The latest edition digs into some unexpected places.
[The Twisted Parallels of Cinema] Edition #12
From True Detective
True Detective – Season 3, Episode 8: “Now Am Found”
Wayne and Roland figure out the truth. Is it as dark as it appears?
True Detective – Season 3, Episode 7: “The Final Country”
In '90, Wayne and Roland make an unimaginable mistake that will irreparably alter them, as well as their relationship.
True Detective – Season 3, Episode 6: “Hunters in the Dark”
In 1990, Tom Purcell searches for info about his missing daughter, while Wayne and Roland start to fall out.
True Detective – Season 3, Episode 5: “If You Have Ghosts”
Roland and Wayne meet again after 25 years, revisiting their fractured memories of 1980 and 1990.
True Detective – Season 3, Episode 4: “The Hour and the Day”
The divisions between Roland and Wayne become clearer by them coming back together
True Detective – Season 3, Episode 3: “The Big Never”
Wayne grapples with memory, as bits of 1980 reemerge in his mind.
True Detective – Season 3, Episode 2: “Kiss Tomorrow Goodbye”
Wayne and Roland were investigating the Purcell case in the '80s, while too many mysteries were popping up.
True Detective – Season 3, Episode 1: “The Great War and Modern Memory”
Retired Dt. Wayne Hays is forever haunted by a brutal murder case he worked on in Arkansas during 1980
True Detective – Season 1, Episode 8: “Form and Void”
HBO’s True Detective
Season 1, Episode 8: “Form and Void”
Directed by Cary Fukunaga
Written by Nic Pizzolatto
* For a review of the penultimate episode, “After You’ve Gone” – click here
* For a review of the Season 2 premiere, “The Western Book of the Dead” – click here
The Season 1 finale holds many hideous delights.
Errol Childress (Glenn Fleshler) keeps his father strapped to a bed in a tiny shack, the walls written over with red paint in rambling mad words. The whole place is a horrorshow. It’s an old plantation-style home in the Louisiana bayou, out in some swamp. Inside the house Errol’s madness unfolds. He talks in a British accent now. He and his sister Betty (Ann Dowd) roam the decrepit home and talk in strange terms. She wants to “make flowers” while her brother’s concerned with “leaving [his] mark.” Their relationship is incestuous and deeply disturbing.
Former Detectives Marty Hart (Woody Harrelson) and Rust Cohle (Matthew McConaughey) have Steve Geraci (Michael Harney) in their clutches. They force him to watch Marie Fontaneau on that tape from 1990. This is where Geraci comes in having come into contact with the reports. Links up to a Sheriff Childress. All those blood ties. To keep Steve from doing anything crazy, Rust has his bar owner buddy Robert Doumain (Johnny McPhail) pop a couple shots into his car from far away. Sniper style. That and some backup. From having the tape planted on him, to other little bits.
But all the while Errol is still out near all kinds of children. He’s a painter, as well as a gardener. So he does lots of jobs, all over the place. Perfect for a serial killer like him. Yet Rust and Marty are biting at the heels of his evil deeds. They’re fleshing out the Childress family tree. And then a moment of genius strikes Marty. He stares at the green ears of the supposed spaghetti man who chased that girl years ago. After a bit of talk he wonders if maybe this guy is a painter. He finds a house that’d recently been painted. Perhaps those green ears on the scarred man meant he painted that same house. They interview an old woman who owned the house. She recalls the man that did the painting had scars on his face. They get deeper into the Childress history to find the father of Errol, William.
What I love about this detail is that this is what can often happen in REAL police work. Little details that go unnoticed could break open the longest of cold cases. So it’s nice that Nic Pizzolatto went for something organic and genuine for the way they come to start following this thread. Good writing. Fun to watch.
Both the former detectives take measures to ensure if anything happens to them, the truth will come out. Either way. Cohle has his sniper buddy with the tape, all that. For his part Hart goes to see Dt. Papania (Tory Kittles) who sort of agrees to help out in the event they need it. Then off the duo go, into the belly of the beast.
