"The world is too much with us; late and soon,
Getting and spending, we lay waste our powers:
Little we see in Nature that is ours."
-- William Wordsworth,
"Miscellaneous Sonnets. Part i. xxxiii."
The first Monster of the Week episode of Season Five (and the first one in a long time on the calendar) is a cross between the schlock movie classic "Swamp Thing" and the Arnold Schwartzenagger action film "Predator." Borrowing heavily from both movies, writer Frank Spotnitz uses the subtlety of a sledgehammer (the tool, not the old ABC series ;) to drive home his point about the evils of disturbing existing ecosystems in the name of progress. Amazingly, Spotnitz' blend of horror, pathos, humor and pontificating melds into an enjoyable X-File.
Stuck in a car for what must have seemed like eternity with the Agents from Hell, Mulder and Scully trade knowing glances in the back seat as Mulder quips wise and the oblivious partners drone on about their experiences in a Team Building workshop. It's a wonder that Mulder's ears didn't start bleeding.
When a roadblock offers Mulder the chance to avoid going to the workshop, he jumps at the chance, and Scully tags along. I couldn't help but picture Lucy and Ethel right after Ricky tells her that she can't be in the show. :) The reference to nonverbal communication offered as proof by Mulder that they didn't need to attend the workshop was double-edged sword. They both know they can communicate with each other on some nonverbal level, but they both have blind spots where one has no idea what the other is really saying.
It would be unfair to say that the partners haven't grown together over the past several years. But one part of the Conversation in the Woods seems to indicate to me that this growth is still limited. Consider that Mulder is concerned with having a good head of hair for 50 years when Scully asks him about life and death. The thought that if he were lucky, he'd get to spend 50 years of his life with a woman he loved and who loved him in return never enters his mind. Scully's looking for Jean-Paul Sartre and Mulder gives her Vidal Sasson. Somehow, this just doesn't conjure up visions of romance for me. When Scully stoops to Mulder's level and fires back a line about getting lucky if it rains sleeping bags, all Mulder can do is lift his eyes as if to say, "Yeah? I might get lucky?" Getting lucky does not equate to a deep romantic involvement. There is a certain chemistry between the two actors that sometimes ignites on screen. The Conversation in the Woods wasn't one of those times.
The monsters themselves were kind of interesting. Their camouflage in their environment was directly from the aforementioned "Predator." But their motivation differed greatly. The Moth Men aren't bent on conquest; they're just trying to survive in a world that passed them by long ago and is now threatening to encroach further on their natural habitat. So the question is, were they really predators, or are they just defending their homeland? I think Spotnitz answers that question with the latter choice.
Mark Snow's score took on a life of its own in "Detour," and the result was most gratifying. He nimbly used the caracas to simulate the warning sounds of a rattlesnake when danger was eminent. During the scenes where someone was fleeing from the creatures, staccato rhythms from bongos helped pace the action. His orchestral movements at other times blended in with the serenity that made you appreciate the natural beauty depicted on the screen. For having the background score match the action on the screen perfectly, it would be hard to find an episode of the series where Mr. Snow's work was any better.
Director of Photography Joel Ransom did a superb job of capturing the elegance of the natural beauty of the forest. The sheer lushness of the setting was almost breathtaking. One could almost touch his/her TV screen and feel the life that emanated from the forest. Ransom expertly blended natural sunlight with daytime settings, and then basked our heroes in subtle mix of light and shadows as darkness crept in. This was a visually aesthetic episode to watch.
First-time director Brett Dowler teamed with first-time editor Casey O'Rohrs to bring a us a slickly produced, smooth effort. Dowler was at his best in implying eminent danger. The camera shots panning the woods while the Moth Men circled the various humans who entered their domain were nicely understated. O'Rohrs spliced together some intricate scenes, most notably the chase in the Asekoff house and the closing scene in the hotel room.
David Duchovny was believable as the suddenly invigorated Mulder. He must have been practicing with Gillian Anderson, because his facial expressions in "Detour" were as demonstrative as hers usually are. I thought DD did a nice job playing injured after the attack, and he delivered his one-liners deftly. Even during the Conversation in the Woods, he seemed natural while rebuffing Scully's attempt at serious, meaningful conversation about the meaning of life and death. Mulder may be a smart man, but he's still clueless when it comes to anything more than a deep, abiding respect for and trust in his partner. Gillian Anderson was just as adept at displaying her emotions without speaking. Her parting glance at Mulder as he slipped out the door was priceless, and she displayed a genuine terror after Michele disappeared in the woods. Anderson showed that she can trade one-liners with Mulder one minute and then show a warm and tender side as she held Mulder close at the campsite. She's still a joy to behold.
Among the guest stars, Scott Burkholder and J.C. Wendell (late of Dave's World) were perfectly matched as the inverse of M & S. They were finishing each other's sentences, too, but in a cloying manner that was played for laughs. You could just envision these two on the edge of orgasmic delight as Stonecypher put an electric pencil sharpener on the top of a tower of office furniture while her partner steadied her. I guess it's the little things that count. ;)
The story by Frank Spotnitz held together by itself. The trick with MotW episodes is to make a believable monster and create a plausible scenario for Mulder and Scully to investigate. I use the word "believable" in the sense that we've already admitted that we're willing to suspend belief to watch this show. My problem with the script was that this was not a new twist on an old theme. It was the same twist on an old theme. The characteristics of the Moth Men weren't set up as a tribute to "Predator" and "Swamp Thing"; they ended up as blatant plagiarism. Spotnitz was too heavy-handed in making his statement about the environment, and the tie in with Ponce de Leon was too ludicrous for words.
Overall, "Detour" was a nice diversion. It had some spooky moments, it had some charm and wit, and it reminded us (after some seven months absence) that the MotW episodes, when done well, can be fun.
My Score: 8.5 out of 10