Micitype Pretty Good

Loui Blair It's a feast for the eyes. But what really makes this dramedy work is the acting.

Justina The film never slows down or bores, plunging from one harrowing sequence to the next.

Scarlet The film never slows down or bores, plunging from one harrowing sequence to the next.

dfle3 Perhaps this 1985 mini-series could be described as "film noir"...it has a policeman as its central figure and its scenes are often murky and gloomy, fitting the story being told. That story concerns the deaths of environmental activists in a secret industrial complex. The central character, Ronald Craven (played by Bob Peck) has a personal stake in uncovering those deaths.The style of the mini-series is often minimalist...the first episode, at least, has very little music/score. Interestingly, what soundtrack there is is supplied by legendary guitarist Eric Clapton and his collaborator here Michael Kamen. Kamen, I believe, conducted the San Francisco Symphony Orchestra years later in a Metallica concert! By the by, there is a credit for Dickie Bird for the film sound. It's not the famous English cricket umpire, but I'm surprised that there are two people with that name on this Earth!There is an odd approach to the storytelling at times...one scene has Ronald Craven kissing a particular item of someone close to him. It is strangely moving but with the wrong crowd watching it could be spoiled as an emotional moment. Another constant feature of the mini-series is the ghostly presence of one of the characters. If that kind of otherworldly appearance in the material world is likely to bother you, then this may be a problem here...but really it's just a psychological manifestation of grief, as I see it.Whilst trying to uncover the murderer/conspirators, Craven has the assistance of murky U.S. figure Darius Jedburgh (Joe Don Baker). Baker's performance is against the noir-ish grain here...he's jovial and somewhat of a comedic figure. Perhaps his performance is too 'square peg in a round hole'? It seems to me that the final episode is a little too ripe as far as my tastes go in the exposition of the motivation for some of the characters. In other words it doesn't seem too sophisticated...but maybe there really are people in that position who espouse that kind of philosophy.Speaking of philosophy, you can see a different approach to this in the Mel Gibson movie of the same name, released earlier this year. It takes a typical Hollywood approach to this kind of subject matter. As a result, you miss all the interesting philosophical discussion you get in the original mini-series...especially as found in the final episode. For that reason the original does have something of particular interest to it.Not exactly sure, but I think I watched the original mini-series many years ago. Recently it was repeated on ABC2 here in Australia.An interesting enough story, involving the scary world of nuclear power...and mankind's continued existence on Earth (when at its most philosophical). Those who like their stories action packed and adrenaline filled may be disappointed by the slow-burn approach of this mini-series.

michaelj108 One of the central political points of the story is that policies come and go, but people stay. When one policy is set in motion, it rolls on, even if back at headquarters the policy has changed. Darius Jedburgh explains the changes of policies in Washington to Ron Craven, with a shrug. The policy changed but the people who worked for the previous policy went on. Policies can be turned on and off, in this case, by executive orders, but people cannot. When Jedburgh set up GAIA he recruited believers who would do some serious work, and when Washington policy changed, they just kept going as best they could. There is an important message here that few people in the policy business never get. Once something is started, it may take on a life of it own. The lesson to draw then is to be careful about what is started, a lesson few learn.

steve_heaton While you could make a good argument that TV doesn't have much to offer as a medium, this mini series stands as a blazing example to the contrary.I doubt if this story would of worked as a movie. The suspense is slowly built per episode. Nothing blatant. Lots inferred. Brilliant writing. Superb acting. Haunting. Funny. Disturbing. The story is probably as relevant now (2005) as it was back in '85.The music score alone makes it worth adding to your DVD collection. Michael Karmen and Eric Clapton work magic on the score. (A poor copy following in Lethal Weapon 3).When it's over your heart won't sing; you probably won't have a smile on your face. Maybe a tear on the cheek? However, you'll be glad you watched it and rave about it later. It's a moving, gripping piece of work.

quinch-anz Fifteen years after I first saw this masterpiece it stands up frighteningly well.The true sign of the class of the whole production is the sheer number of moments that stick with you years later - often at a subliminal level.After Jedburgh and Grogan it is hard to take any American at face value even today.The script is taut, the production is visually and aurally inventive and still compelling (without the CGI refuge so common today), the performances from lead to single-scene are never less than superb - and then there is the soundtrack...Dated somewhat (inevitable given the lack of mobile phones!) the quality of direction makes this something that everyone should see at least once...