"Each one of us was brought here for a reason."
9.9
Locke’s statement during the pivotal scene of the episode will be echoed throughout all of next season. While the importance of it doesn’t strike the audience yet, it soon will. This season finale is absolutely astounding. From the opening shot of Aaron’s eye to the final seconds as the camera falls down the shaft of the hatch, the viewer is swept away into one of the best pieces of television in recent years.
One of the best parts of this episode is that almost every single character has something to do. There are three separate adventures going on, and each one is terrific. I’ll start with the simplest story, and then move on to the other ones. Rousseau, thinking of getting Alex back, kidnaps Claire’s baby (christened Aaron), and runs off toward the black smoke. Charlie and Sayid desperately race across the island to stop her, and one of them faces temptation along the way. While this storyline isn’t as imperative as the other two, it pays off in one of them. The acting by Naveen Andrews, Dom Monaghan, Mira Furlan, and most of all, Emilie de Ravin, is note perfect. Claire has not had a very large role this season-she appeared in seven of the first ten episodes, if my memory is correct, and then disappeared entirely for three. Her return from the hands of Ethan and the Others sparked the exciting episode Homecoming, but Claire really only gave birth to Aaron after that. While she doesn’t actually go on the trek to retrieve the child, the scene when she tries to follow the guys is heartbreaking, and Emilie’s best performance of the season.
After assuring Claire Aaron will be fine, Sayid and Charlie dash off through the jungle to catch Danielle, and stop at the Beechcraft. After seeing Charlie’s flashback to the hotel, which featured him and a strange girl nearly getting into a physical fight over the one small packet of heroin Charlie’s got, the audience is rooting for Charlie to leave the drugs behind, and not go back to that lifestyle. Charlie fails this test, as we see him with the Virgin Mary statue at the end of the episode. The girl tells Charlie that he’s pathetic before she storms off to get more drugs, while the viewer knows that Charlie has kicked the habit and is becoming quite a good guy. When he can’t resist temptaion, though, it becomes a little harder to root for him. The sequence of Sayid cauterizing Charlie’s wound with gunpowder is pretty unsettling, and the next scene, by the fire the Others set is downright terrifying. Seriously, if you didn’t have your heart in your throat during the beginning of that scene, you aren’t alive. Aaron is retrieved, while Rousseau stammers to make excuses-“They were coming for the boy,” she says. Charlie is utterly venomous to her, which makes us lose a little more respect for him, since Danielle is clearly distraught, thinking the Others would be there. Shannon and Sayid also make up in this episode, in another pretty emotional scene. Maggie Grace does a great job in this episode, especially when she breaks down over Boone’s luggage. It’s good to see her let Sayid back in, because she clearly needs someone to help her deal with Boone’s death.
Sun has a good moment in the caves, when she wonders if fate is punishing everyone there. It echoes what Locke says later in the episode, about fate being deeply involved in the survivors’ lives. Shannon seems mildly interested in what Sun has to say, until Claire squashes the moment. She doesn’t believe in fate, she says, and looking at her back story, it’s not hard to see why. In another flashback that was deleted from the final cut, Claire has a conversation with the pilot (the same guy from the pilot episode), wherein he tells her a story about a relative of his who took the words of a fortune teller too seriously, ultimately wasting her life. While this is before Claire realized the psychic knew what he was talking about, it’s still interesting to see, and to think that fate might be a lot more real than she thinks.
Meanwhile, the raft has successfully made it out to sea, and is on its way to rescue. A lot of the raft scenes feature the guys bonding-there’s the Bob Marley scene between Michael and Sawyer, the English scene between Michael and Jin, and the scene by the rudder between Michael and Walt. The bond between father and son will become especially important when we see the ending to this episode. Jin and Michael have really come a long way from the beatings that defined their relationship in the beginning of the season. Jin himself has pulled a complete 360 since …In Translation, becoming one of the most likable members of the entire cast. Next season will continue Jin’s journey into being the good man he once was, although his flashback to the airport shows why he was so uptight with Sun at the beginning of the season. He would never be allowed to do what he wanted, because of her father. Now that the island is their new home, Jin can finally start over. He gets rid of his last reminder of the old days by giving Paik’s watch to Michael. Michael has also become a much better father to Walt. His flashback shows that, while he loved Walt with all his heart, he had adapted to life without him, and did not know what to do once he got custody of him. Once again, the island has come to the rescue, and he’s able to learn how to be a dad to his son. When Walt says that his mom was wrong to keep the two of them separated, it’s what Michael has wanted to hear since Susan took Walt to Amsterdam, leaving him behind.
