Carnivale

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

The best programming on HBO since their TALES FROM THE CRYPT series. Of course, some may argue that isn't saying much for CARNIVÀLE but it truly is a gem. This twelve episode first season (which debuted on September 14th) tells the tales of a traveling carnival amidst 1930s depression-era America. The show primarily follows two main characters; a chain-gang escapee named Hawkins (Nik Stahl of BULLY) and a Californian Preacher man (Clancy Brown of HIGHLANDER) by the name of Brother Justin. Both men contain mysterious powers and an unknown connection not only to each other, but also to a man from the Carnival's past named Scudder (the incomparable John Savage).

Young Hawkins is picked up by the carnival and hired as an extra hand. While traveling with the crew cross-country, he picks up subtle clues as to the significance of his dreams and learns more about his peculiar powers. Meanwhile, on the west coast, Brother Justin is tested time and again with his contemporaries' lack of faith and grows increasingly dangerous in his religiosity.

CARNIVÀLE has quite the cast of familiars, some known and others known only to cult fans. Most notably is 3'7" Michael J Anderson who plays Samson, the carnival boss. You'll most likely recognize him from David Lynch's TWIN PEAKS (1990) as the strange little fellow who spoke backwards. Andrienne Barbeau (ex wife to John Carpenter) plays a tattooed snake charmer by the name of Ruthie, Clea DuVall (BUT I'M A CHEERLEADER) plays young fortune teller Sophie, Glenn Shadix (Otho from BEETLEJUICE) appears regularly as a Californian politician, the 7'6" Mathew McGrory (Rob Zombie's HOUSE OF 1000 CORPSES and Tim Burton's BIG FISH) appears in the pilot episode, and the absolutely lovable horror favorite Bill Moseley (remembered best as Chop Top from TEXAS CHAINSAW MASSACRE 2) plays Possum, the carnival's head cook.

The show's ultimate strength is the presentation of its visual tones, the lighting in particular is eerily beautiful. Most scenes are lit in reminiscence of the Italian Renaissance painting technique "chiaroscure," in which figures stand with an almost goldenish glow in stark contrast to the dark surroundings and or backgrounds. This is most obvious in scenes of Brother Justin at home with his sister Iris (Amy Madigan). These golden tones give the overall series a cohesive thematic. This is one of the strongest atmospheric shows I've ever seen on television. Furthermore, the grittiness and downright dirtiness of a poor traveling carnival through the dustbowls of America's Midwest is developed by the show's creators as yet another layer of ambiance. The characters appear dirtier and sweatier each progressing episode as they travel further south.

Being carried by HBO and not a mere network station allows CARNIVÀLE greater freedom for its tales. This is not just for mere nudity with the carnies' dancing girls or extra blood with any scenes of violence. Episodes five and six (titled "Babylon" and "Pick A Number") for example are tragically heart-breaking and downright scary on a number of levels. The direction, acting, imagery, and overall tone is brutally tear-jerking. This flexibility from conservative censorship only aides the story tellers in their craft.

By the final episode of the first season many elements of the story are brought together, yet just as many new questions arise for the viewer. Therefore much excitement and drama unfolds, but not enough to satisfy. Naturally, they want you to come back next time and plenty of story line still does lay over the horizon. Overall, this is a fantastic television series and I for one am eagerly awaiting the second season in the fall of 2004.

It's been 15 years since this show and I'm still devastated about this cancellation. Season 3 would have been epic, I mean with how season 2 ended! Sigh...With all the reboots I can only cross my fingers about having this show come back but sadly it won't ever happen. Watch it.. and then have your heart break cos there will never be closure. :(

to write about Carnivale is more than difficult. because it is a perfect show. because, after more a decade, the trace of each episode is fresh. because the mixture of fascination and fear, tension and revelations has the gift to survive in memory and define more than a great series but a kind of experience. the voice of Clancy Brown, the amazing performance of Nick Stahl, the stories, Michael J. Anderson who propose a real special character, the dust of Great Depression and the mysteries as magic chain are bricks of a phenomenon. because you feel about it be more than a series. but one of stories, not many, growing in yourself. and this does Carnivale special.

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.