Smallville 6.4: "Arrow"
Written by Kelly Souders and Brian Peterson
Directed by Michael Rohl
At this point in the season, it would be typical for “Smallville” to abandon season arc elements in favor of fan service. Some might remember the disturbing fifth season episode “Thirst”, notable for parading Kristin Kreuk around as a pseudo-vampire with a plot as thin as the material in her costume. So it’s surprising to note that this episode is the fourth in a row to focus on plot and character arcs. It’s even more surprising to note that the characters are acting somewhat consistent in the process.
The underlying theme for Clark this season is morality: can he maintain his high-minded morals without someone to remind him where the high road is? And how does Clark come to the conclusion that being a superhero is the right direction for his life? Oliver Queen puts both issues on the table for Clark, and in a nice touch, he’s not completely wrong or right. Clark has a lot of issues with the “end justifies the means” philosophy, and looking back on his relationship with Lex, it’s not hard to understand why. But Queen’s point about helping strangers in need is a rather good one, and as we know, Clark ultimately recognizes that his gifts are for the world, not just his friends.
As one would imagine, Queen’s philosophy is delivered with all the subtlety of a falling anvil. For someone with a desire for low profile heroics, as evidenced by his lack of public profile until Lois dubs him the Green Arrow, his actions in this episode are hardly clandestine. This is where the mechanics of the story arc are too easy to discern. Queen had to begin a relationship with Lois before this point so he could become, as Green Arrow, the focus of her rage. This, in turn, gives Clark and Queen common ground, and evens out the playing field a little. Clark may not have a sense of his place in the world, but he does know the price of hiding his identity.
Knowing that Clark and Queen must work together at some point, even while debating the finer points of their moral codes, this initial animosity gives the story run to maneuver as the season progresses. Clark may question his own conclusions, or give Queen reason to question his own. This could pull Lex into the equation in a relatively natural way. After all, Queen is a mixture of Clark and Lex, in terms of goals and methods, and should something emerge of interest to all three, Clark and Lex could end up vying for Queen’s support.
Equally interesting, though less promising based on past history, is Lana’s decision to play in Lex’s world. Lex may be undermining his own success by testing Lana and using his father as a pawn in the process, but Lana is finally showing a darker side. It might actually be fun for Lana to do more than flirt with this level of self-interest. It would give the writers something to do with the character, and with a new direction, Kristin might have more enthusiasm for the role.
Overall, there are still a number of elements that could be improved. Lois’ conversion as dedicated reporter is still forced, and she remains the primary source of eye candy. Lana’s character shift needs to be consistent, and the writers should resist the urge to slide her back into sweetness and light. All that said, this is still the best start for a season of “Smallville” in quite a while.
(As a sidenote: I also have a podcast associated with my various reviews called “Dispatches from Tuzenor”. Current episodes cover “Smallville”, so it might be something of interest. Go to http://entil2001.libsyn.com if you want to listen!)
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 7/10
Directed by Michael Rohl
At this point in the season, it would be typical for “Smallville” to abandon season arc elements in favor of fan service. Some might remember the disturbing fifth season episode “Thirst”, notable for parading Kristin Kreuk around as a pseudo-vampire with a plot as thin as the material in her costume. So it’s surprising to note that this episode is the fourth in a row to focus on plot and character arcs. It’s even more surprising to note that the characters are acting somewhat consistent in the process.
The underlying theme for Clark this season is morality: can he maintain his high-minded morals without someone to remind him where the high road is? And how does Clark come to the conclusion that being a superhero is the right direction for his life? Oliver Queen puts both issues on the table for Clark, and in a nice touch, he’s not completely wrong or right. Clark has a lot of issues with the “end justifies the means” philosophy, and looking back on his relationship with Lex, it’s not hard to understand why. But Queen’s point about helping strangers in need is a rather good one, and as we know, Clark ultimately recognizes that his gifts are for the world, not just his friends.
As one would imagine, Queen’s philosophy is delivered with all the subtlety of a falling anvil. For someone with a desire for low profile heroics, as evidenced by his lack of public profile until Lois dubs him the Green Arrow, his actions in this episode are hardly clandestine. This is where the mechanics of the story arc are too easy to discern. Queen had to begin a relationship with Lois before this point so he could become, as Green Arrow, the focus of her rage. This, in turn, gives Clark and Queen common ground, and evens out the playing field a little. Clark may not have a sense of his place in the world, but he does know the price of hiding his identity.
Knowing that Clark and Queen must work together at some point, even while debating the finer points of their moral codes, this initial animosity gives the story run to maneuver as the season progresses. Clark may question his own conclusions, or give Queen reason to question his own. This could pull Lex into the equation in a relatively natural way. After all, Queen is a mixture of Clark and Lex, in terms of goals and methods, and should something emerge of interest to all three, Clark and Lex could end up vying for Queen’s support.
Equally interesting, though less promising based on past history, is Lana’s decision to play in Lex’s world. Lex may be undermining his own success by testing Lana and using his father as a pawn in the process, but Lana is finally showing a darker side. It might actually be fun for Lana to do more than flirt with this level of self-interest. It would give the writers something to do with the character, and with a new direction, Kristin might have more enthusiasm for the role.
Overall, there are still a number of elements that could be improved. Lois’ conversion as dedicated reporter is still forced, and she remains the primary source of eye candy. Lana’s character shift needs to be consistent, and the writers should resist the urge to slide her back into sweetness and light. All that said, this is still the best start for a season of “Smallville” in quite a while.
(As a sidenote: I also have a podcast associated with my various reviews called “Dispatches from Tuzenor”. Current episodes cover “Smallville”, so it might be something of interest. Go to http://entil2001.libsyn.com if you want to listen!)
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 7/10
posted by John Keegan | 14:49
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