. The Post-Modern Prometheus
Written & Directed by Chris Carter
One could definitely argue that
this episode, for all of the masterful touches it has practically from
beginning to end, doesn't strictly belong in The X-Files canon. After all, so much of what happens in Post-Modern
Prometheus goes beyond the scope of even what a fiction sci-fi procedural like
this series was trying to accomplish. And for that reason, some of the darker
and more ridiculous elements can be considered either underplayed or
overaccepted. But all these people I basically regard as the nattering nabobs
that they are, trying to pick holes in what is clear one of the series greatest
accomplishments.
Because it's clear to anyone who
watched this episode that Post-Modern should never be considered as canon. The
location is never strictly identified, which the exception of the Berkowitzes
and the Pollidoris, none of the characters are given names or even given much
above even one dimension. Some would consider it sloppy writing, I myself say
that, for once, this is part of the point---- this episode is clearly meant to
play in style as well as script as homage
one of the better black-and-white horror films of the 1930s. And whether
you regard it as nothing more than the comic book that it is framed as (perhaps
the one that Izzy Berkowitz is trying to get published) , the fact is, one
can't regard as anything less than a technical masterpiece. As such, we don't
regard the characters as little more than stock figures,, but that helps
because it glosses over (much like Small Potatoes did in Season 4) some of the
darker elements. Viewers might be upset by the fact there are frankly, some
bizarre, sexual misconduct, but its clear the characters themselves don't. This
couldn't be made clear when Mrs. Pollidori practically leaps up for joy when
she learns she might have been impregnated. No
normal person gets that happy after being raped. It also doesn't even
attempt to explain some of the more bizarre science in the episode, such as how
they were able to impregnate a woman who'd had her tubes tied. Scully doesn't
even try to explain some of it, which is good as I imagine her gravitas would
only weigh this episode down.
Carter was clearly trying to go for
broke in the same kind of way that Darin Morgan did in his scripts., and one can definitely see that in the kind of
black comedy that plays throughout the episode. But Carter is not Morgan, and
for once, that's actually a good thing. Carter isn't interesting in tearing
down his leads, much in the same way that Morgan was, rather he is trying to
demonstrate --- for once--- a certain level of optimism that was, for the most
part, absent in Morgan's writing. 'The Great Mutato' may be a hideous creature
but he is ultimately more endearing than so many of Carter's other lead
characters. There is genuine joy as he reinvents the Frankenstein myth in a way
that appeals to us.
Chris Owens gives one of the better
performances he will ever give as one of the X-Files players, as it is truly
one of the more enjoyable performance, particularly considering how much of it
is done without dialogue. The other guest actors are unusually good---- one
might say remarkably so, since they're frequently given so little to work with.
John O'Hurley, an actor whose comic talents were wasted on me before this
episode is funny and a little scary as Dr. Pollidori. Miriam Smith is
hysterically funny as Shaineh Berkowitz, a Roseanne type without the general
obnoxiousness I tended to find in the actual comedienne.
But admittedly, this is not an
episode that is known for the performances so much as the technical work
behind. Chris Carter does one of best directed episodes that he will ever
do----- it's not as subtle as some of the other directors have been, but
subtlety is not the point. The editing, cinematography, set design and
particular Mark Snow's score are among the very best that the series would ever
produce, all of whom deserved the seven Emmy nominations that the episode would
get (and its an even bigger mystery as to why none of them won). Post Modern
had to be technically perfect in order for all of this to work, and, for all
intents and purposes, that's exactly what we get
Then there's the ending, which has
puzzled a lot of people, when Mulder seems dissatisfied as to what has happened
with the way the story has turned out,
and then demands "to speak to the writer". A lot of people got irked
at what seemed to be Carter breaking the fourth wall. I myself always figured
that he was talking to the reporter or perhaps Izzy Berkowitz. And the idea that Mulder and Scully would
just close off an investigation to take a prisoner of to see Cher
just doesn't seem to fit in with their work. I myself never thought Carter did
that---- they would make in-jokes on these series, not flaunt the conventions
of the medium themselves. Once again, however, this appears to be Carter
flaunting his heroes, which when Gilligan or Morgan did it was a lot more
subtle, admittedly. But this makes more
sense when you understand that, for this episode only, they are nothing more
than characters in another writer's fiction. (Well, that's what they actually
are the rest of the time, but the episode wisely doesn't focus that much on
it.)
The Post-Modern Prometheus remains
one of the greater triumphs in the series. It's not laugh-out loud funny the
same way so many of the best comedies on this series are, but this is more
visual comic episode then it is anything else. And considering the separates
roads that Mulder and Scully will be walking for much of Season 5, its charming
and sweet to have an episode end with the two of them dancing to the music of Cher .
Even if, as I just explained, that never actually happened.
My Score: 5 Stars
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