Lost episode 1.4 - Walk About by Tom Pengelly
This episode focuses on Locke. I thought it would be focusing on Charlie, but this goes to prove that despite some of the characters constantly mentioned in the reviews of lost before it started airing, they aren't necessarily hogging the show. Which of course is good, we get to find out more about other characters before we focus on the ones that have gotten the most attention, allows more screentime to play out for those who's names aren't Jack, Kate or Charlie. Not that I'm slagging them off, of course I wouldn't do that. I'm a reviewer, not a critic. I understand Kate's past had to be wrapped up (if you can call it that) because of the handcuffs and dying Marshall fiasco for example. But now we focus on some miracles, some secrets, and some darn scary monsters.
The plotline starts off very smartly, telling us that Locke is the key character of episode 4. Another eye-opening shot (literally) in the day soon turns to night with Vincent on our screens again (woohoo!). The idea of the boars is a good one, showing the characters the need to clean up after the little accident with the plane. It introduces a bit of mass hysteria, replacing the crashing plane shots, which balances it out perfectly. Also, it allows the title screen to come on at a more appropriate time with a revelation and a dark mood. Michael is played more, with him trying to get to know "Mr. Locke" as he's so affectionately called, whilst unknowingly impressing his boy sort of by boar hunting. Also, this allows Sun some time onscreen. Though why does Michael pick Sun to babysit, when he could have asked anyone else, especially someone who understood? Unless Michael feels that Sun is the person he best knows (inside and out). But we don't care, Sun becomes the island dentist, and clean teeth is always a necessity if those stereotypical Hollywood meet-through-desperate-times romances. It also allows some more character interactions, this time with Sun and Walt. With Locke's flashbacks and his trekking for boar, neatly interwoven to create a story, we question Locke's history, allowing the episode to move on and forward with the idea of separation and a monstrous encounter, which we can tell Locke clearly sees! Despite our anger at JJ, Damon and the script writers, the scene takes place in one of the more stunning places on the island, and for some reason, the shot of the Locke looking up at the monster from a groundcam creates a feeling of dejavu... which must be my mind creating theories of what is really going on. Meanwhile, more attempts fail at survival, with Kate dropping the transmitter and Michael getting an introduction to the monster on a far too personal basis. The subplots feature Jack and Rose having a nice calm chat, us discovering more about character viewpoints on the crash, ie. Rose's beliefs that the people in the tail are still alive, and a character insight, Rose never giving up hope and the wedding ring habits, which is very touching, and Jack being kind and generous. Claire's idea of a memorial is also played well, despite our frustration at Jack's unnecessary coldness to it, and reminds us viewers that while we may focus on the alive, those who died are still important people, just that they had (and to those off the island, still have) important lives.
With Locke's flashbacks, we're given steps forward, so that small clues are revealed about what he's like. From discovering he is NOT in the army, to discovering he uses a wheelchair. This sneaky tactic keeps us interested in the episode, giving ABC the high ratings it got (the sneaky devils). But JJ and Damon aren't mean, thank god (or should that be "thank JJ and Damon?"). They deliver us subtle clues, like the shock of wiggling his toes in the flashback where the plane just crashed into the island, or the fact that we never see him move in the flashback with his legs. We do feel sorry for Locke in the situation we see, from the dull job to the cocky boss who we just want to kick in the gonads. But Locke stands up for himself, strives to live his life the way he wants to, even though everything is against him, including Helen. What is Helen's job and how did she meet Locke? Something doesn't sound right with her. The biggest clue is in the script though, the keyword being "Customer" and the key phrase being "Find a therapist." The best part of this episode is the final flashback. Here we learn of Locke's disability, and why he was on the plane to America. Refused to go on a hike because of insurance, it makes us realise how safety-conscious our world is today, all for the sake of money. To further antagonise the scene, we see in the end, blatant disability discrimination going on. Locke bravely stands up for himself, a move he perfected earlier. Although at that time it was a bit weak, it still got the point across. We shouldn't let anyone tell us what we can and can't do (especially commended when Locke retaliates about things being fair); we should struggle to live how we want. Yet again, Lost is proving to be a documentary, and a show of not just mostly hot characters, but characters with real life troubles, to relate to us viewers as best as possible.
