Written by James Yoshimura
Directed by Gary Fleder
Perhaps because the producers of Homicide thought that they were being viewed by the
executives at NBC as a ‘dead letter’, they would feature in season 6 a sizable
number of stories that highlight living people who had been ‘murdered’--- just
not cold yet. And not in the same way Sean Garrabrek in ‘A Doll’s Eyes’ was either--- these people
were still fighting and alive. Many of
these episodes would be moving, but few would be as powerful as the first one
written but was ultimately shown out of order --- ‘The Subway’. Indeed, this
show is not only one of the most compelling of the season, but one of the best
episodes in series history.
In
the previous five seasons, it seemed that Homicide
had looked at grief and shock of
murder from every angle imaginable. Turns out they left one out--- the
victim. John Lange leaves for his job
one Friday morning, kisses his girlfriend goodbye, enters the subway, walks
down the platform--- and falls in front of an oncoming train. He gets pinned
between the train and the platform. The pressure of the subway is the only
thing keeping his insides from falling out. The instant the pressure is eased,
he will die. Without it, he’ll live maybe an hour. Everyone--- the paramedics,
the police, and Detective Frank Pembleton--- knows that he’s going to die.
So
does John Lange. He is still conscious, and because his spinal cord has been
severed, he doesn’t feel any pain. It therefore comes as a huge shock when
Pembleton tries to talk to him about getting his girlfriend down to the subway
to say goodbye. We watch him as he realizes what is going to happen, and it is
stunning. This is a huge shock, not only for the viewer but for Frank. Like all
detectives, he sees the dead, not the death. He may speak for the dead, but he doesn’t speak with the dead. And that’s what Frank does for an hour--- he asks
him about next of kin, getting his account of what happened, and finally contemplating
the fate of a man who is dying because he chose to ride the subway into work
instead of driving in like he does every other day.
It
is not easy to watch a man die. Our
relief from this agony comes from the comparatively less grim efforts to
find out why Lange fell and trying to reach next of kin. Bayliss spends the
hour learning about the man who pushed him is a lunatic who had spent time in
an institution for pushing another man in front of a train. Falsone and Lewis
get called in on what is ultimately a futile search for Lange’s girlfriend who
is jogging by the river and every few minutes we get some release as the
detectives make the effort. The only
relief that Lange gets is the ‘one-in-a-million’ chance from the paramedic that
he will somehow survive the removal.
But
there are no miracles---or relief. This is Homicide.
Lange’s death is random and arbitrary. Falsone and Meldrick never locate
his girlfriend, so he never gets to say goodbye. Lange succumbs on the
platform. For everyone else--- even the
rattled Frank Pembleton--- life must go on. The train starts running. And
Lange’s girlfriend jogs by just in time to see the firemen and the paramedics
pull away from the station---- leaving with only a cursory look. It is the
ultimate ironic twist.
To
merely summarize this episode robs it of its power. It is essentially a static
scene, yet the emotion and anguish that we see is absolutely unforgettable.
This may be Andre Braugher’s finest hour, and considering his body of work,
that’s saying a lot. For once, his role is not that of grand inquisitor, but
that of caregiver and confessor. He will be the last person that John Lange
will ever talk to, and he must keep the victim calm, relate to this man, while
keeping his own emotions in check. It is an extraordinary work. Braugher would
win his only Emmy this season, and while I don’t know if this was the episode
that he submitted for consideration, its hard to imagine a better example of
his range and ability.
Just
as brilliant is the work of Vincent D’Onofrio
as John Lange. The range and power of his performance is astonishing---
he shows more human emotion in this one hour than he has ever done in almost
his entire career as the lead on Law & Order: Criminal Intent. His
work is riveting and absolutely unforgettable. Watching a ‘dead man’ go through
the five stages of grief is not something that is easily forgotten and
D’Onofrio pulls it out without a hint of overacting. This is the work of an
astonishing performer.
‘The
Subway’ may be the most famous episode of a remarkable series. The praise from
critics bordered on the extraordinary. It received two Emmy nominations--- Best Guest Actor for D’Onofrio and Best
Teleplay, plus probably Braugher’s. It would win an unprecedented third Peabody award for the series and an Edgar
nomination for best teleplay. It would
later be featured on a PBS episode of ‘Frontline’. But its force and
performance are among the greatest of any episode of television that I’ve ever
seen. Never has it been more clear that a murder means that a man is dead. For
those reasons I consider ‘The Subway’ one of the best episodes of television---
ever. And even then, it’s only one of
five episodes of the series that I consider the highlights of the series.
That’s how high the writers and actors of Homicide
set the bar.
My score: 5 stars.
Rank by Fans: 5th
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