Episode 705 - Action Review




"Action" Review

Written by Babaluwee

DISCLAIMER - Please remember that this review does not represent the opinions/viewpoints of everyone; it is the personal opinions of the reviewer only. Thank you.

"Action" is an unusual episode because it is so blatant and pointed in its dialogue about comic book superheroes, and because it is so forceful in its parallels between Warrior Angel, in the comics and in the movie, and Superman, in the minds of the viewers. Despite any shortcomings, "Action" is a worthwhile episode because it is about moral and humanistic questions, even though they are expressed in the references and imagery of comic book mythos, e.g., Is the struggle between good and evil, the enduring theme of comic books, great literature, and Holy Scriptures, one that is "black and white" or one of competing grays? Is "the savior of mankind" destined to be alone because he must sacrifice personal relationships in favor of a greater good?

THE GOOD

Tom's Performance: Tom portrays the hero magnificently: strong, confident in doing the right thing, and genuinely caring about people. He embodies nobility and humility at the same time. He possesses the physical demeanor and comportment of an iconic hero, as well as the talent to deliver the lines convincingly. On the other hand, Tom is not unfamiliar with playing the awkward and shy guy. It was endearing to see him respond that way to Rachel when they were rehearsing lines, and the script called for a stage kiss. When Clark walked into his home to find Rachel receiving a massage and was therefore in a state of undress, Clark acted appropriately, like a complete gentleman. Tom can exude innocence on cue, which is an important quality to portray in a hero.

The Moral Question: When Clark went to Lex for information about the Warrior Angel comic book character, an important moral discussion lay just beneath the layer of comic book references. Lex told Clark, "I haven't picked up a comic since we were friends," [that may be telling in itself] "back when I saw life as black and white. When I realized good and evil was [sic] gray, the stories lost their magic." Comic book stories are probably black and white, morally. Real life is black and white and shades of gray. We cannot discern "gray," the complexities and relative nature of real life moral decisions, unless we know "white from black," the moral absolutes of good and evil. Lex went from an unrealistic view of morality (black and white) to a deficient and completely relative view of morality (good and evil are gray). If all morality is relative, then all behavior is justifiable.

It is the complete lack of moral absolutes, and their replacement with competing shades of gray, that figured in the moral calculus of the production assistant's decisions to murder Rachel in order to preserve a comic book mythos, and to murder Lana in favor of, as he put it, "the greater glory." The complete lack of moral absolutes permitted Lana to hold Lionel captive (probably based on the weighty justification that Lionel explicitly threatened Clark's life last season). But it is moral absolutes that may have reined in Lionel's murderous rage before he beat Marilyn to death; or that may have spurred Lex to intervene in the beating after Marilyn was rendered harmless.

This question of morality cannot be ignored in a TV series that is completely rooted in and centered on the journey of a hero or savior, especially in this particular episode with all its talk about "saving mankind." What is it that mankind needs saving from? Evil.

The Hero in Solitude: The plotline of this episode revolved around the production assistant's belief that heroes, both fictional and real life, must forsake the commitment to a single woman in order to save all of humanity. According to the P.A., "Until he gives up his own desires and focuses on the rest of the world, thousands of lives are at stake." And as Lex explained Warrior Angel's fate to Clark, "When you're destined to save mankind, you're destined to be alone." The idea of the "hero in solitude" only makes sense if the words "hero" and "savior" are used interchangeably, as they were in the show. It seemed that Clark, Lex, Chloe, the P.A., and the WA comic book writers were all familiar with this notion.

Where did it come from? Perhaps it came from Christ, viewed here strictly as a major (and exceedingly benevolent) savior figure of Western civilization and culture. While it may be part of our cultural psyche, the problem with "the hero in solitude" ideal is that it unnecessarily and inhumanely pits human relationships against heroism and service. In a moment of realization Clark told Chloe that the P.A. was trying to make him accept his destiny by sacrificing his romantic relationship because, "I'm supposed to stand for something greater; it was my job to save the world." What is greater in this world than authentic human relationships? Clark Kent's journey is all about relationships! He derives his values, morals, courage, his greatest strength, his very sense of self, and ultimately his freely chosen destiny from authentic human relationships, including the committed relationship to a woman. Relationality is at the heart of our humanity, and Clark has chosen to share in our humanity.

For Clark and for all human beings, it is in and through healthy relationships that we are able to love, and this includes romantic love. (Christ's central message is about love and right relationships with God and neighbor, and he clearly taught that the life of solitude for the sake of service is only for those who feel called to it.) It will be Clark's capacity for love and compassion for others, even complete strangers and evildoers, that will lead him to choose, freely and irreversibly, a life dedicated to saving people from evil.

The Special Effects: The special effects were riveting and worthy of an episode that repeatedly reminded us of the superhero that Clark will become. The episode appropriately opened with Clark saving starlet Rachel from a fiery car crash. Rachel's brakes failed on her speeding car, a collision launched the car. While it was hurling through the air, the driver's side door flew off, and Rachel was ejected from the car, but she was caught by super-speeding Clark in mid-lutz. What an amazing rescue! Superbly depicted! (And another vehicle was totaled on the Kent Farm.) Then there was Lana's free fall from a Metropolis high-rise terrace (reminiscent of Lois Lane's fall in the 1978 Superman movie): As Lana fell amid the lights from surrounding skyscrapers, we saw Clark from Lana's perspective speeding headfirst toward her, righting himself in midair, so that she may alight gently in his arms. It was just a beautifully choreographed scene. This episode is worth watching just to see the look on Tom's face as he descended with Lana cradled safely in his arms. Another example of Tom's acting talent, his facial expression was one of sublime and utter love. He was mesmerizing.

THE BAD

Lana and Clana: The writing of Lana's character has gone well beyond "inconsistent" and into "psychotic." Although she has been living with Clark, arguably as a couple, Lana has been deceiving Clark about who she really is, a woman capable of serious crimes. She usurped Lex Corp resources and authorizations to take Lionel captive for months, and assaulted him with a shovel. I used to really and truly love Lana and Clana once. But now, Clark's relationship with Lana is more toxic than kryptonite. The Lana character has been thoroughly vitiated over the last three or four seasons, and it has to stop. Stop it! JUST STOP IT!!

Rating: I give "Action" five out of five stars.

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