Carnivàle

Leave it to the same cable network who gave us "The Sopranos" and "Six Feet Under," to find the nexus where the likes of John Steinbeck, Stephen King, Clive Barker and Ray Bradbury could co-exist and produce such a product of dark, disturbing and eerie wonder as this.

If Daniel Knauf is not David Lynch masquerading as someone else, then they are indeed cinematic soul mates.

How else could you explain the daunting premise of setting such a classic struggle of good vs. evil, in the bleak, Depression-ravaged setting of the Oklahoma dust bowl, circa 1930's?

It's a good sign that wherever the overall story arc is going, it was engaging enough to attract some top notch talent, from both mainstream features and more edgy, independent fare. TERMINATOR 3's Nick Stahl and HIGHLANDER and BUCKAROO BANZAI cult fave Clancy Brown face off as a poor dirt farmer and a charismatic preacher, respectively, both of whom seem to possess extraordinary supernatural gifts that neither understands, nor has the power to completely control. One is a "creature of light," while the other is a "creature of darkness," as intoned in the opening monologue by carny boss Michael J. Anderson, (of "Twin Peaks" fame, cementing the Lynchian vibe). The fact that the identity of each is never clearly or inanely foreshadowed or telegraphed to the audience, is one of "Carnivale's" many compelling hooks.

Add to the mix the usual collection of sideshow oddities, portrayed more than ably by some interesting actors: internationally renowned actor Patrick Bachau as Professor Lodz, the "blind" clairvoyant; Clea DuVall (IDENTITY and THE FACULTY) as Sophie, the tarot card reader with a telepathic yet comatose mother; Tim DeKay (BIG EDEN) as the boss' right hand man and Sophie's "love interest." And yes, there's a set of cojoined twins, a bearded lady, a tattooed "monkey man" with a tail (if that's what he is.) Even genre staple Adrienne Barbeau gets into the act as the mother of the strongman, (and if the previews are any indication, her part in all of this gets MUCH bigger later on.)

We even get the shamefully underused and underrated John Savage, in some mysterious and creepy flashbacks that seem to combine visions that would have not been out of place in any of Ken Russell's films, (particularly TOMMY or ALTERED STATES.)

This is the kind of television that TV rarely does anymore, dark, gritty, disturbingly inventive. No wonder the networks are slowly dying, since cable is quickly becoming a safe haven for filmmakers who dare to take the kinds of risks that make their audiences think "outside the box."

I only hope that "Carnivale" will continue to sustain and build upon the premise and the promise it presents in the first episode.

The battle between good and evil as presented in 'Carnivale' is a profoundly great show that is ever more so relevant today than when it was first released back in 2003-2005. Set in the 1930s during the great depression, I can't help but think of the parallels with today's current socio-economico-political mood... Yes, the 2010s aren't the 1930s as it was probably a lot more overtly savage as a society back then... However the same lines can be drawn between good and evil today. The same dynamics are prevalent... the greed of bankers and complicity of elected officials at the root of the misery and suffering of the 30s after the crash of 1929 still relevant today after the great financial crisis of 2008. Also, since I just saw this series, I can't help but think of the music theme used during the political speeches in Carnival being reused by 'House of Cards' how enlightening! It makes a lot of sense because you will hear some of the greatest political speeches ever in 'Carnival' professed by the evil preacher. As for Michael j Anderson, his performance in this series is simply masterful. I used to love him in David Lynch's movies but in lieu of being the creepy guy, he exhibits a much wider range for his acting in this series. Clancy Brown is amazing too as the preacher in this series. The supporting cast is excellent except for maybe Nick Stahl who is a little underwhelming as the main protagonist, displaying a very narrow range of talent, still passable enough. If you haven't seen this series yet and are hesitating, don't and just give it a go... you will binge watch it for sure! It is a masterfully crafted show, one of the best in terms of storytelling.

Carnivale is absolutely brilliant. I am amazed at every episode. The story unfolds with wonderfully colorful layers that constantly change the way you look at it. At times, the acting seems a little forced. With a cast of such talented actors I have to believe that that is the fault of the production itself. Nick Stahl, however, gives an absolutely flawless performance every time. He's really grown into his talent (and looks!). I am most impressed by the writing, the way the human aspect of the characters is so well interwoven with the macabre imagery. A production with this kind of theme and these kind of characters could easily turn campy and yet it doesn't. There's no way a show like this should be believable, but it is.

Network: HBO; Genre: Fantasy, Period, Horror, Drama; Content Rating: TV-MA (for nudity, simulated sex, profanity, bloody violence and disturbing imagery); Available: DVD; Perspective: Cult Classic (star range: 1 - 5);

Seasons Reviewed: Complete Series (2 seasons)

The forces of light and dark are about to come face to face. In the 1934 Great Depression, a traveling carnival picks up a quiet loner. That loner, Ben Hawkins (Nick Stahl), slowly learns that he possesses an awesome power and with the help of ringleader Samson (Michael J. Anderson), blind Professor Lodtz (Patrick Bauchau) and the carnival's all-knowing "management" begins to hone it and understand the role he might play in the coming end times. Meanwhile Methodist preacher Brother Justine (Clancy Brown, in a tour-de-force that pushes the entire series forward) believes that he has become a personal instrument of God and, when his missionary is burned down, sets out on a journey that takes him to hell and back.

