Follow @SLMantell
It’s not surprising that Hell on Wheels has not fared well
in the area of blog criticism. Some
critics have blasted its brooding nature, calling it boring and slow. I suppose
it is tough to imagine a time when
communication and information were not instantaneously available to everyone. Things took time back then and I think the show does an
excellent job of recognizing that and playing it out. I have no problem with
seeing Cullen Bohannon’s search for his wife’s killer derailed by a moral dilemma. Or, specifically, his "moral mathematics".
I’m
dismayed at the criticism that the dialogue is considered too simple. Bohannon
is a man of little words to begin with. And I’m not sure I’d be so on board
with a bunch of pioneering ruffians speaking articulately about their feelings.
That wouldn’t seem quite right either. A lot of people at that time were uneducated about communication and
rhetoric. They spoke plainly and directly, not passively, leaving no question
about their intentions.
Some of the
finest moments of this show come while watching someone brood! Bohannon
is a thoughtful character. He is tough, and fair, and the moments where he’s
not saying anything are his finest. He’s a thinker. In the finale, when he
kills the wrong man, he abandons his thought and reveals the only weakness we’ve
seen in him thus far. The past blinds him with rage, and he loses his cool when
he’s confronted with an opportunity to try and change that past, an ever futile
endeavor.
The finale
leaves us with much to ponder about our other characters as well. The Swede has
intrigued me from day one. I like the guy. I think he’s hilarious. When Bohannon sees the Irish running him out of town, he
gives no indication of his consent one way or another. I have an inkling that
Bohannon likes him too, even though he beat him with a strap with a metal loop
attached to the end. The Swede is crazy, and it’s fun to watch characters
dealing with illnesses before a time when the medical field wanted to corral it.
He meets a cruel punishment at the hands of the Irish boys in the finale, and
next season should bring us a completely unhinged Swede. Tarring and feathering
someone with OCD can do wondrous damage to their brain, I assume.
Thankfully,
we’ve already seen the unhinging of the preacher, played fantastically by Tom
Noonan. “Choose hate,” he tells Bohannon when he comes to Noonan for counsel. Although
he doesn’t know it, Bohannon has walked in on the preacher attempting to
conceal the decapitation of a Union soldier he committed the night before. Bohannon
leaves none the wiser to the crime, but wrecked inside for a lack of the
guidance he sought. At this, we are left to consider the church’s role in the
town of Hell on Wheels, until next season.
I liked
this finale because it didn’t negate the deliberation present throughout the
season. There weren’t a bunch of rash actions sprinkled in there to spice up the finale.
The preacher and Joseph Black Moon are good examples of this, as the turning
points in their character arc came in episode 9. Trying to pack their struggles
into the finale would have been a mistake. We needed time to see Bohannon
reason with himself that he should kill this man, and in the end we see why he
does it.
We know the
Fair Haired Maiden of the West, Miss Lily Bell wants him and that’s all we need
to know for her. We know Elam is thinking and acting as his own man, a turning
point for a black character set in that time period. And we know Thomas Durante, played by Colm Meany, thinks he’s locked
up funding (as well as Lily's heart) for the railroad to continue. Admittedly, Durante’s story is guilty on
the charge of aimlessness. At the beginning, his drunken monologues to round
out an episode were brilliant. We got a notion of his dark, slanted ambition as
he tore through his manifesto. But this fire seemed to be doused by the placid Lily
Bell as the season went on. Hopefully, this fire is only temporarily quelled,
and will return tenfold within him when Bohannon takes Lily for his own.
For all the
time Hell On Wheels takes, I think it’s pace is brilliantly appropriate for the
setting in which we see it occur. It’s painfully easy to compare the show to
the progress of a first-generation locomotive. It may move slowly at first, but
with a full head of steam, its only threat is that of going off the tracks. And
there’s no slight allusion to the significance of that pace as they rounded out
the final episode with This Train Is
Bound For Glory.