Witchblade Comic Fans: “Line up with pies! Now!” As your humble reviewer, I must admit
ignorance of the Top Cow comic that spawned the series. However, I respect the
expectations and hopes of comic fans that have faithfully followed this acclaimed comic so
closely.
Viewing the series premiere on TNT left me with a hopeful mixed bag. First, the good
stuff: Yancy Butler combos an excellent confection of strength and vulnerability as Sara
Pezzini, the NYPD detective chosen to wield the supernatural witchblade. Butler has the
right chops, athleticism and emotional depth for a series with a gritty, dynamic veneer. I
imagine she’ll knock it out of the park each week if the writing staff wisely gives her
the opportunity to homer whenever and wherever possible. The right lead casting can make
or break a series, and the producers have picked an actress and created a heroine who you
can take seriously, but with a great look that will be readily accepted by female viewers
and should grow on a specific male comic book constituency who was expecting an
unthreatening, Baywatch girl, but may end up patting themselves on the back for their
“growing,” exotic taste. (No pun intended- LOL). This is heroine who knows herself well,
the limits of her emotional pain, and is wary of manipulation by outside forces. She’s
definitely not some 18 year old who doesn’t know her own mind. And bravo to the
production team and TNT for one cool, casting choice.
The supporting actors impress as well. Anthony Cistaro ably co-stars as the “make your
skin crawl” Kenneth Irons, a rich industrialist with a lust for the
witchblade. Eric Etebari plays Ian Nottingham, who may be a huge departure from his comic counterpart, but
I find him intriguing with his furtive glances, mysterious demeanor and blistering
fighting skills. There is also a noir comic book feel to his presence. I’m in “wait and
see” mode as to how he’s developed. There is a definite chemistry, despite denials,
between Nottingham and Irons which should give slash fiction writers rich material.
On the “no chemistry, what were they thinking” front, the writers toyed with the idea of a
brewing attraction between Sara and her new partner Jake McCarty, played by David
Chokachi, during the two hour movie event. However, they have since backed away from this
in the series premiere perhaps realizing the lack of chemistry. Now, Jake drags himself
around as morose, pretty window dressing, who may be a CIA spy undercover. The big
question is: Do we really care?
In contrast, Will Yun Lee is brilliant as Danny, Sara’s deceased partner and ghost. Danny
and “Pez” have a sweet chemistry that strengthens the emotional life of the show. Yancy
Butler and Will Yun Lee are well matched, making me wish his character was here in body as
well as spirit, instead of “no chemistry” guy. I hope they keep the character Joe Siri in
the mix too. I was sad they retired him from the force during the premiere. There were
some powerful scenes between him and Pez during the movie event. I’m hoping he stays
around for the duration.
The only thing missing from the party is a little more estrogen in the form of a series
regular. For a show bent on real worldliness, it improbable that no other woman inhabits
Pez’s inner circle. She should have at least one female friend to show another side of
her personality because, as well all know, women can be very different around their female
friends than their male compadres.
In terms of the writing, I am very impressed with the writers’ understanding of female
psychology and the use of a powerful weapon. The witchblade has caused major trouble for
Pez on the police force, and this unknown quantity might not be an instrument of good. But
the writers have been savvy enough to create a feel that she might ditch it if she could.
Creating the motivation to keep the witchblade so she may maintain contact with Danny and
her past, feels right on. She’s not wielding it to be some righteous, macho knight who
has a right to serve as judge and jury. I also have the sense that a part of her “blacks
out” while she’s wielding it because she’s in new territory. The lack of control would be
one reason to ditch it, but her desire to understand herself keeps it firmly on wrist
making the witchblade a wonderful metaphor for life.
Also, a question each episode will hopefully be: How does Pez and the other characters (on
a lesser level) need to grow this week and what ideal baddie would put them on the best
collision course with themselves? It’s how Joss Whedon handles this on Buffy that keeps
critics foaming at the mouth and screaming, “Emmy! Emmy! Emmy!” How well the writers of
this show answer this question each week will determine its success.
I realize at this juncture that most, if not all, of the shows in TNT’s 11 episode order
have been completed, so any valid ideas from the viewership won’t even be considered
unless they get another order. However, there’s something compelling here that will keep
me tuning in each week. I care what happens to this show and its characters which is my
diplomatic way of saying I’m about to get very, very picky.
A variety of production value issues have added up to detract from what has the potential
to be a stellar show. Inevitably, Witchblade will be compared to that creative monster
Buffy: the Vampire Slayer, the show that’s set the bar for the female hero show.
In that vein, what’s up with that flat, north-of-the American border lighting scheme?
Just because they cut corners and produce it Canada doesn’t mean they have to slash their
lighting and grip departments to non-existence. The unnatural, one dimensional aspect of
the lighting detracts from the realism of the show. Using the same “face half in and half
out of shadow” thing gets old real quick as does the flat even shadows which makes me
wonder if they only have a couple lights in the kit. If you’re going to light it like
that, you probably should shoot it on video.
You may ask, what’s important about the lighting when so many t.v. shows are so flatly
lit? Witchblade originated in the comic world where artists earn their stripes with good
pencil work (which means well-placed shadows everywhere on everyone and every object
providing dimensionality that fosters a hyper-realism). Also, strobes go only so far in
cheating the audience into thinking you’ve busted your butt on the lighting during a big
finale.
One example of where lighting was done well: The episode of “Checkpoint” from this season
of Buffy. Check out the lighting at the end when Buffy gives her defiant speech to the
Watcher’s Council and the Scooby gang. There you will see a dozen actors in a large
environment with lots of objects. Everything and everyone is reflecting light in their
own unique way depending where they are in the space. If Buffy walks towards a white
table, the reflected light starts to show along an elbow, etc.
This gets me onto the set design which also fell flat. Pez might be a tough cop trying
to live on a middle class salary in New York City, but does her space have to be
completely devoid of all feminine touches? I like the realism of her not having some
swanky pad, but there would be at least one homey mug (even if she could only afford it
from a 99 cents store) or one colorful vase. The family pictures don’t completely do it.
And as a friend of mine said, it’s doubtful she would put up with the dingy walls for long
without buying a few cans of cheap white paint to at least get rid of several years worth
of finger prints from previous tenants. Guys might live like this, but a woman never
would.
Also, has she changed pads since the movie event? That space had a lot of windows my
friend pointed out. No more. Kenneth Irons’ space was also stripped of all objects and
painted in one flat monochromatic color with cheesy wall friezes, which also seemed
unrealistic for a billionaire. Look at the use of wall color in the “Checkpoint” scene
to compare what’s possible. Or watch any episode of Xena with an interior set in some
exotic locale. Xena may have fallen down on story at times, but always nailed it when it
came to set design, lighting and cinematography.
And if you are going to spend money, why corner the audience and repeat the same shot over
and over again… i.e. the motorcycle scene. They froze that thing so long I felt a
billboard land on me saying, “Look, big money spent here.” Sadly, this slowed the
narrative and broke the emotional flow of the story. The show doesn’t quite have its pace
yet, and shot choice is also inconsistent giving us a wide shot when a close-up may be
appropriate. In the show’s defense, these sorts of problems are typical of other shows
where a tight budget is the number one priority and there’s no time for adequate coverage.
All this means is that you’re watching disposable t.v. and won’t be keeping a piggie bank
in the corner to save coins for the eventual DVD release. I’m coming down hard on this
show because I feel it’s worth the time to get it right. You have a big iconic star …
give her the big iconic trimmings. Envision people remembering the show years down the
road in the same way they remember the comic. This show deserves it.
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"Witchblade's Mixed Bag"