Out to the old home of William Childress they head. Rust tastes that old psychosphere rearing its head. Then once they arrive the macabre fun starts. Betty answers the door when they come knocking. But nothing feels right, certainly not to Cohle: “This is the place,” he gravely tells his partner. Marty winds up inside with Betty, as Rust has a brief run-in with Errol. The terror starts. Chasing Errol into the the deeper parts of the big plantation Rust finds himself almost in another world. The filthy house is one thing. The creepy, sprawling grounds of the old slave quarters from the plantation is spooky.
When Marty discovers the withered corpse of William Childress, he rushes off to find his friend going further into the world of Errol, the mad king. There’s an almost never ending number of hallways through the old tunnels. Each littered with symbols made out of wood, hanging objects of some eerie significance. All those markers of Carcosa and the Yellow King.
Through a tunnel of arched trees Rust comes to a skeleton, draped in yellow robes, on a makeshift altar. Then overhead he seems to see a black spiral in the sky, swirling. Out of nowhere Errol attacks him viciously. Rust takes a knife in the gut, tearing him apart. As the serial killer rips Rust’s stomach to shreds he says, creepy as all hell: “Take off your mask.” The two fight in brutal fashion once Cohle manages a few headbutts. Bleeding out, about to be killed, he’s saved by Marty who just about meets a savage death. Right before Rust pops one shot into Errol’s head, blowing his face apart.
Errol: “Come on inside, little priest. To the right, little priest. Take the bride‘s path. This is Carcosa.”
Afterwards, Dts. Gilbough and Papania figure out the Childress family were up to some wild shit. They’re still trying to piece it all together. At least the Dora Lange case is finally solved, though there are plenty of child molesting killers still lurking there in Louisiana, as the Tuttle family escaped without a scratch. For now, Marty sees his family and gets to enjoy at least one happy moment. Maggie (Michelle Monaghan), the girls, it all touches him especially after getting so close to death. Then there’s Rust, whose life has been changed in a drastic fashion. In the darkness of nearing death he spent time with his father, his daughter, all in some other place. He sees that there’s something else about life other than the pessimistic view he’s lived with so long. Now, he embraces the idea he might see his daughter again. “It was like I was a part of everything I ever loved,” Rust tells Marty with tears in his eyes. An amazing scene between two men who’ve been through hell and back together. Even though they stopped their evil and paid their debt, the greater evil still exists. The ending is slightly optimistic, though not entirely. Just in a microcosm. And that’s life.
To me this was the perfect way to end Season 1. A spectacular finale that gives us equal doses of the interesting existential ideas of Cohle and the macabre, creepiness expected out of the serial killer with his Yellow King/Carcosa references (ties into Robert W. Chambers’ book of short stories The King in Yellow). Loved this season. While I’m in the minority, I also loved the second one, too. Those recaps/reviews are available over here.
True Detective – Season 1, Episode 7: “After You’ve Gone”
HBO’s True Detective
Season 1, Episode 7: “After You’ve Gone”
Directed by Cary Fukunaga
Written by Nic Pizzolatto
* For a review of the previous episode, “Haunted Houses” – click here
* For a review of the Season 1 finale, “Form and Void” – click here
In 2012, Detectives Marty Hart (Woody Harrelson) and Rust Cohle (Matthew McConaughey) are meeting up at a bar to talk. It’s been ages. Since their falling out over Rust having sex with Maggie (Michelle Monaghan).
Well the relationship is as contentious as ever. Marty is a little fatter than before, but has aged decently. Rust, on the other hand, looks like ten miles of bad dirt road. We do know that Rust’s been working fishing boats, tending bar, getting stoned, drunk. “A man remembers his debts,” Cohle tells Hart. He knows the Dora Lange killer, that Louisiana sprawling serial killer is still out there. Of course Marty’s reluctant to believe in anything Rust says. He buys into some of the stories Dts. Gilbough and Papania (Michael Potts/Tory Kittles) are reeling off. But his old partner, despite any of his craziness – and that’s nothing new – makes a good case. And eventually Marty breaks down.
