Ah it feels good to write about this show again. After finishing up a term long paper on Throne of Blood it's nice to watch something that isn't Samurai and Shakespere but still with plenty of swords. Note I haven't rea any of the books, I don't plan to. So pleas don't post spoilers if you choose to comment.
After rewatching the final sequence from “The Mountain and the Viper”, I wonder how many times all involved from George R. R. Martin when he wrote it in the book, to Benioff and Weiss when they adapted it into a screenplay, to director Alex Graves when he composed the scene, thought of the Princess Bride. Inigo Montoya (Mandy Patinkin), the swordsman with a heart of gold, who will not let a moment go by where he doesn’t tell someone about what he’ll say to the Six Fingered Man “Hello my name is Inigo Montoya, you killed my father prepare to die.” Because in the world of Princess Bride all you needed was some elemental truth to fuel your quest, be it love or vengeance, eventually you will win out. The ones who have wronged you will lie dead and in victory will be rewarded (with a cushy pirating gig).
This is exactly the kind of high fantasy trope Martin must love to bring into the mud and show how foolish you were for thinking that is what you needed. Inigo’s wish come true is recreated beautifully by Alex Graves. Pedro Pascal chants his own “prepare to die” mantra, "You raped her; you murdered her; you killed her children" over and over at the Mountain. Oberyn wasn’t fuled by selfless chivalry to protect an innocent party; he wanted to use this forum to attain justice for his sister and kin. Revenge may be a worthy cause like in Princess Bride and here but it consumes both of its questers . Oberyn was done in by the fact he couldn’t let the Mountain simply die with all those in the known, knowing what really happened. He had to get a confession. Hafþór Júlíus Björnsson confessing to all those things as he smashes Oberyn’s skull in adds salt to the wounds and brings that trope low.
The fight itself was nicely edited, mixing in close ups and wide shots since Pascal likely can’t do all that flipping. The end product comes off as if it were out of a 90s anime. As Pascal or his double dose his acrobatics with the spear, the final twist of the spear or apex of a twirl are replayed from different angles, letting the viewer take in some acrobatic beauty and give some real kineticisim to the frame. This kinetic energy balanced by the statuesque appearances of Cercie and Tywin. The prevalent use of wide shots give a sense of the scale between Björnsson and Pascal but also makes them both look like the bug Tyrion played with has he opined never divining why his cousin smashed those beatles.
It is to this shows credit that it has been able to consistently introduce new characters and make you empathies with them…only to snatch them away so consistently. Much credit should be given to Pedro Pascal who was a presence the second he strolled into the whore house and brushed his hand over the candles flame. Oberyn Martell wasn’t a deep character, he wanted revenge and loved the flesh and that’s about it. Coming off season 3 however, we were all willing to jump into bed with the guy who hates Lannisters with their “lions, and their gold lions”. He was going to be our agent of vengeance. Now he lies, head exploded, a bloody mess.
Westros isn’t the Princess Bride and as Tyrion is oft quoted in the seasons marketing material, “if you want justice, you’ve come to the wrong place.”
Suddenly Arya’s hilarious laughing fit at the death of the Aunt she never met seems oddly prophetic, she’d defiantly laugh at this whole situation.
The rest of “The Mountain and the Viper” can be seen as either is mostly setup for what’s to come in "The Watchers on the Wall" or an even longer thread. The Wildlings are raiding Mole’s Town meaning Castle Black is next. Arya and the Hound finally reach the Vale only to discover Lyssa died three days earlier.
The slow burn relationship between Missandei and Grey Worm has really opened up the Danny side of things beyond her and the advisors. The intrigue is kind of a base one, who doesn’t love watching a storyline play out about people not getting what they want despite being so close? How does this relationship even exist in any place beyond the margins in this world? Grey Worms doesn’t have the physical or hormonal toolset to really act in a world were manhood is defined by organs and ones ability to physically please as much as emotionally satisfy. Instead we have the show trying to explore an emotional relationship with an awareness that the physical end results can never fully occur. If I were better equipped to come at Grey Worm’s bit of voyeurism from the perspective of the male gaze, o that’d be something.
Once the scene from season one, where Jorah is offered his clemency, showed in the increasingly long previously on opener you knew it was it for Jorah. I suppose Ser Barristan and Jorah would look alike to a kid, they’re both old Anadals men. Emilia Clarke is shaking as she banishes her former highest advisor from Mereen. The cameras get in to extreme close up for both of them so you can see how their eyes do not match as it cuts back and forth. Jorah stares straight at his Queen as he begs for forgiveness. She stares at the ceiling and back wall, projecting above and away from him, not giving him the time of day. It’s a major betrayal and one that only serves to weaken Danny’s already tenuous grasp on the situation.
Jorah’s banishment makes for a nice mirror to the inquiry Baelish faces in the wake of his new wife’s death. His entire power play ends up hinging on Sansa Stark actually becoming a good liar. The best lies are really just another version of the truth. Her following scene takes an even darker turn as she actually asserts her abilities in this game. She doesn’t know what plans to do but she knows what he wants and that gives her power.
For an episode that climaxes with the gruesome, bloody disgusting, death of a major character, “The Mountain and the Viper” pulls of some great moments of personal tension. Emilia Clarke’s performance as she banishes Jorah could easily have ended with her spitting fire. Or the way the low angle pov shot just hangs Ygritte as they raid the tavern/whore house and she mimes “shhh”. All these moments that could turn sideways in an instant and they finally did as the Mountain trips Oberyn to the ground and well you know the rest.
Bits At The End
I'd highly recommend listening to the latest episode of The Buisness on KCRW. In which directors Michelle Maclaren and Alex Graves talk about the simultaneous production of Game of Thrones.
One more Thought on Revenge
I am Michael Mazzacane and you can find on Twitter @MaZZMand at weekntv.com
Log in to comment