Michael Giacchino takes the spotlight again. His music takes a heavenly start with the opening flashback, representing a miracle at work. Giacchino gives the music the holy tone because it's another subtle indication that this is the miracle of Locke's that he mentioned (but which we don't see). Not only is the writing team conspiring against us viewers, now the music team is. Some reward for being devout viewers of the programme. The undertone counteracts the overtone and stays evilly hollow though, to keep the island at hell rather than in heaven as Locke feels. More mass hysteria arrives with the boars, truly played out by Michael's sharp overtones of violins and beating drums of warning. The violins also play out a feel of strangeness, with other creatures being on the island and all. This abnormality is continued when the party hunt for boar, electric strings twanged to great use. The theme of the islanders being primitive and tribal-esque goes through with wooden blocks, whilst the abnormality is played through also with an electric organ, a feeling of fantasy. The boar is then set loose, the pace quickening, quick clashes of violin strings played for effect. Another theme commonly used for the basis of music as well as primitiveness is fantasy. Though the next major piece is with Locke's friend Helen. Here, we hear what appears to be vibrating glockenspiels and bells. The idea of Helen itself is shrouded in mystery, so a fantasy setting works brilliantly here. Helen telling Locke she can't be with him though brings on that famous melancholy theme with the sound of hope at the end. Fantasy music starts to come up a lot in lost recently, for example Rosa finally talking and Jack's sudden vision. Also, Locke's encounter with the monster. First we have very low bass tuba to scare the heck out of us, plus some scary sliding violins. All managing to frighten us with the sight of Locke's fate seemingly apparent. The ultimate finale though rests with the final track. With the melancholy theme starting the funeral, the sadness and frustration gearing up for the flashback, Locke seems to get his own theme with rousing violins starting off as a sad piece and working its way to utmost hope, a feeling that should inspire everyone who watches it to feel. Violins, Cellos, variations, repetitions of both Locke's and the melancholy's theme suffer and endure the same temperaments, alongside a bit of brass and percussions helping the pitch rise. Locke's happiness is emphasised with the music reaching it's peak in pitch, and is by far, one of the most emotive pieces of Lost, and Locke's happiness even manages to subdue the situation of the crash in the final flashback. Locke's hope and achievements then take on a solo toll with a single violin, emphasising that one man's struggle is just as important as a one man's solo concert. The episode then ends with a small spooky 'boom' of the end screen, not spooky-scary, but spooky-calmness, and reflection on your defeated challenges is the greatest thing of signing off that ordeal of an episode.
The same old comedy keeps coming in and cracking us up, and Charlie, although under funeral circumstances. Hurley shows more aspects of comedy; Charlie keeps his ways, almost replacing Shannon as a typical blonde, and Shannon and Boone keep on bitching those quotes out. Meanwhile, Sayid starts to show his temper, Sun gets suspicious with her ability to understand Michael's poor quality communication skills, Shannon continues to show her selfish side, Claire forms connections with the dead and we develop a greater insight to Rose that touches us with her spirit, faith, belief and love, all great examples that we should follow. From all these varied characters, the main debating theme of this episode appears to be on the topic of belief. Self-belief, faith in good outcomes, false-belief (with the start of Jack's "apparitions") for example. Many of these concepts we should take onboard and apply to daily life. Ironically, we should actually be following these characters as good examples, but not the way you may first think, eg. catching fish with sharp implements, telling people to go rescue a baby bird as an insult (although in realistic situations, that should be followed), being gored by a boar and reading library overdues at people's funerals. Analysing the true personality that these characters are obviously desperate to hide reveals qualities of ordinary good people, and not good-looking actors that we are first presented with. How we can do this though no one knows, as JJ and Damon give us not only speech, scenery, items and background script to analyse, but also now the characters. Maybe giving the viewer too much to think about really does keep viewers addicted, creating a texture of thick webbing, all aspects of a TV show connected together by several layers of thick pieces of string. And for all we know, he monster could be a giant spider.
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09-21-2005
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