Deadwood

David Milch, with Walter Hill as director, take on the old West in such a way that is surprising. There have been R rated westerns to be sure (one of them won best picture, Unforgiven), but this is for HBO, and the writing is fresh and profane as one might expect today at some bar in a seedy part of town. Is it how it was in the old west in actuality? How the f*** knows? This is Milch's west, and it's cool to see Hill direct the pilot as he previously made a film with Wild Bill as the hero (previously with Jeff Bridges). While that had its flair and strong dialog, here Keith Carradine takes on the iconic role, and it's fitting that he appears like the one with the 'biggest' look - the mustache, the long hair, the hat - and he fills him with stoic vigor and the kind of screen presence that threatens to wipe others off the screen. It's a different take for Hill, but then that's what Milch's material is all about: taking the west and even going another step than Cimino with Heaven's Gate, showing how filthy and rotten and just muddy things could get.

This is an ensemble though, so while one might expect Bill Hickock to be the star, he's only a part of what goes on in this 'town' of Deadwood: there's the guy nicknamed 'Montana' who used to be a lawman (the show opens with him having to decide what to do with a criminal in front of a posse) and his partner (Timothy Olyphant and John Hawks respectively) who want to open up a hardware shop; Jane, who we don't really know until another episode or so if she is a she (she first comes off so boyish it's androgynous); the town Doctor (Brad Dourif, my favorite actor of the bunch) clinging to doing right much as he can; and Mr. Al Swearengen, who runs the local saloon/gambling joint/whore-house, and gets Ian McShane as the actor. And boy how does he!

In a lot of ways Deadwood is set up in the pilot like a Western- noir, or really about the low-down criminal activities and Machiavellian power-plays that Al is up to, and while crimes do get committed - a big one, involving a slaughter of a foreign family traveling eastbound, will be driving the rest of the narrative for the season - and it's this that makes the show so compelling. It's not just about having men pull their guns to settle things; it's about money, about how much a place costs or what kind of deal you can get on a gold claim and the pitfalls with that; how, if you want to stay ahead of the game, you got to watch what goes on in town from on high (as Al seems to do whenever he can). There's a constant tension that things can go down/bad quickly in this place, and it comes from the mood of the characters and the dirt and muck of the setting. It may not be THE west as it really was, but there's an authenticity that's seen and felt to dress, look of the faces, the primitive qualities of a place that is technically off the 'grid' as far as a territory goes in 1876.

It's tempting to also draw a correlation as this being an HBO show from this period with The Sopranos; it's hard to see this show existing without the success of that, allowing for hardcore crime shows such as this (it is really a crime show, perhaps, in the guise of a Western, or the other way around). And Al is the key thing - he's the Boss and brings fear and respect to those around him (sometimes both), and yet has a charismatic air that makes him how he is: how can he run roughshod over these women under him, or that they stay under his rule after he, say, beats one and strangles one (Trixie) into submission? Why do people defy him if they know he can squash them like a bug? The stakes get set in a way without direct contact between Al and Bill and Seth Bullock meeting (though Bill and Bullock do go out to the scene of the massacre/gun-fight it in the last part). We know this guy is the villain, but the power of him, and in McShane's performance, is that we understand him, everything he's after - money, power, control, keeping things in their place without things going TOO off the rails - and has a little more brain than most.

Also, the bark is as bad as his bite, or worse. One last thing to comment on is the language, how much profanity is used (especially a certain C-sucker line that is thrown about almost as much as the F- word). Why so much of this? Is there a poetry to all of this? I think so, otherwise it would be gratuitous. In a way I was torn in this regard (more-so in the subsequent episodes of season 1 than in the pilot); is the cursing a substitute for action? These characters are more than capable - they do - in kicking a** and taking names and so on. And yet these people do have individual voices, and I never got the sense that Milch had everyone talking exactly the same, which is an important distinction.

