Skip to main content

American Horror Story: I am Ann Frank Part 1 and 2

American Horror Story finally had a good episode. I was starting to get worried.

The first part of the Ann Frank two-parter was frankly worse than a disappointment. Everything that bugged me about the first few episodes: the mish-mash of characters and plot, the schlocky dialogue and the mediocre camera work was amplified in the first half of the story. Worse, having Ann Frank show up felt gratuitous at best and down-right exploitive at worst. You know what a show that already has serial killers, mutants, aliens, lunatics, ghosts and demons really needed? Yeah, sadistic Nazis. And also, the conversion therapy scene? Eew. 

But the second episode turned it around. I'll credit a lot of this to a new (to this season of AHS, anyway) director, Alfonso Gomez-Rejon and also the episode's cleverly anti-climatic reveal of the identity of the Bloody Face killer. If you hadn't figured out who the serial killer was by the final 15 minutes of the episode, the writers found a way to turn a lamp on for you. I thought this scene was effective and made narrative sense. The allusions to past atrocities were ghoulish touch-stones grounding the scene in an imagined time and place. In previous episodes, this nostalgia felt counterfeit and bloodless but here it was all the tightening of a noose. 

Falchuk wrote this episode and while I never really liked Glee all that much, the story benefitted from an experienced hand. Of course, Lana would jump at the chance to leave Briarcliff and of course the Bloody Faces killer's explanations would sound reasonable, right up until they didn't anymore. And by then, of course, it was too late. 

But the other elements of the story also came together. The juxtaposition of Sister Jude's fall from grace and Charlotte's lobotomy were compelling and ironic without being obvious. Thredson's failure to help Charlotte appears tragic until it doesn't seem that way at all. Falchuk found a way to let this show's complex stories be without fussing with them too much. 

The show seems to be focusing its energies on Dr. Arden. Is he a Nazi or not? Would it be worse if he was an ex-SS officer or is it more disturbing if he's an example of the banality of evil? Now that we know he isn't the Baby Face killer he reasons for being the story seem to be dwindling. He appears to have set the processes of Briarcliff in motion but he doesn't seem to have enough complexity as a character to suggest he'll be around long to watch how they play out. 

The next episode is entitled the Origins of Monstrosity. I'm guessing were going to see a lot more of Zachary Quinto.

Comments

Popular posts from this blog

Reading Response to "A Good Man is Hard to Find."

Reader Response to “A Good Man is Hard to Find” Morgan Crooks I once heard Flannery O’Connor’s work introduced as a project to describe a world denied God’s grace. This critic of O’Connor’s work meant the Christian idea that a person’s misdeeds, mistakes, and sins could be sponged away by the power of Jesus’ sacrifice at Crucifixion. The setting of her stories often seem to be monstrous distortions of the real world. These are stories where con men steal prosthetic limbs, hired labor abandons mute brides in rest stops, and bizarre, often disastrous advice is imparted.  O’Connor herself said of this reputation for writing ‘grotesque’ stories that ‘anything that comes out of the South is going to be called grotesque by the northern reader, unless it is grotesque, in which case it is going to be called realistic.’ This is both a witty observation and a piece of advice while reading O’Connor’s work. These are stories about pain and lies and ugliness. The brutality that happen

With the title World War Z

Early on in the mostly disappointing zombie epidemic thriller World War Z, UN Investigator Gerry Lane (Brad Pitt) hides out in a Newark apartment, trying to convince a family living there to flee with him from the hordes of sprinting, chomping maniacs infesting the city. The phrase he uses, drawing from years of experience in the world's troubled war-zones is "movement is life." Ultimately he's unsuccessful, the family barricades their door behind him and they join the ever-swelling ranks of the undead. As far as a guiding philosophy goes for a pop-action thriller like World War Z, 'movement is life,' isn't bad. And for the first half of the movie or so, it follows its own advice. Similar to other recent zombie movies (Dawn of the Dead, Shaun of the Dead) the warning signs of what the rest of the movie will bring are subtle and buried until all hell is ready to break through. The television mentions 'martial law,' Philadelphia traffic snarl

Death's End by Liu Cixin

Having recently finished the last book in Liu Cixin's instant classic "The Remembrance of Earth's Past" series, Death's End, I can only report a feeling of total amazement and awe. There is so much about this novel that blew my mind, that offered different and better ways of viewing the universe. This novel did what I wish more novels would, serve up a new universe entire, evoking beauty and horror, nobility and disgust, in a timeless monument to unfettered speculation.  Obviously, in discussing the events of the last of a trilogy books, spoilers are to be expected. I am, however, going to try to avoid discussing much beyond the first 100 pages of the third novel. I read the translation of this novel, as ushered into being by the amazing talent of Ken Liu. Ken has written of a certain prickliness when it comes to translating work. He makes an effort not to anglicize the source material, not smudging away the occasional difficulties in bringing Cixin'