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The fucking conclusion that the show deserves.



Timothy Olyphant (left), Ian McShane
Timothy Olyphant (left), Ian McShane
Photo: Warrick Page (HBO)
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There is a lot of poetry in Deadwood: The Movie. Of course there is: it is the feature film coda of one of the most idiosyncratic and dazzling television shows of all time, which baded the English language more flatly than the shit, but it was presented to the HBO audience in the middle of the decade of 2000. -Valeros televisivos. But as a surprisingly complete variety of the original Western cast returns to talk about Shakespeare, once again from David Milch, no one sums up the spirit of Old thing-Movie or TV show – like Doc Cochran (Brad Dourif) during a visit to the house of the city's head, Al Swearengen (Ian McShane):

"It took us to be collections of cells, each of them adds a smaller and separate life inside us, time slows down and finally stops".

Lead

B +

Directed by

Daniel Minahan

To emit

Ian McShane, Timothy Olyphant, Molly Parker, Paula Malcomson, John Hawkes, Anna Gunn, Dayton Callie, Brad Dourif, Robin Weigert, William Sanderson, Gerald McRaney, Sean Bridgers, W. Earl Brown, Keone Young, Jade Pettyjohn

Debuts

Friday, May 31 at 8 p.m. EST on HBO

Despite all its artistic profanity, despite its great representations of how the West was not fun, Old thing it has always been described by its creator with words that do not resemble those of the documents: it is about the progression of entropy to the organization, the individual agents of chaos unite in a civilization: collections of cells, each of them add a smaller and separate life. David Milch is also a believer who Time is the true theme of all stories. Deadwood: The Movie It is one of these two philosophies in practice, in addition to an emotionally nourishing and necessarily abbreviated conclusion of a show that went on for a decade and changes without one.

Milch designs a propitious occasion to reunite the components of his morally complicated body: the annexation of the United States of the Territory of Dakota, the imminent and prolonged threat of the series to the uncontrolled freedoms of Deadwood, now realized. It's a formality, actually, because after all the time and effort invested in avoiding the inevitable, Deadwood has already given up the forces of westward expansion and manifest destiny. There is an alarming degree of order on the road around 1889, and a series of new structures, including a stone building that houses the Bullock & Star Hotel. The Chicago North And Western Line runs through the camp, bringing with it cargo and pbadengers: the day of the annexation, which includes telephone poles owned by the despicable George Hearst (now the young US senator from California, still played with an immaculate presumption of Gerald McRaney), and the visiting dignitary Alma Ellsworth and his pupil Sofia (Lily Keene, replacing Bree Seanna Wall). These arrivals do not cause a small amount of trouble in the middle of Bullock & Star "Bullock" (Timothy Olyphant, with his face on his old Old thing push the broom as your head leads to a wide-brimmed hat).

This is the mechanical part of the Milch script. The people of Deadwood now occupy more solid houses and wear cleaner clothes, but the place is still managed by the conflicting interests of Swearengen and Hearst, as evidenced by the current mayoral administration of a man who is angry at both: EB Farnum (William Sanderson). But the fact of reuniting everyone who lived there in the 1870s turns the place into the barrel of gunpowder of antiquity, and a hasty decision by Trixie (Paula Malcomson) submerges the camp in a chaos that corresponds to its desert period. Some scars, like the Bullock growing on his forehead as a reminder of his season, two entanglements with Swearengen, never fade.

The cowardly murder that follows forms the backbone of the second act of the movie, but any narrative is simply a sauce. After an abrupt cancellation and years of false starts, it is sometimes enough to see Parly and McShane parlay. When the state flags are unceremoniously thrown into the public way, it is not just a sign that the celebration has fulfilled its narrative purpose, it is a symbol of the unaltered nature that is hidden under the new clothes of Deadwood. Running the length of two standard themes Old thingAnd condensing what could have been a plot of the entire season, some of the cast are given little importance, especially to Parker, who is on hand to do little more than draw Olyphant's attention and serve as a plot device in The global conflict between Bullock and Hearst. Deadwood: The Movie Apparently it's a farewell to the whole gang, but it really boils down to three individual stories in search of punctuation: Peace for Bullock, justice for Trixie and grace (or some form of it) for Al.

Summing up one of the best twenty-first century television performances with the loudest voice, McShane makes a fearsome lion in winter. (On your last chance to win an Emmy for playing Al, your campaign starts on the last day of eligibility. Old thing I always liked to push a deadline.) But it's Malcomson who runs away with Deadwood: The Movie, as Trixie struggles with the life that was exchanged for his at the end of the series itself. Malcomson gives a haunted, disturbing turn, and while she struggles with having other dies in his conscience and weighs his commitment to Sol (John Hawkes, happy to be here), she gathers a force and a resolution that are reciprocal in the last confrontation of the camp with Hearst. She is no longer the victim who cuddles up with her abuser at the end of the program's pilot program; With the resurgence of cycles of violence and exploitation that threaten to push back the clocks in Deadwood, it warns a new arrival at The Gem, Caroline (Jade Pettyjohn), away from that path.

The epilogue to the premiere of the series by Malcomson and McShane is one of the many flashbacks that are played during the course of the film, a device that sets the stage for the memories of the murder committed by Hearst's thugs. It's a multi-pronged approach to running the memories of the characters and viewers, while also Old thing The rookies up to speed. But given the recent revelations about Milch's health, this also feels like the creator who captures his own memories before they leave him forever. As with the third season of Twin Peaks, this rebirth of television with a prolonged delay has an additional dimension to its intensity, the joy that collaborators meet while they still can. There is a great joy and great pain to see these characters interact again, while drawing the lines on their faces and record all their gray hair. It's not only a story about time, are many stories about time. Some of the most intimate scenes, such as the "cell collections" talk of Doc and Al, are recorded remotely, through thresholds or through doors. It creates the point of view of a creator who had to move away while his creations continued to live, although from time to time he observes them.

The cast and crew Old thing he did not see Deadwood change gradually with time; It was taken from them in one fell swoop. Even if it is something less fleshy than their papers were the first time, even if they had been killed in the program. twice, those who could return did so, to speak vulgar poetry and be a separate life within the cell collection. There could have been a more solid conclusion, one in which the reconciliations are not so hasty and the not so "memorable" coincidence of the week. (To quote the producers' note to the critics, regarding the spoilers: "marriage, birth, death, etc.") Our time to reconnect with these characters is short, but we can see where the characters have taken them. years. That's beautiful and weird, in the rough, jagged-edged way that Old thing It was always beautiful and weird.


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