So, Deadwood gets off to a bloody, filthy start, with only little bits of humor (gallows type, no pun intended). If you think that sounds like your kind of thing, dig in. If not... give it a chance anyway, and the performances may win you over.

A tour de force for Ian McShane, who brings to life one of the great characters of television ever conceived from his first appearance, setting the tone for the show itself. A true three dimensional figure of Al Swearengen, written and acted to brilliance. Lays most of its chips on set pieces and snippets that generally take place in saloons and hotels and make use of natural light and wonderful set making to give it a gritty and primal feel. Keith Carradine does a magnificent job of recreating Wild Bill Hickock thanks to a fantastically researched costume and research team that has truly created an artistic work of serious significance. Beyond the gritty vocabulary and dirty sets is a load of substance and historical accuracy that gives full range to the genre and goes beyond almost anything this side of Sergio Leone. Smart, witty, involving and complex. Takes a few viewings to really digest and pick up all the wonderful attention to detail, the brilliant background action (i.e. 19th century dentistry). A lot of foreshadowing and use of close-ups to insinuate meanings and imply past tensions between characters. Very well written and smartly cast and executed.

The Old West gets a refreshingly unromantic, gritty, grim portrayal in this effective pilot to an unfortunately short-lived series. Series creator David Milch (who also scripted this episode) introduces us to the characters and situations, nicely setting most of them up as complicated individuals - characters are, for the most part, not written in simple black & white terms. The dialogue is overflowing with a hilarious amount of profanity, and the violence hits hard. Still, there is time for some humor here and there. Mostly, what this viewer appreciates most about this series was the rich assortment of character-actor talent that was amassed: many supporting and bit parts are played by familiar faces.

Timothy Olyphant takes center stage as Seth Bullock, a former Montana lawman who moves to Deadwood, South Dakota, to open a hardware store with his business partner Sol Star (John Hawkes). Soon after, a legendary name arrives in town: the gunfighter Wild Bill Hickok (Keith Carradine), along with an entourage that includes Calamity Jane (Robin Weigert). Among the people to whom we're introduced is local mover & shaker Al Swearengen (Ian McShane), a tough, potty-mouthed saloon owner.

This rich cast also includes Molly Parker, Jim Beaver, Brad Dourif, Paula Malcomson, Leon Rippy, William Sanderson, W. Earl Brown, Jeffrey Jones, Garret Dillahunt, Ray McKinnon, and Peter Jason, and the script allows many of them time to make a vivid impression. Olyphant does some effective underplaying, allowing for veteran talents like McShane and Carradine to dominate the screen in showy roles.

Directed by longtime feature film action specialist Walter Hill ("48 Hrs.", "The Warriors", "Extreme Prejudice", etc.), this is complex, intelligent, absorbing material that was well-researched and definitely feels authentic, through and through. If you pay enough attention, you see interesting things happening in the background (like a graphic, 19th century incarnation of dentistry). Solid entertainment overall.

Eight out of 10.

Episode 1 introduces us to the main characters and sets the stage for the rest of the series. The episode opens with Seth Bullock (played by Timothy Olyphant), a former sheriff, traveling to Deadwood with his friend and business partner Sol Star (played by John Hawkes). They plan to start a hardware store in the town, but they soon realize that Deadwood is a lawless place with no sheriff.

The town is run by Al Swearengen (played by Ian McShane), a ruthless saloon owner who controls everything in Deadwood. Swearengen is a fascinating character, and McShane's performance is outstanding. He is a complex character who can be charming and violent at the same time.

The episode also introduces us to other important characters, such as Wild Bill Hickok (played by Keith Carradine), a famous gunslinger who has come to Deadwood to gamble, and Calamity Jane (played by Robin Weigert), a tough and outspoken woman who becomes Hickok's friend.

Overall, "Deadwood" is a great start to the series. The writing is sharp, the acting is superb, and the setting is stunning. The show captures the lawlessness and brutality of the old west while also exploring the complex relationships between the characters. If you're a fan of westerns or just great television, "Deadwood" is a must-watch.