Of course, the point of this exodus was to find rescue, although the term “rescue” is as ambiguous as the term “lost.” When a ship pulls up alongside the raft, the hopes of everyone on board the raft have come true. People in the outside world know about the island, and help is coming. Those hopes are quickly dashed when the bearded man says, “We’re gonna have to take the boy.” Rousseau was not insane after all-the Others did come for the boy. Unfortunately, Sayid and Charlie protected the wrong one. The Others take Walt, Sawyer is shot, Jin dives in after him, Michael is thrown in the water, and the raft is destroyed. Looking back at this episode and the last, a lot of things have happened after they were wanted. Walt didn’t originally want to be with Michael, and now he’s not. Michael didn’t want custody of Walt when he got it, and now Walt is gone. Sawyer said to Michael that he wanted to die, and now there’s a bullet in him and he’s in the water. Also, Walt asked a bunch of questions a few episodes ago. “Will we flip over? Will a shark attack? Will we die?” The raft has as good as flipped over, and Sawyer might have died. As for the shark, well, just watch the second episode of Season 2. Michael’s anguished cries of his son’s name tear at the heart, and make the scene even more sad and dramatic than it already is.
The final plot of the episode is the dynamite retrieval team. Arzt’s boom is a shock, but not unexpected. A Redshirt going on a trek with the main group? Nothing good can come of that. Arzt is just enough of a jerk before he blows that we really don’t feel sorry for him. Instead, we feel a little awkward, like Hurley. “He just…exploded…in front of us.” Hurley feels responsible for the tragedy, and it’s understandable when we see his flashback. The funniest moment of the entire episode, its use of the numbers is great. Every time a number is used, it’s one of Hurley’s. His vehicle’s speed, the gate at the airport, the wheelchair guy has Crazy Eights on his hat, and there’s the girls soccer team where all six numbers are laid out on the jerseys. Michael Giacchino’s music is also hilarious, and really adds to the scene. Of course, it’s Jorge Garcia who makes it work, especially when he wraps the woman at the gate in a big bear hug. As funny as it is, though, it reminds us of the curse that seems to follow him around, and relates to the numbers. When Hurley sees the numbers on the hatch and flips out, it makes the scene much more dramatic and tense. Instead of everyone standing around, watching the explosion take place, and then walking to the hatch, Hurley is in mortal peril, and we expect the monster to pop out of the hole at any moment, or something just as bad to happen.
The encounter with the monster in this episode is very informative. When it attacks, Locke takes off his pack of dynamite and starts looking for the thing. Kate, meanwhile, runs with her pack on, bouncing it up and down, so it was a smart idea for Jack to take the sticks out of her pack. Like he says, he’s a great leader until he makes a decision people don’t like, and then it’s off with his head. Anyway, the monster is clearly different than what Locke saw way back in Walkabout, as this time the monster takes a hold of him. The snippets of the monster we see are just black smoke. It flits through the trees, and then runs away after Kate throws the dynamite down its hole. If you freeze frame it when Locke is being dragged backwards, you can see black smoke wrapped around his leg as well. Is this all there is to the monster? Black smoke? Then how does it “eat” people? The identity of the monster will be revisited in the upcoming seasons, and we’ll have a clearer picture of it then. Of course, Locke and Jack really have some good moments over the course of the journey. There’s the moment by the dynamite box at the Black Rock (another mystery that is added to the already dense web that we’re trying to cut through), when Jack says, “Do you like to play games, John?” and Locke responds, “Absolutely.” We all know Locke likes to play games, actual and psychological. Look at his treatment of Boone in Hearts and Minds.