They go out to Cohle’s storage shed. There’s nothing suggesting he’s a killer out there. Only the obvious artefacts of a man still consumed with a job undone. He is consistently, constantly plagued by the fact he and Marty couldn’t nail the real killer when they found Reggie Ledoux. Now, Marty sees that there’s something to Rust and his talk. It’s funny – up until he sees everything, Marty actually holds his gun and prepares for the worst. Right up to the last second. Inside the words YELLOW KING, SCARS, CARCOSA are spray painted on the wall. Pictures everywhere, sketches and photographs. Police reports, maps. The Tuttle schools marked off on one large map of Louisiana. Rust talks about when Light of the Way opened in ’88, accusations of child molestation. He tracked down a ladyboy named Johnny Joanie a.k.a Toby (Dave Davis) that had been there. He was abused. Johnny tells Rust about “animal faces” and a guy with “bad scars around his mouth” – more of the key words in the lexicon of the investigation. Cohle goes on talking more and more, which only draws Marty into the whole idea.
We begin connecting earlier images in past episodes to the serial killings, some of what Cohle has tracked down. Rust discovered Courir de Mardi Gras, a special type of the celebration involving odd symbolism, masks, et cetera. We’re starting to understand that this killer is steeped in Louisiana history. Whoever it is, he had a “real good time” particularly after Katrina when everything was in disarray.
The pièce de résistance? Rust was the one who broke into Bill Lee Tuttle’s (Jay O. Sanders) place those few years ago. What he found was shocking. First, a load of pictures – a girl blindfolded, antlers on her head. Then, even worse, a videotape. On it recorded is a hideous ritual. Men in masks, a girl with the antlers on her head crying. Then we only see her laid down, legs spread, before Marty’s face is all we see; his reaction speaks louder than anything on that tape ever could. He can’t even watch the rest, though Rust had to simply to see if anybody took of their mask; they didn’t. This one vicious moment is what truly grasps the family man Marty Hart. He’s now willing to fully believe in his former friend and partner.
What I dig most in this episode is seeing how far, or how low, these guys have come. Certainly Marty’s got his business, Hart Investigative Solutions. Although they aren’t exactly booming, as it seems. At home, he sits and eats alone, TV dinners and the like. And Rust, well, he’s mostly the same. Drinking, working in a little bar. Wasting away. In this scene we’re able to see how both of them, in their own ways, have been affected terribly by their inability to find Dora Lange’s killer, not capable of stopping all those killings that are clearly still going on. Even though Rust is the one whose life has been completely devoured, Marty’s not happy either. Just, as usual, incapable of admitting that to himself. What’s apparent is that both these men need to solve that case which evades them all these years. They further discuss what made them walk away from the job. Neither of them fully divulges, for the time being.
So Marty starts helping Cohle. He pretends to be writing a “true crime” book, weaselling a drop of information out of friends in the Police Department. Missing Persons stuff, and other things. Naturally since Katrina things are in a bit of a mess, but it’s all sitting there, waiting to be looked through. They find themselves searching out Ledoux relatives. One of them tells the detectives about a man with scars. It visibly shakes the guy. As a kid he met the guy and felt strangely about the way he looked at him. Creepy.
Rust: “Life‘s barely long enough to get good at one thing”
Marty: “If that long”
Rust: “Yeah, so be careful what you get good at.”
The detectives go to see a woman named Miss Delores (Carol Sutton) who once worked for the Tuttle family. With a few questions, Rust manages to coax a bit of information out of the frail, old woman. She talks about how Tuttle had kids that weren’t officially his, that he got bored of women easily. When the mention of scars comes up she reveals the boy was scarred by his father; he was part of the Childress family branch. Suddenly, Miss Delores gets quiet and doesn’t want to talk much. She then asks: “You know Carcosa?” Ah, the symbolism of the killer comes out more. “Death is not the end,” she almost warns Rust in cryptic fashion. Something has brought a plague on anyone connected to the Tuttles, as so easily can be seen through Delores. Crazy as she is, part of it makes sense.
