Tag Archives: Prostitution

Firefly: The Complete Series (2002-2003)

Firefly Poster

 Gorram it! How that gosa television station “Fox” could cancel the best show in the ‘verse after one season but keep mediocre drivel like “Family Guy” is beyond me. As someone who’s running the risk of sounding like a major nerd right now, I will say that “Firefly” may not quite be the best show ever (there are definitely runners-up, FX’s “Fargo” among them) but no TV series can compete with “Firefly” in terms of pure rewatchability value and making me care about it’s cast of characters.

In Joss Whedon’s cult space western, the gun-toting action crackles and so does the dialogue as rogue-with-a-heart-of-gold Mal Reynolds (Nathan Fillion) commandeers a ship packed with rapscallions who will take any kind of work, legal or otherwise. The crews’ lives are complicated when they take convict siblings Simon (Sean Maher) and River (Summer Glau) under their wing.

River is a victim of experimentation by the corrupt government; she knows too much, sees things that others cannot, and that makes her dangerous. Simon defied his parents’ wishes and went on a hunch to rescue River and smuggle her into the far reaches of space. The show is focused on the relationships and witty pitter-patter of banter that having a group of people, vastly different and not all easy to get along with, would come along with.

Joss Whedon creates a vivid world that is both futuristic and a throwback to the old Spaghetti Western films of the yesteryears. The entire cast performs their parts admirably, and the character development and backstory building are unparalleled. It’s hard to pick a favorite character (for me, it’s a tie between the cheerful mechanic Kaylee Frye (Jewel Staite ) and the smart aleck pilot Hoban ‘Wash’ Washburne (Alan Tudyk)) because all the characters are so well done and saddled with great one-liners.

I really like the mix elements of the different cultures featured on each planet. I personally am not vouching for a relaunch of the series at this point (things have changed, including the deaths of two major characters in the movie spin-off, “Serenity,” and the cast has aged considerably) but I am seriously fangirling for the graphic novel follow-up, “Leaves on the Wind,” written by Joss Whedon’s brother Zack. I just hope it is consistent with the quality of the series.

I am not a huge fan of Joss Whedon’s stuff in general (“Dr. Horrible” has it’s moments, “The Avengers” and what I’ve seen of “Buffy” are just okay.) The nerds seem to love him (not that I’m in a position to be calling people nerds, I just got a Wash quote pin at a sci-fi convention not a week ago.) But “Firefly” is enough to make me love him at his best and appreciate his fertile imagination.

I’ve seen “Firefly” all the way through like six times and I never fail to catch little details I might not have been aware of before that increase my appreciation of the show as a whole. I am consistently wowed by the thought put into the depth and psychological nuance combined with the action and humor. The characters are just so well done, from the rough-hewn, wise-cracking grunt of the group (Adam Baldwin) to the very classy call girl (Morena Baccarin) that Mal refuses to admit he has feelings for (in “Firefly”‘s world, courtesans are called ‘companions’ and held in the highest regard.)

There’s also a definite emphasis on female power and badasserie. The lack of alien lifeforms featured and a lowish budget should not deter you from enjoying this great science fiction series. Just realize it’s more about the characters and their relationships than big-time gun and knife fights (though there is some of that, too.) Highly enjoyable entertainment with plenty of humor and verve to spare.

firefly

Set Me Free (Emporte-Moi) (1999)

I’ll go ahead and admit as a bad filmgoer and reviewer that I have never seen “Vivre Sa Vie” (“My Life to Live”) by Jean-Luc Godard, and I considered watching it to get some perspective before reviewing “Set Me Free.” “Set Me Free,” though not directly related to “Vivre Sa Vie” thematically, is the story of a frustrated young girl who becomes fascinated with the prostitute character, Nana, in Godard’s classic.

It’s also about growing up. And sexual awakening. And youthful confusion. And the moment as a child when you realize that you can’t save the grown-ups in your life; sometimes, you can only help them along while they choose to sink or swim, to fight against the current, or drown. It’s about the way movies influence young people, and how it’s often the one’s you wouldn’t expect that change their ideology, for better or worse.

Hanna (Katrine Vanasse) is a knowing yet naive 13-year-old who lives with her thief brother, Holocaust survivor father, and suicidally depressed mother in France. The year is 1963. Her father (Predrag Manjlovic) has a iron grip on the household. On the other hand her mother (Pascale Bussières) is as submissive and weak as her father is dominating. In an opening scene, Hanna gets her first period near her grandparent’s house, and shortly after goes back home to her parent’s.

While she was hardly happy at her grandma and grandad’s, things go from bad to worse at home. Her dad is a pretentious, lofty, and generally bad writer who fancies himself a great artist, and her mom is one twitch away from a complete nervous breakdown. Her brother Paul is a petty thief. In an opening act of general assholery, Hanna’s father spits at her mother that her’s is ‘mongoloid family’ because her brother (Hanna’s Uncle Martin) has Down Syndrome (I told myself that ‘Mongoloid’ was not such an offensive term back in the 60’s, but nah, it’s still not excusable.)

When Hanna goes to the theater and sees “Vivre Sa Vie” for the first time, she falls in love- with the movies, Anna Karina, and with Karina’s ‘glamorous’ character. From what I saw of the film within this film she is totally misreading the message of the movie, as her teacher tries to point out. But as a confused kid (sexually and in life) looking for a role model, it makes sense.

Boy, did the child actor knock it out of the park here! Hanna was a sweetheart. From what I understand, the child actress was sixteen when she did this movie, and in fact, she looks childlike in some shots and more womanly in others, probably a intentional decision on the part of the director. Hanna’s father insists on masculinizing his daughter, cropping her hair down to boy length (the hair-cutting scene reminds me of the one in “Ma Vie En Rose.”) As Dad cuts, a silent tear runs down Hanna’s cheek, and she gradually is made to feel a little more helpless.

Hanna propositions a man, maybe in hopes for a normal life or because it is the ‘thing to do’ as a girl, but exchanges intimate kisses with a female friend (Charlotte Christeler.) Does that mean she is bi, simply confused, or something else. Fed up with her family, Hanna runs away, but will a life on the streets be easier or harder than she was looking for?

The acting was fabulous, but I wished the ending had offered a little more. There seemed to be a real lack of realization, and everything get’s better quite abruptly. What was learned, except that being a ho’ isn’t all it’s cut out to be? It’s nice to have a happy ending for such a lovely character, but the story doesn’t seem to have the most logical conclusion.

“Set Me Free” is well made and most of all bittersweet and sad. It’s is based on the director Lea Pool’s life, so that makes it this much more authentic. I would love to know if filmmaker Lea Pool is gay, because that would shine a light to better understand the sexual elements of this movie. Note- You can watch this on Huluplus. Otherwise it is not available on DVD as far as I know. I hope you get the chance to watch this powerful film. Thank you.