24 really ups its game with this heart stopper of a finale. Its strength lies not in the action, but in the character interplay, in the way in which the dialogue cuts to the heart of the emotional conflicts that have permeated the season.
8.5
"Great"
24 really ups its game with this heart stopper of a finale but its strength lies not so much in the action, which is over within the first twenty minutes, but in the character interplay, in the way in which the dialogue cuts to the heart of the emotional conflicts that have permeated the season. Gordon, Braga and Coto's script features a sleu of outstanding individual scenes that are not only thoroughly believable, but also sell the humanity of the characters whose tumultuous lives we love to see roller-coaster all over Washington DC week in, week out. To begin, we have the duplicitous, tortured Tony Almeida whose motivation is finally exposed for all the world to see. Granted, as soon as he unleashes yet another "ah hah! But that is not my real plan!", it sets the eyes a-rolling, but the show cleverly avoids making its viewers feel like they are being jerked around by grounding the events in the kind of emotion that we can really invest in. It isn't too great a stretch to accept that he is doing this for Michelle, for all that he lost so cruelly two seasons ago, and Bernard sells it so well with every clearly pained nuance of his performance that the smattering of inconsistencies can be overlooked. While the notion that Alan Wilson was responsible for 'the Logan affair' is a clever move, rewarding loyal viewers with a nod to continuity, it still rankles a little that Almeida was willing to murder Larry Moss and, more importantly, to potentially infect thousands of civilians with a lethal pathogen. However, all of this is pushed to the furthest reaches of the mind as soon as he and Jack trade psychoanalytic barbs ("you're not honouring Michelle's life, you're revelling in her death" is perhaps my favourite); Sutherland and Bernard are just so fantastic, so emotionally intense, that it negates any doubts that we may have. The tension in the scene where Almeida wires Bauer with C4 threatens to cut through your screen, it's so sharp, and Jon Cassar does a wonderful job of amplifying it with some erratic, shadowy direction. And at the end of the day, there's something fairly logical about the idea of Tony 'playing both sides' anyway, of him being without a moral compass after all that he's been through. He doesn't care who he takes down with him, as long as he gets to achieve his end game and while we may not like it, after years of forming a close bond with the character, we can at least understand and accept it. It's arguably far more realistic than a cut and dry 'good vs. evil' motif, where everyone falls in line with established norms. There's far, far more humanity in the flawed, in hate, in revenge. When he screams, "what did you do? You ran away!" at Jack once Alan Wilson is taken into custody, it really resonates with the viewer because we can see his point. Those around Bauer die and the perpetrators rarely ever pay for their crimes; isn't it about time someone changed all that? It's rivetingly complex stuff, denying us the ability to box these characters off as 'good' or 'bad', and three-dimensionalising them instead.
While we're on the subject of Wilson, how incredible is Will Patton, huh? With the utmost brevity, he manages to sell the threat of a character we have barely had the chance to explore, giving him the kind of proverbial weight as a villain that is genuinely frightening. For the duration of his performance - from his Western-style confrontation with Tony outside the warehouse, shot using wide angles to give everything more gravitas, to his stint in FBI custody - he remains absolutely steadfast, barely moving an inch and staring, nay glaring, into the distance. His eyes are terrifyingly piercing, rarely allowed to blink, and the way in which he shows absolutely no emotion, regardless of what is being said to him, is incredibly unnerving. It doesn't matter what is being said - Tony offering his services, Renee threatening him with the death penalty - he remains unmoved, steady in his belief that he is effectively untouchable. The only extravagance he is afforded is a penchant for muttering 'huh' under his breath which, given that the term conveys curiosity, is only the more disquieting. This is the kind of villain that truly rewards the viewer, not a bumbling, psychotically deranged lunatic like Jonas Hodges, or an OTT gun blazer like General Juma. No, it's the quiet ones that are the most believable, which obviously bodes well for the eighth season given that, from the closing moments, it looks like he might just show up again. This is another of the episode's many strong points; for the first time in many years, it seems that the central plot is not over at year's end. The 'shadowy conspiracy' is not exposed and the inclusion of Renee's 'to torture or not to torture? That is the question!' moment, while a little extraneous, does seem to suggest that we will carry on exploring this angle next year. Mind, we said the same about President Palmer being infected with a a biological agent at the end of season two and look where that got us...
Speaking of Presidents, the Olivia Taylor storyline comes to a close and it's a somewhat surprising highlight. While Glenn Morshower is uncharacteristically hammy when he and Ethan confront the Chief of Staff, pulling somewhat ludicrous 'disgusted' faces and over-emphasising words, everyone else knocks one right out of the park. Grayden, Jones and Feore are absolutely excellent in Olivia's confessional scene, believably selling every painful shred of emotion that passes between the characters. The dialogue is perfect too, from Alison's very palpable struggle between her head and her heart, between what she should do as President of the United States and what she wants to do as a mother, to Henry's thoroughly human pleas for his wife to think about what this will do to their family. And as if all this wasn't enough to sell you on the intensity
of the situation, Sean Callery's music magnifies it tenfold, using mysterious whistling noises, long-playing discordant notes and the intermittent sound of a heartbeat that increases in volume but never in pace. It really lifts the scene, giving it a gravity that would undoubtedly be missing without it. You may be tempted to pour scorn on the notion that the music has any real impact, as I have heard from countless sources, but I dare you to try watching the programme without it. It's as much a character as any of the actual people in the show; if you can get your hands on an unedited version of the programme, on the dailies say, you'll find it a completely different and far less rewarding experience than when Callery works his magic all over it.
