and Torello seem to want to make David into an alley and the episode hints that he will eventually have to make a choice. The episode ends with Luca in sunny Florida, meeting with veteran gangster Manny Weisbord (Joseph Wiseman). Torello, meanwhile, remains in dark Chicago.
The Crime Story pilot was deemed good enough to be released as a feature film in Europe. It also led to a series on NBC, which I will be reviewing here, every Monday! On the basis of the pilot, I’m looking forward to it.
Alone In The Neon Jungle takes place in a Pittsburgh police precinct that is supposedly so crime-ridden that it is called The Sewer. After two cops are arrested while committing a burglary, the Chief of Police (Danny Aiello) sends tough Captain Jane Hamilton (Suzanne Pleshette) to take over the precinct. Her mission? To enforce discipline and root out police corruption!
There’s a lot of corruption to root out. Crime boss Nahid (Tony Shalhoub) has half the precinct on his payroll and corrupt cops like Brad Stafowski (Jon Polito) are quick to to drag new transfers, like Todd Hansen (Jon Tennery), into the rackets. Along with enforcing the dress code and cleaning up the streets, Jane also has to figure out who is responsible for the murder of one of her sergeants.
This made for TV movie was probably meant to be a pilot for a weekly television series. It just has the sort of feel to it. It features just about every cop cliche imaginable, from the weary detective who comes to respect the new boss to the crime lord who claims to be a respectable businessman. The main problem is that the precinct never seems as bad as its described. For a place called The Sewer, the streets are surprisingly clean. The majority of the crimes committed seem to be burglary and prostitution. If you’re a cop and that’s all you have to deal with in a big city like Pittsburgh, count yourself lucky. The precinct never lives up to the title “Neon Jungle” and no one’s ever alone in it.
Suzanne Pleshette does a good enough job in the lead role. By this point in her career, Pleshette’s voice was as deep as the voice of the toughest patrolman around. It worked for her.
Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Mondays, I will be reviewing Miami Vice, which ran on NBC from 1984 to 1989. The entire show can be purchased on Prime!
This week, Sonny Burnett continues his reign of terror!
Episode 5.2 “Redemption in Blood”
(DIr by Paul Krasny, originally aired on November 11th, 1988)
When last we checked in with Miami Vice, Sonny thought he was a drug lord named Sonny Burnett and he was firing his gun at Tubbs, who he had just recognized as a cop. This episode reveals that Sonny didn’t shoot Tubbs. Instead, he aimed at a wall, firing while Tubbs made his escape.
Working with the psychotic Cliff King (Matt Frewer), Sonny takes over his late boss’s drug empire and continue to fight a war against El Gato (Jon Polito). El Gato is meant to be a “flamboyant” drug dealer, which is a polite way of saying that Polito overacts through the entire episode.
The show hedges its bets by having Cliff commit all of the murders while Sonny rises to power. In fact, when Sonny catches Cliff torturing two of El Gato’s men, Sonny orders Cliff to stop and then offers them jobs in the Burnett operation. Amazingly, over the course of the entire three-episode Burnett arc, Sonny manages to get through the whole thing only killing people in self-defense. Even the cop that he killed at the end of the previous season was a dirty cop who had been sent to kill him. I get that the show couldn’t take Sonny totally over to the dark side but it’s still hard to believe that Burnett took over the Miami underworld without getting his hands a bit more dirty than he did.
A car bomb (courtesy of El Gato) knocks Sonny unconscious and, when he wakes up, he suddenly starts to remember who he actually is. Finally realizing that his name is Crockett, Sonny turns himself into the Vice Squad and is promptly arrested while Kate Bush sings, “Don’t give up.” Sonny tells Castillo, Switek, and Tubbs that he’s ready to acccept the consequences of whatever he did during his previous bout of amnesia. But then Sonny escapes custody and sets up both Cliff and El Gato for a great fall so I guess he wasn’t totally ready to turn himself in and head off to prison.
Tubbs, who now trusts Sonny, helps him take out Cliff King and the Burnett organization. Sonny shoots Cliff to save Tubbs. With Tubbs dangling off of a walkway, Sonny pulls him back up to safety. Sonny then goes back to his mansion where he and his girlfriend (Debra Feuer) are taking hostage by a gun-wielding El Gato. “Where is the safe?” El Gato demands. Sonny tricks El Gato into thinking the safe is in the room where he keeps his pet panther. (Apparently, all drug lords were given either a tiger, a panther, a cheetah, or a leopard.) El Gato gets mauled to death as the episode ends.
