By Alexis Soloski
By R. C. Baker
By Alexis Soloski
By Tom Sellar
By Araceli Cruz
By Brienne Walsh
By Alexis Soloski
By Alexis Soloski
If you'd asked me what I thought of Six Feet Under last year, I would have shrugged noncommittally. Something about HBO's funeral-parlor series bugged methe way it seemed so damn proud of its eccentricity and broodiness, even while it resuscitated cheesy gimmicks like talking ghosts, best left to melodramas like Providence and Sisters, and compulsively unleashed soap opera plots (psycho-killer brother, illegitimate baby, etc.). I never got attached enough to these remote, pent-up characters, though I loved Brenda's exquisitely nihilistic sex spree last season (culminating in her ménage à trois with a couple of teenage surfer boys), and I was secretly thrilled by the gradual cracking of Nate's saintly veneer and the prospect of his impending doom via brain surgery.
All my reservations vanished as I watched the first half of the new seasonSix Feet Under has been transformed into TV's most visually ravishing experience. (The first three episodes will be rebroadcast together on March 22 if you missed them.) It has achieved a vibe redolent of contemporary photographers like Gregory Crewdson and Philip-Lorca DiCorcia, who create dramatic, magical tableaux out of humdrum, real-life moments. As if to confirm this connection, producer Alan Ball hired Crewdson to shoot the promotional photo for this season, an eerie image of the cast sitting around the kitchen table, the floor engulfed by flowers. Ball told the New York Post, "[Crewdson's] works seems to be about the sort of secret, surreal life that exists just beneath the surface of mundane surroundingsand that's very much what our show is about."
Six Feet Under has been delivering its own startling tableaux in regular doses: A highly strung Hollywood producer hides inside a white cocoon she's made with her Fratesi sheets; frumpy family matriarch Ruth (Frances Conroy) sits alone on a giant, oversized bench, her legs dangling down like a toddler's; strapping ex-cop Keith (Mathew St. Patrick), now demoted to security guard, fishes a dead dog out of a Hockney-esque swimming pool. And of course the whole season starts out with the ultimate existential montage. Nate (Peter Krause) hallucinates alternate realities during his cranial surgery, visions that include a serene moment with new-agey girlfriend Lisa (Lili Taylor) and their baby Maya; a more boisterous vision of himself with his ex, Brenda (Rachel Griffiths); and a glimpse of a world in which Nate never existed at all. Although he emerges from the surgery without brain damage, he moves through the series with the glazed look of a man wading through honey.
Everything in subsequent episodes seems to radiate out from Nate's near-death experience; instances of déjà vu are scattered all over the place. This lends the show a gentle, hazy pacea marked improvement on the forced edginess that sometimes afflicted it in seasons past. Director of photography Alan Caso, who has shaped Six Feet Under's visual sensibility from the beginning, says he deliberately avoids what he calls "the kinetic, almost chaotic movement style of network TVyou know, the NYPD Blue thing. We don't move the camera a lot unless there's a reason to move it, motivated by the emotional intent of the scene. We do a lot of very formal shots where you let things play out on a proscenium, treating the frame almost like it's a stage."
Caso admits that the show's look changed a lot this seasonthe crew switched to a wide-screen format that evokes a more cinematic feel, and he's made the lighting moodier. "I feel like we're always in a bat cave. We're in their environment and the rest of the world is always trying to invade, but never really gets into all the dark corners of the Fisher house. Every character on the show is so messed up that the lighting really works with themthere are so many dark areas in their psyches."
He says the main component of "the Six Feet Underlook" is the wide lens, which rarely gets used on television. "It gives us a much more in-your-face style than traditional television. Have you ever talked to somebody at a party and they stand a little too close? It's a very creepy, uncomfortable feeling, and that's what we've been doing, putting the audience in the shoes of someone who stands too close, so you feel you've invaded the characters' space."
Although it's set in L.A., you won't see many tan lines or tube tops. A lot of scenes take place inside the family's cloistered kitchen, with its flocked wallpaper and cluttered cupboards, or in the white-tiled embalming room. Yet the show is drenched in indirect light; sunshine pounds so hard on the kitchen windows they ought to break, and it slices through the vertical blinds of the shrink's office where David (Michael C. Hall) and Keith are undergoing a humorous bout of couple's therapy. Now that he's out of the closet, David is venting emotions like crazy. ("I feel shamed," he announces when Keith snaps at him for adding too much pepper to the bok choy.) In Six Feet Under, Californian expressiveness doesn't necessarily lead to happiness, though: Brenda's let-it-all-hang-out psychiatrist parents thoroughly screwed her up, and Ruth's flirtation with a cultish program called "the Plan" left her more estranged from the world than ever.