In other news, former pain in the ass Steve Geraci (Michael Harney) might know something. He’s now a Sheriff, more pull and weight behind him. That starts getting the detectives thinking about chatting with Geraci. Off the books. With a car battery and jumper cables. So Marty gets out golfing with the guy, asking questions trying to smooth the info out normally. When he believes that Geraci’s lying, Rust and his jumper cables are at the ready.
Rust and Marty finally get to the truth about the latter walking away from the job, as well as the truth about why Cohle came back. In his last days, Marty saw a crime scene where a tweaker tried drying his baby off in a microwave. Fucking savage. So he left the job. And Rust, he’s driven by duty. He needs this to end, in order to be able “tie it off” and be done with all the violence of his life. They both need it. The boys get Geraci and begin their efforts to figure out what he knows.
At episode’s end, Detectives Gilbough and Papania talk to a gardener mowing a cemetery. He’s the one Rust talked to back in ’95 at Light of the Way. He has scars all along the bottom of his jaw, around the sides of his face. Also notice he’s mowing the lawn strangely in a circle, just like that spiral tattoo we see crop up so often. The secrets that hide in the bayous of Louisiana are many. This is one of them. That serial killer is lurking just underneath everyone’s noses.
An amazing penultimate Season 1 episode. The finale – “Form and Void” – is poised to give us a spectacular ending. Solid lead-up here. Looking forward to seeing the killer revealed more before we come to the inevitable showdown with the true detectives.
True Detective – Season 1, Episode 6: “Haunted Houses”
HBO’s True Detective
Season 1, Episode 6: “Haunted Houses”
Directed by Cary Fukunaga
Written by Nic Pizzolatto
* For a review of the previous episode, “The Secret Fate of All Life” – click here
* For a review of the next episode, “After You’ve Gone” – click here
In 2002, Dt. Marty Hart (Woody Harrelson) deals with the two older guys his sixteen-year-old daughter Audrey (Erin Moriarty). And not in the legal way. He visits them in their holding cell, prompting them into a little one-way ass kicking from ole Marty. He doesn’t like their “patronising” tone, as they don’t understand with whom they’re dealing. Not just an angry father. An angry father with a chip on his shoulder for men too much like himself. Having a daughter and being a man like Marty, it ain’t so easy. He sees these boys treating women – his daughter specifically – the way he treats women, and he can’t manage to admit to himself he’s doing that. Thus, he takes that guilt and frustration out on these young dudes. Although he vomits later confirming he has a slight bit of soul left.
2012: Dts. Gilbough and Papania (Michael Potts/Terry Kittles) are still digging in trying to figure out more about Cohle back in ’95. They also start sniffing around Marty’s ex, Maggie (Michelle Monaghan). They want to know what broke the two detectives apart, what she might know about Cohle from 2002.
During 2002, Marty reconnected with the prostitute he once met up at the bunny ranch in ’95, Beth (Lili Simmons). Dissatisfied with family life, the normal sway of things, the married man falls into another clandestine affair. Even worse is the fact that back in ’95 Cohle asked if Marty had been making a “down payment” on Beth, as he slipped her some money and told her to do something else; a self-fulfilling prophecy.
Meanwhile, Cohle started tracking down more cases that link back to the Light of the Way, Queen of Angels, Reverend Billy Lee Tuttle (Jay O. Sanders). He finds a load of broken people in the wake of this school. Perhaps things weren’t so religious as they seemed on the outside. Later, he comes across the former preacher Joel Theriot (Shea Whigham) whose experience with the Tuttle-funded schools didn’t exactly end wonderfully. He came into knowledge of some shady, pederast activity – “accusations of children being interfered with” – that landed him out of a job, out on his ass, drinking instead of preaching.
