Written & Directed by Chris Carter
This episode is a masterpiece.
Granted, it's primarily a triumph of style over substance, but the style is so
impressive that one can hardly object. The episode that had never been tried
before in the history of television, and even allowing for the amount of
innovation that has followed over the last twenty years, has almost never been
tried since. In Triangle, Carter takes each act of the episode and has each one
of them done in a single shot. Its an act of pure cleverness, but its done with
such subtlety that its very likely many of the viewers didn't even notice it.
It's all so well executed that it would probably be enough for this episode if
that was all their was to it. But there's a quite a bit more.
Last week, "The X-Files"
did its own homage to Speed. This week, its a tribute to Wizard of Oz,
with a nice touch of Indiana Jones thrown. After five years in which Fox Mulder
has essentially become an iconic character, fending off aliens, fluke monsters
and an endlessly winding mytharc, now he gets to take a swing at the Nazis. And
just to make sure it's not too serious,
it's not the Nazis we met during Season 3, but every fictional construct we
met, starting with Raiders of the Lost Ark. We also get to see that no matter
what time period Mulder is in, nobody will
take him seriously. (Granted, how much better do you think you'd do if you were
hauled aboard a British ship trapped in the Bermuda Triangle?).
There are lots of little subtle
jokes to remind us of what movie were satirizing, but what is an added bonus is
the way that X-Files takes the
characters we've become familiar with and turns them on their head
in a World War II setting. Here's
Jeffrey Spender, freed from having to sulk and skulk about the Bureau, and
actually demonstrate some of the menace he showed he was playing the young CSM,
William B. Davis demonstrating his villainy in a costume that fully supports
what the viewing world thinks he is, and Mitch Pileggi cheerfully spoofing on
the duality his character has been working off the last four years as an
American loving SS who tells our heroes "Get your asses out of here."
One doesn't quite see it working as well by having Kersh playing a Jamaican
stoker, but its more than made up for by Gillian Anderson playing Scully as an
OSS agent who talks like a 1930s "it girl". It's very delightful, and one that you can
believe must have been a joy to perform.
So far, the episode only seems to
demonstrates Carter's skills as a writer, who once again demonstrates just how
good he can be when he lays off the purple prose that we've become familiar
with. What makes this episode work as well as it does is the handle of Carter
as director, in what may be his finest work since his debut in Duane Barry.
There, everything was stripped down for pure minimalism, here the writing is
combined with the director to reveal pure masterstroke. One can imagine all the
delightful moments that could have been flown had Carter faltered, including
the wonderful bit when 1990s Scully literally crosses paths with her 1930s counterpart.
The moment that crosses both their faces is great timing. The sequences on
board the Queen Anne are incredible bits that seem to sum up what we have come
to learn of the X-Files so far, yet everything is so subtly done that we barely
seem to notice it when it happens.
Yet for all the brilliant moments
through the episode, perhaps the most engaging is the second act when the Lone
Gunmen come to Scully, and asks for satellite data in order to find out where
the hell Mulder is. The ten minute sequence in which Scully stalks the Bureau
halls, looking for help is a masterpiece. It plays like the suspenseful drama
the series has made its money at, it plays like the perfectly tuned comedy
Darin Morgan and Vince Gilligan have demonstrated it to be, and it seems to be
everything that the series is all about in the long run. Which is particularly
remarkable because all it is Scully walking up and down the halls and slamming
doors. (And did anyone else get a chill with Scully practically tore Spender a
new one? That was nearly as delightful as when she planted one on Skinner.)
And of course, there's the bit that
probably had all the shippers watching going hurray: when Mulder about to try
and return to the future, turns to Scully and tries to convince his one in five
billion of what she has to do to save the world, then plants a 1930s style
smooch on her. Which she promptly reacts to by socking him in the eye. In a
way, its fitting that the first Duchovny/Anderson kiss doesn't involve the real
Mulder and Scully. However, what will become a recurring theme as Season 6 gets
underway is beginning to slowly peel back the personal and romantic undertones
that have been bubbling up for the last five years. In a way, they're summed up
in the final scene, where Mulder in his hospital bed finally tells Scully that he loves her... and she dismisses it
with an eyeroll and an "oh, brother." As frustrating as that must of
been to fans, its the first real dent in the armor that Scully has been
developing. If only the writers had the heart to follow through with it.
Triangle is one of the more
brilliant episodes the series would ever put together. If you ever tried to
stick a pin in it, the bubble would
burst, but its such a pretty thing to see that you find yourself not wanting to
touch. Its one of the most brilliant episodes of television the medium has ever
tried, and yet for this series, it was just another day at the office.
My score: 5 stars.
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