Written by Darin Morgan
Directed by Kim Manners
Thank you, thank you, Darin Morgan.
Humbug is one of the most
significant episodes in the series history, for reasons which even the casual
observer can pertain. The first episode to take the world of the series, and
decide to play it for straight out comedy, it would be significant because it
would help guarantee the longevity of the series. By making The X-Files more of a light-hearted romp
than the alien filled world Chris Carter had perceived, the series no doubt
lasted nine full seasons because of the brilliance of the standalones rather
than the pained styles of the mythology.
If it were just for that purpose,
this would be a brilliant episode. But as the first line of the review
indicated, this episode introduced us to that master of humor and pathos, Darin
Morgan, who decided to take the world of Mulder and Scully and shift it a full
180. He does so in such a marvelous fashion that it's astonishing to consider
that this is the first teleplay he'd ever constructed. Set in the world of the
circus sideshow, from the teaser itself, Morgan makes it very clear that he has
no intention of playing by the rules that his elder brother spent two years
establishing. He sends up the series in
perhaps the most astounding way, deciding to take the world of circus freaks,
and put them into such a scenario where are beloved FBI agents are the
abnormalities.
Perhaps the most daring thing he
does is take Scully way outside the comfort zone for her character, and have
her--- gasp!--- have fun. There's the scene where she appears to eat a cricket
that has been offered her by the Human Blockhead, participate in a tour of a
museum, gets caught staring at a former-performers conjoined twin, while he
looks at her cleavage, and of course, the scene where she figures out before
Mulder who the killer is. Much to Mulder's (and our) astonishment. Giving him
the occasion to tell Scully "Now you know how I feel."
Trying to describe Darin Morgan's
dialogue is rather pointless. You can quote it, of course, and even out of context, it can be hysterical, but not
even that can give the reason why it seems absolutely perfect. Every character
sounds like the typical selves, but every time they deliver a serious line,
it's always undercut. The dialogue that Mulder and Scully have with Dr.
Blockhead is a gold mine of comic delivery, with Mulder trying to give as good
as he gets, but for once, failing. The wonderful scene checking into the motel,
where the short-stature Nutt cuts Mulder down to size (so to speak) on his
stereotypical point of view, then tells him he's done the same... only he's
completely accurate. The way that everybody being approached before the killer
strikes utters the phrase "What the hell" as if in a town filled with
sideshow attractions, this is something that they don't see everyday. And of
course, The Conundrum's only line of the entire episode which may be the
greatest last line of anything, since 'Nobody's perfect.'
As much as I want to give Morgan
all the credit (and he deserves lots of
it) it is entirely his. Kim Manners does a masterful job in directing this
episode, and has one brilliant example of camerawork after another. From the
opening shots which seems to be parodying Jaws.
The funeral of Jerald Glazebrook. Mulder spotting the Conundrum devouring a
raw fish. And especially Scully's visit to the museum of freaks, where she has
an encounter with a hideously disfigured curators whose full face we never
quite see. It's so incredibly well done that one can basically forgive that the
climax in the funhouse is basically a ripoff from The Lady From Shanghai, another gem Morgan must have pilfered from.
Additional credit must go to Mark Snow for finally coming up with a score that
it so absolutely set to the mood of the episode.
Then there are all the sublime
performances, including Jim Rose as Dr. Blockhead, one of the two actual
sideshow performers who was cast. His dialogue is delivered at such a perfect
pace, it's astonishing to learn that he had such difficulty keeping the lines
straight. Michael Anderson as Nutt (another Twin
Peaks veteran), and the astounding Vincent Schavelli as Lanny, the drunken
older man, who sorrowfully comes to realize that his brother doesn't love him
as much as he thinks he should.
Now there are some pikers out there
who know doubt think that Humbug doesn't work as well as it should, because
it's basically got a bunch of scenarios tied to get together as an excuse for
jokes. To which I say, but they're such great jokes. The comedy factor in any
Morgan episode always must go to eleven, but any series that makes you laugh
hysterically nearly twenty years after the fact must be doing something right.
And the fact of the matter is, as will be the case with every Morgan episode,
is that there actually is a message, buried deep within the sly remarks.
When Dr. Blockhead tells us that genetic engineering will eventually rid us of
all freakishness as well as all difference to the point that all of us end up
looking like, well, David Duchovny, and he does using the same line that Scully
used when describing the Alligator man that's a very critical distinction and a
point well-delivered. Compared to some of the other episodes this seasons that
have delivered their points with the subtlety of a sledgehammer, it's
refreshing indeed, and a perfect way to end a perfect episode. Bravo.
My score: 5 stars.
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