The last case Marty and Rust worked was a woman nicknamed the “Marshland Medea” who killed her own children. In 2002, Marty reveals he believes part of Rust breaking, walking off the job was due to this woman, the intensity and darkness of the case. Finally made him snap. Well, that and other things. But certainly it could not have helped. Either way, we see Cohle – a man who unwillingly lost a child – dealing, almost gently (until the end of their interrogation) with a woman who willingly killed her own, and more than one. The big break is actually between Cohle and Hart. They further divide, as Rust finds himself getting sick of how people around those parts seem to “eat [their] fuckin‘ young” and not care about it. Cohle is stuck on believing the Dora Lange killer is at large while Marty’s happy to live life, cheat on his wife, neglect his family, and pretend like he’s a saint.
At some point in 2002 Cohle winds up at a psychiatric facility where one of Ledoux’s victims, still living, is in a kind of catatonic state; one that he and Marty saved from that backwoods compound. Though she’s lucid enough to talk with him a bit. She mentions another “giant” man “with the scars” being “the worst” of all. However, after this she freaks out sending Cohle away, and likely getting him in trouble with his superiors already pissed with him digging into the past. Major Leroy Salter (Paul Ben-Victor) isn’t too chuffed. Whereas Cohle believes there’s still a serial killer loose, no one else sees the forest for the trees.
In 2012, Dts. Gilbough and Papania are stuck on Rust being the one that broke into Tuttle’s place, and possibly who did him in. They’re unable to figure out anything else. They see Cohle as the one responsible for all of it. Marty has enough and walks out on them.
But back to 2002 first, before we see any more. When Maggie finds clothes in the wash, just Marty’s, and sees he’s in the shower, she looks at his phone. What does she find? Torrid text messages and pictures from Beth. For the time being, Maggie says nothing. This woman has taken some shit and swallowed it with a smile.
While Marty’s family falls apart, Rust kept on looking throughout 2002. He talked to Billy Lee Tuttle himself. Trying to track down old records, personnel, anything he can. Because of the various schools shutting down things got plenty scattered. Convenient. Plus, the private institutions all keep things nice and locked tight.
After Major Salter discovers Cohle is still out pushing the old Lange case, talking with Tuttle, this does not turn out well for the staunch detective. He’s put out with a suspension. Not good. This only keeps him stuck at home trying to figure the whole thing out himself. Doesn’t help that Maggie shows up. She decides the best way of getting back at her husband is to do the one unforgivable thing: fuck his partner. She and Cohle have sex. Then he starts to piece together she’s only doing it to pierce her husband’s heart. Rightfully so, but that’s using him as a means to an end, rather than an end in and of himself. She didn’t want to use a stranger. She did it all to get the maximum reaction out of Marty. And that kills Cohle, who already feels guilty for being with her. Now, it’s a whole other thing. The trail of broken hearts and broken lives piles up along the way.
And then Marty finds out. This is the big event which finally tears the two detectives apart, forever tarnishing their relationship.
On suspension Cohle goes in to collect some papers. He and Marty meet, violently, in the parking lot outside. They finally have their fist fight that’s been brewing so long. Afterwards, Rust quits and walks out: “Fuck this and fuck this world. Nice hook, Marty.”
In 2012, nobody admits to Dts. Gilbough and Papania why the two detectives split.
What’s more interesting is that on his way home, Marty gets pulled over by Rust. They haven’t seen each other in a long, long time. When they go to catch up over a beer, Marty makes sure he’s got his gun handy. Who knows where this is about to go.
The thing I dig about this ending is that we see a great shot of Rust’s truck, the taillight still busted from his fight a decade ago with Marty. He hasn’t fixed it. Just another symbol of Rust’s inability to move past those events, his partnership with Marty and their not finished duty of finding Dora’s killer. A great little touch to top off an already solid chapter.
A great episode, as is the usual. More solid writing, character development. The next episode, leaning into the last couple of the season, is titled “After You’ve Gone” and it brings us closer to a resolution, or at least an ending. Whatever that may be.
