 Tagline: Welcome To Deadwood... A Hell Of A Place To Make Your Fortune. All 36 Episodes - 13 Discs In an age of plunder and greed, the richest gold strike in American history draws a mob of restless misfits to an outlaw settlement where everything - and everyone - has a price. The settlers, ranging from an ex-lawman to a scheming saloon owner to the legendary Wild Bill Hickok and Calamity Jane, share a constant restlessness of spirit, and survive by any means necessary. Storyline: The town of Deadwood, South Dakota in the weeks following the Custer massacre is a lawless sinkhole of crime and corruption. Into this uncivilized outpost ride a disillusioned and bitter ex-lawman, Wild Bill Hickok, and Seth Bullock, a man hoping to find a new start for himself. Both men find themselves quickly on opposite sides of the legal and moral fence from Al Swearengen, saloon owner, hotel operator, and incipient boss of Deadwood. The lives of these three intertwine with many others, the high-minded and the low-lifes who populate Deadwood in 1876. Written by Jim Beaver Reviewer's Note: Reviewed by Kenneth Brown on November 15, 2010 -- The TV Western rode off into the sunset long ago -- its shoulders slumped stoically atop a weary horse, its best years at its back -- leaving its duly devoted wondering whether the once-spry genre was dead or still kicking. It took with it well over a hundred popular series, among them classics like Gunsmoke, Bonanza, Rawhide, Little House on the Prairie, The Virginian, Maverick, The Rifleman, Have Gun Will Travel, Wagon Train, Big Valley and the oft-forgot High Chaparral; iconic '50s and '60s television old men treasure and young men fondly remember sampling while spending time with their grandparents. Since then, a few valiant stragglers have appeared on the horizon -- the short-lived Adventures of Brisco County Jr., Dr. Quinn Medicine Woman, Walker, Texas Ranger and Firefly (I'll fight any man who suggests Joss Whedon's space Western shouldn't be included) -- but none have signaled the return of the TV Western as a viable genre. Even Deadwood, HBO and creator David Milch's sharply penned, beautifully shot, critically hailed, grim and gritty premium cable series, only survived three seasons before joining its forbearers in the hereafter. Untimely as its death may have been though, Deadwood carved out an unforgettable place for itself among the genre greats, shedding the rosy romanticism that previously dominated TV Westerns, serving up a colorful cast of nefarious ne'er-do-wells and flawed gunslingers, and delivering what HBO has become known for since David Chase's Sopranos first took viewers by storm: bold, cinematic, captivating television. Entrenched in real history and teeming with notable men and women who lived in the late 19th century, Deadwood tells the unsavory, at-times explicit tale of a crime-infested South Dakota boom town that experienced a rapid economic and cultural expansion during the Black Hills Gold Rush of the mid-1870s. The town, of course, is Deadwood (a settlement deemed illegal by the U.S. government because it was established on land promised to Native Americans in a 1868 treaty), and its diverse denizens come from all walks of life. Amidst the greed and madness rise two men -- Seth Bullock (Timothy Olyphant), a former lawman who finds himself wearing a Sheriff's badge once again, and Al Swearengen (Ian McShane), a temperamental entrepreneur, crime lord and pimp who holds enormous sway in the community -- stubborn adversaries struggling to bring very different brands of law and order to Deadwood. But Bullock isn't just a true-blue do-gooder, nor is Swearengen the inhuman monster he first appears to be. Both men are far more complex creatures of habit whose destinies are intertwined. Between them stands a string of opportunists, killers, immigrants, prospectors, vagrants, thieves, gamblers, Old West icons and honest family folk, each one vying for a piece of the Black Hills' riches. People like Sol Star (John Hawkes), Bullock's business partner and faithful friend; Trixie (Paula Malcomson), a prostitute fighting to survive; Cy Tolliver (Powers Booth), a Swearengen rival; E. B. Farnum (William Sanderson), Deadwood's mayor; Alma Garret (Molly Parker), widow and available bachelorette; Whitney Ellsworth (Supernatural's Jim Beaver), kindly prospector and all around good fellow; Wild Bill Hickok (Keith Carradine), legendary gunman and feared quick-draw; Calamity Jane (Robin Weigert), compassionate scout and frontierswoman; Doc Cochran (Brad Dourif), Deadwood's physician; Mr. Wu (Keone Young), a foul-mouthed Chinese power player; and a slew of others (played to perfection by Garret Dillahunt, W. Earl Brown, Anna Gunn, Titus Welliver, Jeffrey Jones, Ricky Jay, Kim Dickens, Dayton Callie, Leon Rippy and other talented character actors), some loyal to Swearengen, some desperate to see Bullock prevail, some simply hoping to stay above the fray. And oh, what performances Milch's impeccably cast actors deliver. Olyphant draws strength from stillness, and his icy stare and unshakable stance lends his presence tangible authority (with or without a badge tucked beneath his jacket). McShane is as vile a devil as television has known, but the fragility and humanity that beats within the Deadwood demon's heart is as deftly developed as it is masterfully portrayed. Malcomson's fearless resolve demands respect even when her character's decisions demand otherwise; Parker's reserved demeanor and genteel spirit masks the conflict and addiction coming to bear on Alma's soul; Boothe is arguably more vicious than McShane, bringing with him suitable menace and gravitas; Beaver is a breath of well-intentioned air in a dank and dangerous world; Carradine infuses his episodes with a sense of no-nonsense wisdom and nobility, even if his time in Deadwood is woefully brief; Douriff is a delightful jumble of nerves and expertise; Weigert's initially bullish masculinity soon softens and reveals something far more substantial; and the whole of the ensemble, regardless of the size or breadth of the individual actors' roles, exudes calculated charisma and slow-brew intensity. Each one grabs hold of Milch and his writers' material as if it were Shakespeare's finest, and their classically honed, meticulously refined performances are akin to those of a sprawling stage play born out of a bygone age. Shakespeare's name is haphazardly invoked in many a critical analysis nowadays, but other comparisons between Deadwood and the Bard's work hold tremendous weight. Milch's dialogue, while laced with near-gratuitous levels of modern profanity, is confidently constructed and absolutely crucial to whatever blessings or curses befall Deadwood, and its Midwest rhythms, dense diction and gold-rush colloquialisms are as poetic and lyrical as they are gruff and unseemly. (Don't misunderstand: it isn't difficult to keep up with the characters' conversations, but the sheer complexity of the language employed makes second and third viewings rewarding experiences.) His characters, bristling with violent tempers and brutal dispositions, are an unlikable band of strangely endearing riff-raff; intriguing human beings defined and warped by the volatility of their environment and the lawlessness of the era. Moreover, Milch's exploration of the politics, socioeconomics and cultural realities of the late 19th century are inexhaustible; his team's attention to detail is overwhelming and the series' ever-evolving production design is breathtaking and authentic; the themes he tackles and the questions he poses have no easy answers; the misfortune that unfolds and the victims that are discarded along the way elicit genuine emotion; and the stories that emerge are as mesmerizing and engrossing as they are unsettling. From beginning to end, through thirty-six episodes, Milch's mind concocts a maze of moral ambiguity that turns the traditions of the genre on their ear, weaves a fascinating tapestry of bleak history and smart fiction, and suggests the once-stalwart TV Western could still one day make its triumphant return. As for Deadwood's three-season lifespan, have no fear. While Milch certainly didn't have the opportunity to go as far with the show as I'm sure he would have liked, the story is still a satisfying one, many of the various character arcs come to some manner of fruition, and the series' conclusion, despite a number of loose ends, wraps things up nicely. Whether by foresight or design, Milch's tendency to focus on more singular aspects of Deadwood life -- be it business, politics or the changing tides of power -- makes each season feel complete unto itself, and each successive season a welcome extension of an already full and generous tale. Rome and Carnivāle (an unexpected surprise I would love to see released on Blu-ray) weren't so lucky, mind you, and the ramifications of their early cancellations are more readily felt