Carnivale

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.

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.

This show is wonderful - and I've just started watching it this season. Instead of mundane HBO programming out to just woo shallow critics and the usual unimaginative American audiences, this show goes beyond this world to illustrate truth, deception, good and evil. The story is complex for some, since most story lines do not conclude in one episode (then again, it's not a sitcom). The actors are amazing, the writers, brilliant, the creators, well I'm surprised HBO would let this one into their usual thematic dramas (you know what I'm talking about). I can't say enough good things about this show. If you happen to catch it and have no idea what's going on, don't give up - just pay close attention and you'll be utterly enthralled with the brilliance of this show. Carnivale is "out of the box" thinking, which I always love, so unless you enjoy the same old, same old programming, give Carnivale a whirl. It's worth your viewing pleasure!

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.