This episode suggests that Sonny is going to be let off the hook because he finally remembered he was. I don’t really think that it would really work like that. Sonny has multiple warrants out and he also killed a cop, albeit a corrupt one. If Sonny isn’t on trial in next week’s episode, I’m going to be a little annoyed.
This episode ended the Burnett trilogy about as well as it could be ended. The idea that all Sonny needed was to survive a second near-fatal explosion made me smile. What if El Gato hadn’t tried to blow him up? I guess it’s a good thing that he did! While Polito went overboard, Matt Frewer gave a very good performance as the villainous Cliff King. It’s a bit of a shame that he died so dramatically because Cliff would have made a good recurring villain.
This episode was definitely better than anything from season 4. It’ll be interesting to see how the rest of season 5 plays out.
There’s something living under the streets of New York City.
That’s the basic idea behind 1984’s C.H.U.D., a film that opens with an upper class woman and her little dog being dragged into the sewers by a creature the reaches out of a manhole. People are disappearing all over the city but the authorities obviously aren’t revealing everything that they know. Even after the wife of NYPD Captain Bosch (Christopher Curry) disappears, the city government doesn’t seem to be too eager to dig into what exactly is happening.
Instead, it falls to two activists. Photographer George Cooper (John Heard) specializes in taking picture of the homeless, especially the one who live underground in the New York subways. He’s like a well-groomed version of Larry Clark, I guess. Social activist A.J. “The Reverend” Shepherd (Daniel Stern) runs a homeless shelter and is convinced that something is preying on the most vulnerable citizens of New York. When the police won’t do their job, George and the Reverend step up!
So, what’s living in the sewers? Could it be that there actually are cannibalistic humanoid underground dwellers out there? Everyone in New York City has heard the legends but, much like stories of the alligators in the Chicago sewers, most people chose not to believe them. Or could the disappearance have something to do with the cannisters labeled Contamination Hazard Urban Disposal that are being left in the sewers by the Nuclear Regulatory Commission? Wilson (George Martin) of the NRC says that they would never purposefully mutate the people living underground but Wilson works for the government so who in their right mind is going to trust him?
C.H.U.D. is a horror film with a social conscience. It’s very much an 80s films because, while you have Shepherd running around and attacking everyone for not taking care of the most vulnerable members of society, the true villain is ultimately revealed to be the members of a regulatory agency. Instead of finding a safe way to get rid of their nuclear waste, they just found a sneaky way to abandon it all in New York and obviously, they assumed no one would care because …. well, it’s New York. Everyone in the country knows that New York City isn’t safe so who is going to notice a few underground monsters, right?
The idea behind C.H.U.D. has a lot of potential but the execution is a bit lackluster. For every good C.H.U.D. kill, there’s long passages where the story drags. Considering that Heard spent most of his career typecast as the type of authority figure who would dump nuclear waste under New York City, it’s actually kind of interesting to see him playing a sympathetic role here. Daniel Stern, on the other hand, is miscast and rather hyperactive as Shepherd. You really do want someone to tell him to calm down for a few minutes. Watching C.H.U.D., one gets the feeling that it’s a film with an identity crisis. Is it a horror film, an action flick, a work of social commentary, or a dark comedy? There’s no reason why it can’t be all four but C.H.U.D. just never really comes together. It ultimately feels more like a mix of several different films instead of being a film made with one clear and coherent vision.
In the end, Death Line remains the film to see about underground cannibals.
Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Mondays, I will be reviewing Miami Vice, which ran on NBC from 1984 to 1989. The entire show can be purchased on Prime!
This week, we start the fifth and final season of Miami Vice.
Episode 5.1 “Hostile Takeover”
(Dir by Don Johnson, originally aired on November 4th, 1988)
The fifth and final season of Miami Vice gets off to a good start with this episode. After opening with some appropriately glitzy scenes of the drug-fueled Miami nightlife, the episode then shows us that Sonny Crockett is still convinced that he’s Sonny Burnett. He has now returned to Miami and, along with Cliff King (Matt Frewer), he is one of the key advisors to drug lord Oscar Carrera (Joe Santos).
Carrera is at war with El Gato (Jon Polito), the brother of Sonny Burnett’s former employer, Miguel Manolo. El Gato, who wears gold lamé, cries over the body of one of his henchmen, and flinches when forced to deal with direct sunlight, is a flamboyant figure. In fact, he’s so flamboyant that it’s initially easy to overlook how determined he is to get revenge for the death of his brother. That means taking down the Carreras family and Sonny Burnett as well.
