--- In FairfieldLife@yahoogroups.com, azgrey <no_reply@...> wrote: > > Spoiler alert!!!! Events of season 5.2 revealed here.
No problemo. Thanks for the spoiler notice, but I've seen it twice now. Fellow addict here. Others, BE WARNED. > The way Walt made baby Holly "wave goodbye" to Hank. > The little high pitched sweet voice. Chilling. Made > my skin crawl. Completely innocent of evil. The look on Walt's next-door-neighbor Carol's face as he says, "Hi Carol." Lydia, showing up at the car wash. I can tell already that Lydia is going to be Big Trouble, possibly the reason Walt needs that M-60. > Even though it is chronologically prior to Walt finding > "Leaves of Grass" missing and the GPS on his car along > with the subsequent epiphany regarding Hank, this was > another of a score of "Checkov's guns" that arose in > this episode. "Tread lightly" harkening back to to the > close-up of the motto of the license plate of the car > Walt drove to Denny's in the cold opening scene of > season 5. Good catch. I didn't notice that. I was wondering where that line came from when I watched it the second time. > Barry2 expressed last year that he felt the import > of the inscription written by G.B. that Hank read > inside "Leaves of Grass" would go over the head of > most viewers. I feel otherwise. The type of viewer > attracted to this show learns, or has the natural > ability, to constantly scan for this type of clue > which is inherent in the very DNA of BB. This > particular scene is unique in that it produces in > the viewer a mental equivalent of the use of a > visual intensely quick zoom-lens shot as the viewer > sees the character gain a realization that the > viewer gained long before. A famous story from Alfred Hitchcock: There is a distinct difference between "suspense" and "surprise," and yet many pictures continually confuse the two. I'll explain what I mean. We are now having a very innocent little chat. Let's suppose that there is a bomb underneath this table between us. Nothing happens, and then all of a sudden, "Boom!" There is an explosion. The public is surprised, but prior to this surprise, it has seen an absolutely ordinary scene, of no special consequence. Now, let us take a suspense situation. The bomb is underneath the table and the public knows it, probably because they have seen the anarchist place it there. The public is aware the bomb is going to explode at one o'clock and there is a clock in the decor. The public can see that it is a quarter to one. In these conditions, the same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: "You shouldn't be talking about such trivial matters. There is a bomb beneath you and it is about to explode!" In the first case we have given the public fifteen seconds of surprise at the moment of the explosion. In the second we have provided them with fifteen minutes of suspense. The conclusion is that whenever possible the public must be informed. Except when the surprise is a twist, that is, when the unexpected ending is, in itself, the highlight of the story. > This is tremendous work by the screen writers as it > instantaneously drives the dramatic tension of > anticipation to a new level while at the same time > equalizes the knowledge/understanding level of viewer > and character. This show is masterful at communicatioing > epiphanies without using dialogue. Sounds. Lighting. > Unique angles and lens. Taking something as cliched as > Walt looking at himself in a broken mirror, eyes blurred, > is done in such a way that it feels fresh in a Breakingly > Bad way. > > Damn! I loves me this show. I understand. Only seven more episodes of this greatness to enjoy, as a first-time experience. What a delight to look forward to...