Boone is also brought up in the key moment of the whole episode, the science vs. fate discussion between Jack and Locke. This theme will become the most important of all next season, even though it’s just mentioned here. Both Jack and Locke take their stands-Jack is the man of science, and will do things that are in the best interest of the group, but only when it’s necessary. Locke, the man of faith, wants to open the hatch because it’s his destiny, and believes that it was fate that made the plane crash. He believes in destiny, because it’s made him able, the direct opposite of what he was in his flashback. Jack scoffs at Locke’s beliefs and says he doesn’t believe in destiny. Locke’s reply is priceless, “Yes, you do. You just don’t know it yet.” Like I said, the fight between Locke and Jack will become the main theme of Season 2, and this is just a taste of what is to come. As a precaution, Jack tells Kate that he thinks Locke is going to become a problem, and he wants her on his side.
There is one last thing that needs to be mentioned about this episode, and that is the final flashback. In my opinion, it’s the best flashback of the entire series. There’s no dialogue, but there doesn’t need to be any. Each of the characters is shown in their own little segment, unaware of what will happen to them in a few hours time. Sawyer strides down the aisle, scowling at being deported. The marshal escorts Kate to her seat and cuffs her in. Claire struggles to get past people with her big belly, but is helped with her bag by Arzt. Michael buckles Walt’s seatbelt, and the boy takes no notice. Jin looks at Paik’s watch while his wife reads a magazine beside him. Both want to escape, but can’t. Shannon digs through her bag, searching desperately for her inhaler, only to have her ever helpful, but never thanked, brother Boone hand it to her. Sayid looks at the photos of Nadia, thinking that he’ll be seeing her in less than a day. Charlie struggles with his guitar, the most important thing in the world to him. Locke is immobile in his seat, and he and Jack exchange a polite nod between strangers. Hurley comes in last, sweating like a pig. He gives Walt a thumbs up and sits down and begins reading the polar bear comic. The invisible presence is Michael Giacchino, whose music makes the scene perfect. The whole scene is very understated-after all, it is only people boarding an airplane. But now that we know who all these people are, and what will happen to them over the next forty days, the impact of it really hits us. All the passengers board the plane to go to Los Angeles. Some, like Jack, Sayid, and Claire, think their lives are about to improve. The other eleven castaways know that their lives are about to get much more complicated, if not downright awful (Kate’s going to prison, Locke is going back to the office, his dignity taken from him, Sawyer’s going to be bouncing around, trying to get revenge on Hibbs, and Charlie’s going to have to turn down Meat Coat’s offer). None of them know where they’re really going-to their salvation, the place where they can escape all their problems. It will be an improvement for the majority of the survivors, and one that will change them forever.
Exodus-Part 2 is everything this season was about. There’s lots of emotional depth, lots of mystery, a bit of action, and overall, a whole lot of time devoted to the characters. Every member of the cast does an amazing job, even the guest stars. The people behind the camera also do great work-the cinematography is excellent, the writing is awesome, the music could not be better, the art direction is terrific, the editing is done well, and the overall direction is great. This is definitely the best way to end the season, and the cliffhanger of what’s in the hatch is going to be debated for the entire summer-will it be hope, as Locke thinks, while he bounds towards the blown hatch, or just Twinkies for Hurley?
Season 1 of Lost has been a look at fourteen characters, and how they change when put onto an island with none of the problems that followed them at home. All of them change, mostly for the better. New friendships are formed, even in the face of terrible danger, from Others and monsters and polar bears and God knows what else. The season is great because it works as a whole, or you can simply watch an individual episode and be amazed. It would have been a travesty if the season hadn’t won the Best Drama Emmy which it so rightly deserved. Lost changed the face of television, and reminded the world how good a serial drama could be. There have been numerous shows that have sprung up to copy the success of this show, but none of them can come close to matching Lost’s complexity, characterization, and just plain excellence.