With the third episode of this fifth season, SouthLAnd took it to another level.
With first-timer (to the show) Aaron Rahsaan Thomas’s emotionally scathing script imbuing an aggressive new style with a classic old-school feel, and Jimmy Muro’s basically goddamn brilliant direction (and lighting), this was one of the great SouthLAnd episodes.
The script had some of Chitra Sampath’s anarchic humor (Bryant and Hatosy doing a hand-puppet show for first-graders), Cheo Coker’s pop culture style and graceful nods to the old ways (Cooper’s note-perfect conversation with his former TO), Heather Zuhlke’s textural genius and Jonathan Lisco’s precise emotional scalpel. But this is not to say it was not original — it was. Thomas integrated everything that makes the show great and made it into something new: Babel was sharper, faster moving, more streamlined. His beats and scenes had a raucous, deliberately unstable energy. He nailed the inherent absurdity potential of life on the streets, and also the way that ridiculousness can tip over into gut-wrenching horror. Dewey’s boot nearly decapitating herself on a steel wire during a pursuit; the skateboard thugs vs. the old-timers; the hallucinogenic lemonade (really); the ongoing farce of Sammy and Tammi spilling over into real danger; the quiet, implacable horror of the shootings; the sadness of Cooper at the world maybe changing faster than he can handle. All those things flowed, smoothly, seamlessly, woven together by the overall chaos of LAPD dispatch being down. Communication was all over the place; the episode was perfectly titled.
It rocked on the page, and with Muro calling the shots, you know it rolled on the screen.
Jimmy Muro, man. What a legend. Not only is he a legendary DP who has worked with some of the greatest directors of all time on some of the greatest movies of all time (Michael Mann’s Heat being a prime example), but he knows how to shoot the shit out of a script himself. Babel was his finest directorial work on SouthLAnd yet. It’s like he shoots in 3D — he adds a visual dimension that many directors miss. This was one of the most beautifully composed episodes in the show’s history. It was there when the camera was on Sammy driving, looking past him at Sherman on the passenger side, the depth of field through Sherman’s window — the sheer level of detail in the angles all the way into the distance was beautiful. It was present in the constant wheeling glimpses of the fortress LA skyline in the background of shots, the causal integration of the incredible architecture of the city.
Every scene was expertly staged and shot for maximum chaos and viscerality: the skate thugs scene was simple on the surface, but highly complex underneath. The car racing past and swerving within a few inches of Cooper on the street was an adrenaline-pumping second or two; it was brilliantly done — the scene just kept moving. Or in a simpler moment, when Lydia and Ruben were talking to the mother of the murdered kid (her third murdered child), Muro kept the camera focused on a picture of the three kids, while the principals in the scene were out of focus.
Genius in every shot. And that included the actors.
As always, the guest actors were phenomenal. The teacher coming on to Sherman, the old lady taking on the skate thugs; they, and the others, brought a tremendous realism to every second they were on screen — they were (and always are ) one of the key components of the greatness of this show.
The core cast nailed it too. The shifting relationship between Bryant and Sherman is being portrayed with absolutely incredible acting by Hatosy and McKenzie. It’s a complex relationship, and they’re making us believe every up and down of it. Cudlitz was really great too. His emotional conversation with his former TO on the boat was a masterpiece of subtlety and nuance. Don’t retire, Cooper!
So, yeah, this was a kick-ass episode, up there in the pantheon of great SouthLAnd eps. And the preview for next week looked even more insane. Season Five is going from strength to strength.
Random witness statements:
- It’s so great to have Tommy Howell as a regular
- Can we get Jamie McShane promoted to regular too?
- “I’m driving. I am contact.”
- JIMMY MURO
- Sometimes things get lost in translation — great opening voiceover.