The Vice Squad knows that Sonny is moving up in the drug underworld but Castillo is firm when asked what they should do about it. Sonny has an active warrant out for murdering a corrupt cop. “Sonny’s not Sonny anymore,” Tubbs says at one point and Castillo seems to agree.
Tubbs goes undercover, making contact with the Carreras cartel. When Sonny meets Tubbs, Tubbs introduces himself as “Ricardo Cooper” and starts speaking in his terribly unconvincing Jamaican accent and that was when I said, “Miami Vice is back!” Sonny doesn’t trust Cooper from the start. “Maybe you’re a cop,” Sonny says. “Not I, mon,” Tubbs replies.
People are dying and, while Sonny doesn’t have a problem with that, the show is also careful to show that Sonny only shoots in self-defense. (It appears the most of the cold-blooded murders are farmed out to Cliff King.) When Oscar Carreras dies, it’s because his poofy-haired son (Anthony Crivello) accidentally shot him when Oscar discovered him with his stepmother. When the son dies, it’s because he was about to shoot Sonny after he caught Sonny with …. his stepmother, again. The Carreras family is so dysfunctional that it shouldn’t come as a surprise that Sonny steps up to take it over.
After promising Castillo that he’ll take out Sonny if necessary, Tubbs meets up with Sonny at beach-side tower. Tubbs looks at Sonny and suddenly says, “Sonny, it’s me, Rico.” Sonny stare at Tubbs. “Do you remember me?” Tubbs asks.
“Sure,” Sonny suddenly says, “You’re Tubbs.”
Three gunshots ring out as the episode ends.
OH MY GOD, DID SONNY KILLS TUBBS!?
We’ll find out next week. For now, I’ll say that — after a disappointing fourth season — this was exactly how Miami Vice needed to start things off for Season 5. Seriously, if you’re going to have Sonny get hit with amnesia, you might as well just go for it and take things to their logical extreme.
Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Sundays, I will be reviewing Homicide: Life On The Street, which aired from 1993 to 1999, on NBC! It can be viewed on Peacock.
This week, season 2 of Homicide comes to a close with an episode directed by John McNaughton, of Henry: Portrait of A Serial Killer fame.
Episode 2.4 “A Many Splendored Thing”
(Dir by John McNaughton, originally aired on January 27th, 1994)
The second season finale of Homicide opens with Bolander in a good mood and Munch feeling that life is pretty much pointless. It’s a reversal from what we’ve seen over the last few episodes of Homicide and, as annoyed as I got with all the storylines about Bolander’s private life, I was still happy to see Bolander happy in this episode. As an actor, Ned Beatty’s performance is a lot interesting when Bolander is looking forward to the future. By that same token, Richard Belzer always seemed to be trying to hard whenever it came to playing Munch’s happiness. Belzer was born to play a cynic and, in this episode, he delivers his lines with a bitterness that is both funny and authentic.
Bolander is dating Linda and I have to admit that, despite my initial weariness, I really like Ned Beatty and Julianna Margulies as a couple. Bolander and Linda go on a double date with Kay and Danvers. Awwww, two couples in love and having dinner together! How sweet! Uh-oh, here comes Munch….
While Munch is ruining Bolander’s date, Bayliss is getting in touch with his own dark side. An investigation into the S&M-related death of a young woman leads to Bayliss and Pembleton arresting a man who killed her during rough (but consensual) sex. Bayliss and Pembleton spend their investigation in Baltimore’s red light district. Bayliss claims to be disgusted by the whole scene, leading to Pembleton calling him out for being judgmental. Pembleton tells Bayliss that he can’t be a good detective unless he’s really in touch with every aspect of his existence. After the murder is solved, the woman’s co-worker, Tanya, gives Bayliss the gift of a leather jacket. Tanya is played, in a very good performance, by the actress Adrienne Shelley. Tragically, Shelley herself would, 12 years later, be murdered in her New York apartment. And while it’s tempting to write about the irony of Shelley appearing on a show like Homicide, I’d rather recommend that everyone see Waitress instead. It was the second feature film that Shelley directed and it is very good.
Finally, Lewis investigates a man who committed murder because he felt someone had taken his favorite pen. Lewis searches for a deeper motive but in the end, it really was all about a pen. Lewis, I’ve noticed, always seems to get the cases that show just how random life and death can truly be.
The second season of Homicide ends with Lewis giving Felton a pen, Bayliss putting on his new leather jacket and walking the streets of Baltimore, and Munch, Bolander, and Linda watching fireworks explode over the harbor. It’s a good way to end a season. As dark as the show was (and as dark as this particular episode was), the season ends on a note of hope. There is happiness out there for those willing to look for it.
Through the Shattered Lens 