"Carnivale" starts out an endurance trial and ends up a flawless and addictive piece of work. HBO has made its mark giving us unique serial shows that challenge the audience, but I might argue that "Carnivale" is one of their very best. First of all, it is a supernatural period piece – and if that seems weird you haven't seen weird until you've seen creator David Knauf so committed in channeling David Lynch in one of the show's many complex, surrealistic and seemingly random dream sequences.

Second of all, what we are seeing here is a leisurely paced story that is rolled-out, for the most part, visually. TV is so much of a dialog and character-based medium that it is the rare daredevil series that even attempts, much less succeeds (as Lynch's own "Twin Peaks" did before it), in unfolding its story through clever visual cues with a freeing loose grasp on whether it makes any realistic sense. "Carnivale" is a visual work of art.

The show is best viewed like a 3-act, 24 hour movie and without knowing the first thing about any of it. In the first season, creator Daniel Knauf takes his sweet time getting things started. The show takes every inch of the freedom afforded by HBO to stretch out its story at a snail's pace and it doesn't help that our lead, Hawkins, spends much of the season mute and disgruntled. At this point it indulges in such absurd HBO staples as making us sit through an entire funeral service and in the other hand gives us a peak at the potential brilliance behind the show, such as when we see Samson conducting a Carney Trial.

The one thing you need to take from this review in the show's first expository hours is that, yes, "Carnivale" really does go somewhere. Those of us that have sat through self-indulgent serial shows (that shall remain nameless) that spin their wheels for hours, taking us nowhere, will find "Carnivale's" focus refreshing. It turns out Knauf is carefully arranging the pieces.

Before the first season ends he, having effectively stretched this rubber band as far as he can, snaps it back and the show kicks into high gear. The action shuttles back and forth between both the carnivale criss-crossing the country and Brother Justine's rise to cult power – and does so with such equal leverage that you could make a case for either being the A-story. When the two words finally come together in the very last episode (a rip-roaring finale at that), it is as satisfying and powerful as anything you'll see. The 2nd season pays off all the promises at the end of the first and lives up to all the potential of this show's weird, wild, brilliantly creative premise. It is riveting, mesmerizing, unforgettable television. Season 2 is flawless.

True, some of the major elements like the demonization (literally) of fundamentalist Christians and the nature of Stahl's power, are things we've seen many times before. Yet, "Carnivale", with its fresh twists on them and epic-scale writing that languishes in a bath of details, makes a case that they are telling the definitive version of this story.

"Carnivale" is an absolute kick. I love the brazen oddity of the show. That in this carnival those with spectacular powers - like the tarot card reader (Clea Duvall) who, with the help of her catatonic mother, can really read the future - are in the mix side-by-side with shysters like Stumpy (Toby Huss), who whores out his wife Rita Sue (Cynthia Ettinger) and daughter Libby (Carla Gallo) in a seedy burlesque show. The dysfunctional relationship that emerges between this lot – and ferris wheel operator Jonsey (Tim DeKay, in a gruff hero mode) parses out the supernatural elements and becomes an unexpected emotional core. We've also got Carney staples like the lizard man, the rubber boy, the he-she and the proverbial bearded lady. That doesn't include the show's best character, but I'll leave the identity of "management" to your discovery.

In addition to the reality-breaking set pieces (my favorite being a long, freaky sequence involving Evander Geddes, a tied down Stahl and Death Masks), the show's cinema quality expands to careful cinematography and lush scenery. The camera cranes over actors and landscapes as if the quick-cut MTV editing style never existed. Composer Jeff Beal's original score (including the theme music for one of TVs most spectacular opening title sequences) is gorgeous and truly creepy. The package is indistinguishable from any theatrical film.

Despite an abrupt cancellation and HBO's BS explanation for it, "Carnivale" is still remarkably satisfying, coming full circle in both seasons. There isn't a lot of straight-up weirdness on the small screen and "Carnivale" is much appreciated for it. I've honestly never seen anything like it before. An addicting masterwork of imagery and storytelling that even HBO rarely hits. Great TV.

* * * * / 5

Carnivale will take you on a journey beyond the normal human boundaries into a world where weirdness and metaphysical wonders will capture your imagination. Once hooked in from the beginning, it is a feast in every sense of the word as you will keep wondering how it will unfold, what course of events will follow. Definitely a story for thirsty adults who are bored with plot driven formulas, and long to enter a world of magic. The acting, visuals, and story delivers!

The story focuses on Ben Hawkins, a young man who knows he has the power to heal set in the Dust Bowl of the 1930's. Ben is "lost" and picked up by a traveling Carnivale where seen by the unseen management who spots what Ben really is. Ben's healing power can bring you back from the dead, not just heal you from being crippled as seen in the very first episode, which completely hooked me and I only saw the last few minutes of the show.

Ben must come to understand how to use his gift and exactly what seems to happen when the "avatar energy" comes through him. There is conflict inside Ben that creates the back drop for the rest of the story as he figures out who he is. The images inside Ben's mind are both artful and intriguing which keep you wanting to know more. In Carnivale the characters grow and develop, each weaving a wondrous part in the tapestry of good and evil.

Some say Carnivale starts out slow, however the level of acting, and story telling delivers past the point fascination, and nothing else out there even comes close!!