MAD MEN Season 4

I do not ordinarily review television shows but when the show in question is as filmic as MAD MEN is, it is pretty hard to resist. Now I, like many of you, are surely disappointed to hear that the highly anticipated fifth season of the AMC program will not be returning until 2012 but all is not lost. First of all, showrunner, Matthew Weiner was able to secure a deal that will allow for the core cast and creative team to stay in place, ensuring at least two more seasons of television's most poetic and pristine drama. Furthermore, the fourth season was just released on DVD and Blu-ray, so at least we have that to keep us busy in the meantime.

When we last left Donald Draper (Jon Hamm) and "friends", he had orchestrated a coup to take back the company that had previously been sold to a British parent conglomerate. The newly formed Sterling Cooper Draper Price was setting itself up in a hotel suite and was ready for business, with only the best of the former Sterling Cooper firm still on board. This season follows the firm's inaugural first year in business. With some months behind them, SCDP has moved into fancy new office digs and is rolling smoothly despite its modest capabilities. Still, their business is tentative as it consists mostly of one client, everyone's favorite tobacco manufacturer, Lucky Strike. The ad men have to scramble to generate new business and we've never really seen them squirm quite like this.

Meanwhile, Don's home life was nothing short of ruined. At the close of the third season, Don and Betty Draper (January Jones) have split. They are now divorced with Don living in the city and Betty already remarried to the handsome governor's aid, Henry Francis (Christopher Stanley). Their older children shuttle back and forth between them while baby Gene is inevitably learning to see Henry as his actual father, given that Don is never around. Don spends the first chunk of this season stupefied, almost as though he doesn't think any of it is real. Pity surrounds him everywhere he turns at first but Don is a smart man, as you well know. He figures before long that he is truly on his own now. While that does mean he has to deal with his past more directly, it also means that Don Draper is single, ladies.

Everyone who jumped ship with Don is back for more this season as well and there is plenty more to be had. Prodigious copywriter, Peggy Olsen (Elizabeth Moss) continues to find herself, exploring both relationships and drugs (nobody is more funny stoned than Peggy.) Office manager, Joan Harris (Christina Hendricks) deals with a husband going off to war and an old flame returned during his absence. Older partner, Roger Sterling (John Slattery) must face his past while he contemplates his memoirs and ignores his current clients. Meanwhile, new partner, Pete Campbell (Vincent Kartheiser) celebrates new milestones in his personal life while trying desperately to juggle the egos in his professional life. And there is also a new addition to the cast - Montreal's own, Jessica Paré, catches the eye of a senior member of management, making her a permanent fixture in the far off fifth season.

MAD MEN Season 4 is a 13-episode exploration of uncertainty. Don Draper has forever been trying to run away from himself and he simply cannot do this any longer. The image he created of himself is collapsing and given that Don is such a giant force of nature, he seems to be dragging everyone else around him down with him. In his abandon though lies great catharsis so follow him down. You will feel lost and empty at first but you will soon be shocked into a state of presence and satisfaction that is synonymously associated with MAD MEN now. That said, the one drawback to the fourth season is how much it will have you longing for the fifth.

(Maple Pictures)

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HOWL

Written and Directed by Rob Epstein and Jeffrey Friedman

Starring James Franco, Jon Hamm and David Strathairn

Mark Schorer: Sir, you cannot translate poetry to prose. That is why it’s poetry.

I seriously doubt this could happen today, that a poem could spark such outcry as to demand it be banned in the courts as obscene. Fifty years ago though, that is exactly what happened to American poet, Allen Geinsberg, with his poem, “Howl”. The poem depicted the darker underbelly of America, a side of the country that the majority didn’t want to acknowledge. It spoke of the impoverished, the bohemians, the homosexuals and anyone else that really that didn’t fit into the status quo because of who they were or what they did with their days and nights. And so the debate is on – does different mean obscene simply because you cannot understand it?

The trial, the poet and the poem itself are portrayed separately and cut together to form what is the first narrative film by the Academy Award winning documentary filmmaking team of Rob Epstein and Jeffrey Friedman (THE CELLULOID CLOSET, THE LIFE AND TIMES OF HARVEY MILK). Named after the poem, HOWL can only loosely be described as a narrative though. Albeit a somewhat safe choice for their first fiction foray, the filmmakers based their screenplay on court transcripts, archival footage and interviews, giving HOWL a very documentary feel. Ginsberg himself, played calmly and coolly by James Franco, is only ever shown in interview or in flashback, never driving any plot forward. The lack of formal focus makes for a free flowing experience but also never allows the film to truly find a firm foundation.

Like the point being proved in court by the “Howl” defense attorney (Jon Hamm) though, form needn’t be formal for the themes to be meaningful or have literary merit. Each component of the film, including a dark and rich animated interpretation of “Howl” from Monk Studios, functions fine individually and creates a whole unique unto itself. In that sense, HOWL honours its inspiration as best it can and proves the timelessness of the poem by allowing its relevance resonate even still today.

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TIFF Review: THE TOWN

Written by Peter Craig, Ben Affleck and Aaron Stockard

Directed by Ben Affleck

Starring Ben Affleck, Jon Hamm, Rebecca Hall and Jeremy Renner

By now, we all know that Ben Affleck is from Boston. His first film as director, GONE BABY GONE, is set there and he has now returned home for his second feature, THE TOWN. The titular town in question is Charlestown, a town in Boston that has seen more bank robberies than apparently any other in the world. Personally, I would think twice about even opening a bank there with statistics like that, but people need their money and other people need to steal it. In THE TOWN, Affleck gives us a delicate, albeit straightforward, balance between these people.

There is nothing particularly new and exciting about the premise. A group of four “townies”, including director himself, Affleck, and new “It” boy, Jeremy Renner, hold up a local bank and take the bank manager (Rebecca Hall) hostage. Affleck stalks her a little afterward to make sure she doesn’t know anything that the FBI can use to find them, but then something unexpected happens; he falls for her. It isn’t really unexpected for us but rather for him. All he’s known his whole life is crime; even his father (Chris Cooper) is doing time and proud of it. I think what he didn’t expect was that he might want something else from life, something more stable and meaningful – something that you actually can’t steal but rather have to earn.

Affleck is quickly becoming a more relevant persona as a director than as an actor, but it is his lead performance in THE TOWN that anchors the film. The supporting cast, including Jon Hamm without a cigarette hanging out of his mouth all the time, is stellar, but Affleck is the big winner here. He may not have found a way to inspire insight from his work as a filmmaker just yet but he knows how to control the story, command the audience’s attention and, most importantly, keep us entertained. My money says he is going to continue to grow on this path. I just won’t be putting that money in any townie bank any time soon.

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