'7am - 8am' contains much else that's enjoyable too. Both central action sequences are exceptionally choreographed: Jack and Tony's mini-battle in the, um, garage (?) is suitably intense and thankfully brief, containing a true punch-the-air moment when Bauer's plan doesn't come to fruition. It's become all too easy over the years for Jack to simply achieve everything that he sets out to because, well, 'he's Jack Bauer, he's superhuman', so much so that it's turned into a bit of an irritating cliche, but this reverses the trend, humanising the character again and making the situation far more realistic, even if it is implied that it's all because he's dying of Deadly Pathogen Disease. The moment where he starts to spasm while trying to get under the shutter is a very nice touch, lending credence to his struggle. Mind, we could have done without Tony's magical forklift commandeering and the rather conveniently placed sticks of dynamite (well of course there'd be some lying around, silly! Groan!), but these are minor quibbles. The hour's major battle, meanwhile, the shoot out at the Warehouse Coral, is outstanding. This is Jon Cassar's last stab at depicting all out chaos (he's not returning for the eighth season, sadly) and, as per, he delivers above and beyond the call of duty. Every frame of the sequence is loaded with activity as bullets ricochet everywhere, soldiers, both FBI and 'government conspiracy', run around in complete disarray, collapsing onto one another or firing at the FBI. And then there's the assault from the helicopter which is just magnificent, really believably handled.
It's a shame that the plot itself occasionally threatens to undermine the strength of the direction; the initial appearance of Renee and co. is head-scratchingly sudden, seeming a little out of place. At the beginning of the episode, Kim laments that they haven't been able to track Almeida's location through the combination of the rather spurious 'D11 router' and the laptop's camera, even though it's only been, like, five minutes since she retrieved the damn thing from the burning wreckage of a car. Then, ten minutes later, they've got the exact location and have managed to get there just in the nick of time to prevent Jack from blowing to smithereens? Um, how is that exactly? The writers don't even give us a throwaway line of dialogue between Chloe and Janis that would indicate that they've 'cracked the code' or some such gumf. Oh, and Renee, shock of shocks, happens to recognise the exact trigger mechanism that Jack's wired with and so is able to disarm the bomb in about ten seconds! This is a little sloppy, feeling like a rushed solution to the narrative being backed into a corner, rather than an organic method of nullifying the problem. Arguably, an opportunity for still more dramatic tension is greatly missed here, since a quick phone call to FBICTU could've lead to their resident bomb disposal expert talking someone through the process. But I suppose we needed to save a bit of time so that Tony could drag out his execution of Alan Wilson, just long enough for our heroes to burst in and stop it. To be honest, I don't have a problem with this as such, since it leads to some excellent dialogue between all involved, but did they really need to go down the pregnancy route? Sure, Bernard does a nice job of selling Tony's pain when he screams "you killed my son!" but this just feels tagged on, one step too far in the guy's motivation. It would've been enough to have led with the fact that the man killed his wife, putting an end to the peaceful life he'd established with her. Throwing an unborn child into the mix just feels tacky and unnecessary, as if the writers didn't have enough faith in their plot to believe we'd buy into it, and so dredged up the one the one motif they could think of that would most conventionally tug at the heartstrings.
And after having successfully made us all teary-eyed with some beautiful two-handers that see Jack putting his affairs in order, first with Renee and then with the priest from a few episodes back - a pair of scenes that provide a neat conclusion to the season's central debate between 'the law' and 'what is right', while also returning to most important factor of all: the implications for Bauer's character - the writers do the most painfully obvious thing and bring Kim back into play in the last few moments, having her show up at the hospital and demand to be readied for major stem cell surgery. For a good twenty minutes or so prior to this, it actually seems like 24 is going to leave us on the idea of Jack potentially dying, not giving us a resolution to his plight until next season. And while we'd all certainly be aware that he'd be back up and running in year eight because, let's face it, Keifer is signed up for it, it would have been a far better way of closing this troubled narrative strand than the frustratingly predictable turn of events that actually occur. Oh sure, it's well within the realms of believability for Kim's character, but it's just annoying, speaking volumes about the absurdity of the whole storyline. There has never been any doubt in the mind of any viewer of the show that Jack will survive this infection. None whatsoever. If they'd done this in the final season, or if we weren't aware that Sutherland was returning, it could've been a hugely rewarding, and brave, plot twist but as it is, it's just redundant. It muddies the feeling that one is left with at the end of the episode; instead of being stoked at all the fantastic acting and writing we've just seen unfold before our eyes, we're deflated, rolling our eyes, asking "what WAS the point?" Was it to give Sutherland a chance to prove his acting chops? Well, we know that already. To give him a few different beats to play? Well okay, but there are plenty of other ways of achieving that. If any of the other characters had been lying in that hospital bed, dying of the pathogen, the final scene, no matter how absurd, would still have been umpteen times more rewarding than it currently is, and that just makes the 'cliffhanger' all the more depressing.
'7am - 8am' is an unquestionably strong close to a pretty darn exciting season. Gordon, Coto and Braga's script concentrates on character than action and in so doing, provides a far more rewarding viewing experience. The various two-handers between Jack and Tony, Tony and Wilson, Jack and Renee and so on, really magnify the humanity at the core of the story, reminding us all that these catastrophic events are happening to people, which in turn makes everything considerably more believable and worth investing in. Each narrative gets a satisfying pay-off, from the painfully emotional resolution to Olivia's story, in which the President thankfully makes the most logical decision for her character, right down to the understated and brief farewell between Janis and Chloe. It's not perfect by any means; narrative beats such as Michelle's pregnancy are more irritating than interesting, and the final scene does nothing but reiterate the pointlessness of Jack's infection, but in the end, there's enough exceptional material to keep it well above water. Proof positive that there's life in the old dog yet.