Post by maggiethecat on Jul 21, 2005 22:40:30 GMT -5
One of the finest aspects of “Blind Justice” has always been the way in which each episode concluded. These final moments gave us memorable images and dialogue. Let's start a highly unofficial poll of sorts -- I would love to know your favorite episode-ender, and why!
1. The Pilot: Jim and Karen on the street. “What do you look like? “You’re such a great detective, you tell me.” Then, “What color are your eyes?” and her response, still slightly suspicious, “Are you tryin’ to put your moves on me?” Then the marvelous shot of Jim and Hank walking away, the flock of pigeons flying up (how did they get those birds to do that at just the right moment?) and she stops him with, “Brown.” “Thanks, now I know,” he says and strides on, satisfied and confident. Just terrific.
2. Four Feet Under: Jim on the park bench after the blow-up with Christie, lifting his anguished face to the rain, imagining – or remembering – the color of the trees. Poignant and haunting and strong, with a beautiful light jazz score.
3. Rub a Tub Tub: The gorgeous bouquet of flowers and Jim’s request for a “Mulligan,” and then, for the first time, he and Christie embrace and kiss. Touching and genuinely sweet.
4. Up on the Roof: My favorite (of course). Jim lying in Christie’s arms, murmuring, so quietly you had to strain to hear it, “I’d rather lose my sight than my courage.” Heartbreaking, and just makes you love the guy.
5. Marlon’s Brando: Jim and Christie’s walk by the river when he finally admits his doubts and fears to her, and for once, they truly connect. Beautifully filmed, sensitively played.
6. Seoul Man: Jim and Marty face off in the locker room. Love the last moment when JIm sinks to the bench shaking his head, as if to say, "What the hell was that?"
7. Leap of Faith: Empty squad room, Jim at his desk, a moment of contemplation and satisfaction. This show did “quiet” like none other.
8. Past Imperfect: Great shots of Manhattan, a subtle jazz score, and Jim having a beer with Greg Hermanson. “That’s how I’ll always see you.” Perfect.
9. In Your Face: Walking home after his first "night out" with the boys, and the reverie inspired by the street musician playing “Moon River.” Simple, reflective, and very moving.
10. Doggone: The delicious reunion with Hank, and the clearly unscripted moment of the wet dog shake and the unfeigned laugh. Delightful.
11. Dance With Me: Ballroom dance lessons? Okay, this I did not love that much because I thought it verged on the cute, and the one thing I never expected – or wanted – from this show was cute. Jim was doing it to please Christie, however, and that was a step in the right direction (pun intended).
12. Under the Gun: Oh, Jeez. Dance class again? And why didn't that dratted teacher have any other records but “Call Me Irresponsible?”
13. “Fancy Footwork,” the episode that made me truly hate basketball! Okay, thanks to a buddy in California with a VCR, I finally got to see it. And . . . here we go . . . this is the last image we have of Detective Jim Dunbar of the NYPD? That courageous, complex, smart, sensitive, sexy, and fascinating man . . . twirling his wife around the dance floor in a pseudo-Astaire sequence that went on longer than the shootout at the bank. Ah well, at least I got to see it. Better than nothing. Sigh.
1. The Pilot: Jim and Karen on the street. “What do you look like? “You’re such a great detective, you tell me.” Then, “What color are your eyes?” and her response, still slightly suspicious, “Are you tryin’ to put your moves on me?” Then the marvelous shot of Jim and Hank walking away, the flock of pigeons flying up (how did they get those birds to do that at just the right moment?) and she stops him with, “Brown.” “Thanks, now I know,” he says and strides on, satisfied and confident. Just terrific.
2. Four Feet Under: Jim on the park bench after the blow-up with Christie, lifting his anguished face to the rain, imagining – or remembering – the color of the trees. Poignant and haunting and strong, with a beautiful light jazz score.
3. Rub a Tub Tub: The gorgeous bouquet of flowers and Jim’s request for a “Mulligan,” and then, for the first time, he and Christie embrace and kiss. Touching and genuinely sweet.
4. Up on the Roof: My favorite (of course). Jim lying in Christie’s arms, murmuring, so quietly you had to strain to hear it, “I’d rather lose my sight than my courage.” Heartbreaking, and just makes you love the guy.
5. Marlon’s Brando: Jim and Christie’s walk by the river when he finally admits his doubts and fears to her, and for once, they truly connect. Beautifully filmed, sensitively played.
6. Seoul Man: Jim and Marty face off in the locker room. Love the last moment when JIm sinks to the bench shaking his head, as if to say, "What the hell was that?"
7. Leap of Faith: Empty squad room, Jim at his desk, a moment of contemplation and satisfaction. This show did “quiet” like none other.
8. Past Imperfect: Great shots of Manhattan, a subtle jazz score, and Jim having a beer with Greg Hermanson. “That’s how I’ll always see you.” Perfect.
9. In Your Face: Walking home after his first "night out" with the boys, and the reverie inspired by the street musician playing “Moon River.” Simple, reflective, and very moving.
10. Doggone: The delicious reunion with Hank, and the clearly unscripted moment of the wet dog shake and the unfeigned laugh. Delightful.
11. Dance With Me: Ballroom dance lessons? Okay, this I did not love that much because I thought it verged on the cute, and the one thing I never expected – or wanted – from this show was cute. Jim was doing it to please Christie, however, and that was a step in the right direction (pun intended).
12. Under the Gun: Oh, Jeez. Dance class again? And why didn't that dratted teacher have any other records but “Call Me Irresponsible?”
13. “Fancy Footwork,” the episode that made me truly hate basketball! Okay, thanks to a buddy in California with a VCR, I finally got to see it. And . . . here we go . . . this is the last image we have of Detective Jim Dunbar of the NYPD? That courageous, complex, smart, sensitive, sexy, and fascinating man . . . twirling his wife around the dance floor in a pseudo-Astaire sequence that went on longer than the shootout at the bank. Ah well, at least I got to see it. Better than nothing. Sigh.