in their final seasons. In other words, there's little reason to avoid Deadwood: The Complete Series. It may not have been able to sustain itself in the cutthroat world of ratings, but it deserves as many chances as newcomers are willing to give it. In an alternate universe -- where quality, not viewership, dictates programming -- David Milch's Deadwood just closed out a successful seven-season run, won a record number of awards and single-handedly resurrected the television Western. Sadly, in our neck of reality, the series only thrived for three brilliant seasons before meeting its untimely end. Still, that shouldn't prevent anyone from digging into Deadwood and enjoying every crude but captivating minute of its increasingly addictive thirty-six episodes. HBO's Blu-ray release is just as worthwhile. With all three seasons of the show in one convenient, smartly designed box set, a stunning video presentation, a quick-draw DTS-HD Master Audio track and twenty hours of special features (including seventeen audio commentaries and more than six hours of high definition documentaries and featurettes), it justifies its admittedly wince-inducing pricepoint. So crack open your wallets, update your holiday wish lists, elevate your expectations and prepare yourselves accordingly. You won't regret it. Cast Notes: Timothy Olyphant (Seth Bullock [36 episodes, 2004-2006]), Ian McShane (Al Swearengen [36 episodes, 2004-2006]), Molly Parker (Alma Garret [36 episodes, 2004-2006]), Brad Dourif (Doc Cochran [36 episodes, 2004-2006]), W. Earl Brown (Dan Dority [36 episodes, 2004-2006]), John Hawkes (Sol Star [36 episodes, 2004-2006]), Paula Malcomson (Trixie [36 episodes, 2004-2006]), Dayton Callie (Charlie Utter [36 episodes, 2004-2006]), Leon Rippy (Tom Nuttall [36 episodes, 2004-2006]), William Sanderson (E.B. Farnum [36 episodes, 2004-2006]), Robin Weigert (Calamity Jane [36 episodes, 2004-2006]), Sean Bridgers (Johnny Burns [36 episodes, 2004-2006]), Bree Seanna Wall (Sofia Metz [36 episodes, 2004-2006]), Jim Beaver (Whitney Ellsworth [35 episodes, 2004-2006]), Jeffrey Jones (A.W. Merrick [35 episodes, 2004-2006]), Kim Dickens (Joanie Stubbs [34 episodes, 2004-2006]), Powers Boothe (Cy Tolliver [34 episodes, 2004-2006]), Titus Welliver (Silas Adams [27 episodes, 2004-2006]), Peter Jason (Con Stapleton [26 episodes, 2004-2006]), Anna Gunn (Martha Bullock [24 episodes, 2005-2006]), Larry Cedar (Leon [24 episodes, 2004-2006]), Geri Jewell (Jewel [23 episodes, 2004-2006]), Ralph Richeson (Richardson [19 episodes, 2004-2006]), Keone Young (Mr. Wu [18 episodes, 2004-2006]), Ashleigh Kizer (Dolly [17 episodes, 2004-2006]), Garret Dillahunt (Francis Wolcott [16 episodes, 2004-2005]). User Comment: killgore86 from Brea, California, 23 September 2004 • Don't get me wrong, there have been great westerns to come before Deadwood, but none of them really got it right. There is just a reality that some people aren't willing to deal that after 50 years of our history being whitewashed through film and TV, we're finally starting to see the truth. David Milch has done his research and discovered the wonderfully bizarre contradiction of languages used in the old west. Watching the cast of Deadwood converse with a combination of old world English laced with profanity straight from the gutter is incredible and feels right for the first time. Where do people think our language came from? People always want to think that they were the first to do something, when things like profanity, substance abuse and prostitution have been around since before man walked erect. Along with the incredible dialog and storytelling, David Milch has introduced possibly the greatest character to ever come to TV or film...Al Swearengen. Ian McShane plays Al with the same intense conviction and truth that the character himself lives by. In Al's world things are black and white and never apologizes for a second for living his life by a strict code of morals of his own making. I don't think we've ever seen a character go from crying after a mercy killing to watching a murder he orchestrated stone faced. This is indeed a special show that is continuing to pave the way for the facts of our history to finally be told with truth...Instead of the whitewashing we've seen our whole lives to make us feel better about ourselves. Summary: They finally got the western right! IMDb Rating (02/03/11): 9.2/10 from 14,950 users
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