Counterpart - The Crossing
I can say quite assuredly that when I finally got around to
starting the Starz series, Counterpart
(2017), after watching the pilot episode, The Crossing,
it was *not* what I was expecting. Granted, what I was expecting I can’t really
say for sure, but a series about parallel universes with J.K. Simmons at the center
of the overall story arc as *two* characters on both sides trying to avoid
trouble in the form of hired assassin, Code Name: Baldwin (Sara Serraiocco). I
would be remiss not to mention that J.K. Simmons’ Howard Silk—30 years as this
UN Berlin “Interchange” suit, arriving, going through the checkpoint, meeting
another suit on the other side of a glass room, exchanging “code”, located on
forms in a folder inside a briefcase, and going through the motions, hoping to
finally get a promotion so he can move up the corporate ladder—is just an
easygoing, kind-faced, mild-mannered, understated company man, totally not the
kind of character you’d imagine would eventually find himself embroiled in some
inexplicable parallel universe plot where assassins emerge to try and kill his
bed-ridden wife (and him, as well).
He just wants to finally secure a promotion he more than deserved…the co-worker that ultimately does get it winds up shot to death in a Berlin night club (neon red the heightened aesthetic bathing the patrons inside) when following a winking fellow who elusively disappears before Baldwin takes him out. Baldwin, a daring, clever assassin, surfaces eventually (as anticipated when Silk’s “counterpart” from the other existing reality similar to Howard’s, with subtle life differences that separate them, arrives at the UN “Interchange HQ” in an isolated interview room with news of the assassin) at the hospital where Howard’s wife (Olivia Williams) is hooked to a life support, in a coma after being hit by a car.
Previous to this, Baldwin was found in a closet, pretending to be a shivering, mute, lost-to-hysterics hooker, inside the apartment of a multiple-homicide, taking out two detectives who unknowingly set her free. This introduction to Baldwin gives us an idea of just how dangerous she is, but when her ballsy attempt to kill Emily (Williams) fails, encountering multiple agents assigned to execute her by Aldrich (Ulrich Thomsen), a member of the Berlin Interchange Office, she still evades injury despite all kinds of fire aimed her direction. Baldwin is damned impressive, and Howard, waiting in his boss, Quayle’s (Harry Lloyd) car, nearly finds himself assassinated by her. Going through a window, avoiding bullets from different directions, elusive and cagey, Baldwin will not be so easy to alleviate. Along with all of this, Howard is given a form to sign by his wife’s family (including prick brother, Eric (Jamie Bamber)) to take her off life support. Not getting the promotion from Quayle, who brings up a bullshit minor incident where Howard notifies the nameless suit on the other side of the glass that he has blood on his tie, really bothers the aging and tired Howard, too.
I was looking at the credits of cinematographer Martin Ruhe, and his work includes The American, with George Clooney, because his photography on this show certainly left quite an impression. Like how Simmons is lit in the dark where the whites of his eyes and silhouette of his form, in the back seat of Quayle’s car as Baldwin finds herself waiting out “the other Howard” and Aldrich’s men nearby are quite distinctive. The rooms inside the Interchange office deep within its bowels, carefully secretive architecturally, claustrophobic and covert, just seem to be quite difficult for Ruhe to move around in and yet he still finds creative ways through the lighting and shot selection (the editing by Glauberman also a huge assist/asset) to get the most of the smallest of spaces. Consider me jazzed by Ruhe’s work. Making sure that even when Baldwin is trying to checkmark folks off her kill list, there are multiple angles and a variety of shots following the action. And I always felt while watching it that there could be danger around every corner. Admittedly the plot is still a bit difficult and challenging, but I was certainly captivated by Simmons’ dual performances, giving each character significant personalities. He’s a hell of an actor. Like when his Howard from the alternate reality addresses Eric about the form he wants signed to take Emily off of life support, pulling a gun and putting him in his place, quite assertive and confrontational, a polar opposite of the Howard who is docile, even-tempered, crestfallen, and quietly patient despite every reason not to be. It is just a lot of fun to watch.
He just wants to finally secure a promotion he more than deserved…the co-worker that ultimately does get it winds up shot to death in a Berlin night club (neon red the heightened aesthetic bathing the patrons inside) when following a winking fellow who elusively disappears before Baldwin takes him out. Baldwin, a daring, clever assassin, surfaces eventually (as anticipated when Silk’s “counterpart” from the other existing reality similar to Howard’s, with subtle life differences that separate them, arrives at the UN “Interchange HQ” in an isolated interview room with news of the assassin) at the hospital where Howard’s wife (Olivia Williams) is hooked to a life support, in a coma after being hit by a car.
Previous to this, Baldwin was found in a closet, pretending to be a shivering, mute, lost-to-hysterics hooker, inside the apartment of a multiple-homicide, taking out two detectives who unknowingly set her free. This introduction to Baldwin gives us an idea of just how dangerous she is, but when her ballsy attempt to kill Emily (Williams) fails, encountering multiple agents assigned to execute her by Aldrich (Ulrich Thomsen), a member of the Berlin Interchange Office, she still evades injury despite all kinds of fire aimed her direction. Baldwin is damned impressive, and Howard, waiting in his boss, Quayle’s (Harry Lloyd) car, nearly finds himself assassinated by her. Going through a window, avoiding bullets from different directions, elusive and cagey, Baldwin will not be so easy to alleviate. Along with all of this, Howard is given a form to sign by his wife’s family (including prick brother, Eric (Jamie Bamber)) to take her off life support. Not getting the promotion from Quayle, who brings up a bullshit minor incident where Howard notifies the nameless suit on the other side of the glass that he has blood on his tie, really bothers the aging and tired Howard, too.
I was looking at the credits of cinematographer Martin Ruhe, and his work includes The American, with George Clooney, because his photography on this show certainly left quite an impression. Like how Simmons is lit in the dark where the whites of his eyes and silhouette of his form, in the back seat of Quayle’s car as Baldwin finds herself waiting out “the other Howard” and Aldrich’s men nearby are quite distinctive. The rooms inside the Interchange office deep within its bowels, carefully secretive architecturally, claustrophobic and covert, just seem to be quite difficult for Ruhe to move around in and yet he still finds creative ways through the lighting and shot selection (the editing by Glauberman also a huge assist/asset) to get the most of the smallest of spaces. Consider me jazzed by Ruhe’s work. Making sure that even when Baldwin is trying to checkmark folks off her kill list, there are multiple angles and a variety of shots following the action. And I always felt while watching it that there could be danger around every corner. Admittedly the plot is still a bit difficult and challenging, but I was certainly captivated by Simmons’ dual performances, giving each character significant personalities. He’s a hell of an actor. Like when his Howard from the alternate reality addresses Eric about the form he wants signed to take Emily off of life support, pulling a gun and putting him in his place, quite assertive and confrontational, a polar opposite of the Howard who is docile, even-tempered, crestfallen, and quietly patient despite every reason not to be. It is just a lot of fun to watch.
4/5
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