Luck

Luck is the kind of grand sociological series that creator David Milch and to a lesser extent HBO as a network are known for. It presents a cross-section of one out-of-the-way spot in the dying world of horse racing. That sense of death and decay pervades the entire narrative, which stars an assortment of broken-down men headed up by Dustin Hoffman and extending to the quartet of hard-luck gamblers that are perhaps the soul of the show. And yet there's a sense of hope that occasionally shines through and makes it all not just bearable but beautiful.

This all makes it sound arty and kind of dull, and indeed the series has a very deliberate pace that might turn some viewers off, although that's an essential part of its style. But even without the overdose of sex and violence you can get from other HBO series, Luck provides some exhilarating sequences, most notably the brilliantly-shot horse races. Add that to great writing and acting and you have a show that satisfies on every level.

Well, up until the end, that is. Luck is doomed to be a one-season wonder, cancelled not because of low ratings but because of a series of horse deaths on set. It still works as a whole, but with only nine episodes, it's hard not to wonder what could have been. Still, what we have is a gem of a series, and well worth checking out for any fan of high-quality drama.

This was cancelled early, it's unfinished work, so that even after 9 hours of narrative time it feels like only the first few pages have been turned; but were we any better for having seen six seasons of The Sopranos rather than two, did it enrich that much more?

I came to it for Mann, one of the preeminent makers of the alert eye in our time, the finished thing turned out to be in the template of The Sopranos and Deadwood where the actors and word are the vessels for drama. It is complex plotwise and immersive enough because colorful characters articulately snarl at each other; but complex expression is not deep intuition, immersion is not concentration.

So it might seem like complex work if you get caught up in the schemes for money and ownership and here is where the lack of resolution will disappoint, it ends just as the stage has been set for conflict. But if you don't get tangled up in them, you can discern all that matters.

The racetrack as the stage of drama with desperate souls caught viewing by the sidelines at what they have chosen to have a stake in. The Jewish mobster who wants to buy off the racetrack will win against his rival but at what cost to his soul? Loved ones will perish, it could be a grandson or a horse, so that we finally awaken at what had been valuable all this time.

It's all in the horses and what they exemplify, magnificent creatures that everyone should spend some time with. Characters of course ignore the horses as anything more than ticket slips that buy them a seat in that arena of spectacle where their presence can be rewarded with the anxiety of winning or losing. To what purpose? So they can carry the drama with them in unfulfilled lives until another scheme the next day.

So this is the insight to leave this with, it's in Mann's pilot and the last episode. The horses race marvelously simply for having the exhilarating capacity to do it, there is no "horse race" for them and only running, doing without ego. The viewers watch from the sides transfixed. Would any of this have meaning for them had they not hedged a bet that imbues the beauty with the anxiety and drama of winning or losing? Would they be at all there? Would you?

So if you're disappointed that we don't get to find out how any of the schemes pans out (Turo's race fixing, the old man's legal trouble), you become like they are, bogged down in meaningless schemes. Meanwhile what has the capacity to enrich had been right under your nose all this time, simply being there to take care of something for its capacity to be what it is; the woman who arranges the horse caring program for inmates inserts this notion in the small portion we have.

But with the caveat that it will not always be there for you to postpone it. A horse might have to be put down. A show might be cancelled.

Luck was an epic show. In only 9 episodes, it weaved together numerous, insanely complex story lines which many people probably had trouble following. But what started as a 'too dense for anything but pretense' project soon turned into an amazingly broad show whose characters included mafia, rounders, trainers, jockeys, agents, horse owners, and many others - to create an incredibly smart show which, in my opinion, sought to expose the world of horse racing to the many who are uninformed, or simply would not normally care. The characters and writing were top notch, and this definitely should have been allowed more time to flesh out.

Hopefully another network won't be as scared of PETA and will pick it up.

LUCK is fast and stylish. Michael Mann is exec. producer of LUCK and director of the first episode. Mann is the writer/director of "Heat" and LUCK has the same pace and style.

There is plenty of insider chatter here. The kind of dialogue that is second nature to the people associated with horse racing but that leaves the rest of us a bit dizzy. LUCK is the clash of very different characters and it gives Mann as much contrast as the cinematography that has become his signature. Washed up gamblers, hungry employee's, wealthy owners and the people one step from financial ruin or rejuvenation are painted in different colors of neon or grays as success and/or slime in all its forms contrast with the strength, beauty and earthiness of the central characters: Horses, fodder for the justification of so much excitement and sadness.

LUCK is a convergence of who's who at Santa Anita. I'm grateful that so many deserving thespians wanted in on this project. I'm sure they know much about their peers but their on-screen "history" with each other is believable. Can the script justify the talent? So far, yes. The writing seems to have as much good teeth as its all-star cast - pay attention and hold on.

This premier reminds me of "Mad Men" on AMC, a channel I ALSO got for free for the first 3 (enjoyable) episodes. I did not bite on AMC but LUCK is making a good argument for HBO.

I'm certain the language will soak in with the rest of the story but I have the inside on "bug", as the agent calls the young Jockey. "Bug" is a moniker used for substitute jockey's. Any rookie that replaces an expected rider is noted on a racing program with an asterisk and an asterisk looks like a bug (the definition is courtesy of David Milch).

To appreciate this show you must study it. It's obtuse. You need to ask questions and answer them with guesses until you finally get confirmation (if you ever do). It's an investment.

Is it worth the trouble? I watched (and re-watched some) episodes to to be sure I wasn't missing the subtext of LUCK. The Nick Nolte character turns out way too enigmatic to care about. The juicy "Rosie" character turns out frustratingly lovable. Frustrating because you learn to love her while the plot pushes her outward from the center of the plot.

Dustin Hoffman does his best work posing still for intensely brilliant camera shots. He doesn't act much. That surprised me. You feel the director is building up tension for a wild explosion that will eventually occur. I'll admit, it's fascinating, but vexing at the same time.

Now that we know the series is canceled, there is no hope the suspense will be relieved and resolved. The characters will remain obscure. One exception is Marcus, played by Kevin Dunn. This disabled gambler is a reincarnation of Andy Sipowicz (the acerbic cop from NYPD Blue) with all the vinegar and cynical wit, but a genuine human heart. This is the one character we will not forget (those of us who studied this ill-fated series).

Sorry this bold artsy gamble didn't pay off. It was a deal gone bad.