The Gold Violin

I don't know why I felt the need to come and write a review for a specific episode of Mad Men, but damn, this episode hits all the marks. I won't spoil anything but every segment of this episode has great performances, drama and writing. So many interesting themes packed into one episode it's insane.

He plays the coffee company owner they play the jingle for. Tom Ormeny. Anyhow, having gotten over what the horrible Duck did do his dog in the last episode, this one is pretty good, more lightweight. Kinda wish more of these episodes had more to do with the ads being sold. Either way it's an entertaining non-filler.

What makes this a great episode is the dinner between the closeted Sal and Ken, the tall handsome writer (who doesn't look like a writer, but oh well). Also the showdown with the comic Jimmy and the Drapers. Good stuff.

(And hey, the co-founder of Grey Matter works as a car salesman... Love seeing an actor from the two best cable movies ever, Mad Men and Breaking Bad!!!)

(And OH MY GOD, as far as litterbugs go, The Drapers are a SWARM!!!)

The Gold Violin is a strong episode with standout moments.

I like the imagery and references to aesthetically pleasing yet dysfunctional concepts like various forms of art, Don Draper's identity, and Sal's marriage.

The writer uses characters like Don, Betty, Jimmy, Bobbie, Sal, Ken, Joan, Jane and Roger very well. Certain moments are quite unexpected and these for me are the highlights. I like the picnic scene, particularly how it links to an exchange of dialogue that happens near the end of the episode.

There is a good focus on Sal that follows on well from The Hobo Code. The awkwardness in his scenes are excruciating at times. It makes you feel sorry for both Kitty and him.

I like the development of the character Jane. This works well with the established arcs of Roger and Joan. It makes you interested to find out if any fireworks are coming as a result of the situation.

For me it is an 8.5/10, but I round upwards.

"The Gold Violin," the seventh episode of the second season of "Mad Men," directed by Andrew Bernstein delves into the personal and professional lives of several key characters, using the metaphor of a beautiful but non-functional gold violin to reflect the episode's central themes: the allure of appearances and the emptiness that lies beneath. The narrative unfolds as Don Draper (Jon Hamm) is forced to confront the fragility of his constructed identity, while other characters grapple with their own hidden truths and desires.

The episode opens with Don admiring a Cadillac in a showroom, a scene rendered with a sense of longing and unease. The cinematography in these scenes is sharp and deliberate, using tight framing and subtle shifts in lighting to underscore the tension and discomfort among the characters. The production design, from the office furniture to the costumes, immerses viewers in the world of early 1960s America, while the editing is seamless, highlighting the contrasts between Don's public and private personas.

Don's storyline is marked by a sense of ambivalence and frustration. After a flashback reveals a moment from his past where he is confronted about his true identity, Don's emotional vulnerability is laid bare. The direction and editing in these scenes are sharp and deliberate, highlighting the contrasts between Don's public and private personas. The episode's portrayal of Don's struggle to maintain his relevance is both compelling and unsettling, capturing the complexity of his relationship.

The episode also delves into the lives of other characters, particularly Sal Romano (Bryan Batt), whose storyline centers on his growing attraction to Ken Cosgrove (Aaron Staton). The dinner scene, where Sal invites Ken over and his wife Kitty (Sarah Drew) is heartbroken, is handled with nuance, capturing the complexity of Sal's relationship with his peers and the ways in which he is both celebrated and marginalized. The production design, from the office furniture to the costumes, immerses viewers in the world of 1960s America.

Jane Siegel's (Peyton List) subplot is equally significant, as she challenges Joan Holloway's (Christina Hendricks) authority and power within the agency. The episode's portrayal of Jane's ambition and her willingness to navigate the office's complex social dynamics is handled with sensitivity, capturing her sense of accomplishment and the ways in which she is both celebrated and marginalized. The direction and editing in these scenes are sharp and deliberate, highlighting the contrasts between Jane's public and private personas.

"The Gold Violin" storytelling set a high bar for the series and for the medium as a whole. The episode's ability to generate debate and reflection is a testament to its enduring relevance.