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Original Air Date
Erik Satie: Gymnopédie No.1
Dana Scully: "You think you can look into the face of pure evil, and then you find yourself paralyzed by it."
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After "Beyond the Sea", this is the first time where Gillian Anderson is having the chance to bring an interesting performance.
The result is outstanding. Her performance is more than brilliant. There are two particular scenes. The first, when she is back at the FBI in D.C. and talking about her own feelings. The dialogue are so powerful and realistic that she can and did bring something extraordinary out of it. In the first seasons, the series is produced in such a realistic and humbled way that you can only feel endless gratitude watching it. This is so far away from the fanfics-like dialogue from the latest seasons.
The second scene is where Scully is being rescued and breaks down crying in Mulder's arms. The scene is so delicate, so beautiful. Also, Mulder doesn't kiss her in her hair or try to confort her. He just stands there, no knowing what to do. You can also feel so many different things in his attitude.
Once again, this is a brilliant and dark directing from David Nutter.
Yes, the tone is dark. So dark that this looks like a "MillenniuM" episode.
In this episode, there is no paranormal phenomenon, and that feels like a huge relieve. We can simply enjoy a scary story. This is what The X-Files would have looked if we would have seen Mulder and Scully working at the violent crimes section. This is a show I would have watched for sure.
The soundtrack from Mark Snow is very original and different from his previous work on the series.
I give the episode 10 out of 10. One of the best episodes of the entire series.
The fetishist, or Irresistible, is simply one of my favorite episodes. At least he is in my top ten.
Everything is perfect in this episode. It's a unique theme in the series. And it is tackled here with a shattering realism that still gives a lot of trouble today to the current series. This episode is the most perfect representation of what I like to see in a good loner: a brilliant scenario, a breathtaking achievement, actors at the top, a heavy and dark atmosphere (even gloomy), and a frame -well that a little slow - which is constantly rebounding. The music could not be other than this one for an episode of this temper. The big violins of season 2, me, I want more!
This is the first case where Mulder realizes what is hard to bear for a woman in their profession, so masculine generally. The episode, quite classic bill, is borrowed from ingenuity unprecedented in treatment. We begin the investigation first on a profanation of burial whose corpse is a girl whose hairs and nails have been cut. But no concrete evidence allowing possible arrest. Then, as Pfaster's instincts and impulses gain ground, he begins to kill to satisfy his needs. The atmosphere of the crime scenes is exactly CC's signature; for the horror effect given by the suggestion. Nothing is shown, but the insistence on the before and the after, the slowness and precision of the actor, makes us imagine the scene in the worst possible horror.
A few words also about the exceptional acting of the actor, who stayed long in my memory as the trophy of a season above all suspicions.
The opening scene, longer than normal, is of interest to the viewer on Pfaster. Everything is done slowly, willing and indispensable to translate reality.
A reality in the realization and atmosphere of the episode that adds its stone to the building of terror. It is in this that it imposes itself: by its credibility. No supernatural power, no paranormal phenomenon. Just a psychopath with a fierce hatred of women, a maniac, a fetishist. A beautiful killer and endearing by his complexity of social man, looking for a job, resuming studies, having a religious feeling, but whose life only makes sense by collecting the hair and nails and even the fingers of beautiful women .
In other words, we really feel that CC has written a masterpiece with a deep and constructed character, having a real identity, and therefore a real story. All this in a crescendo from the beginning to the end of the episode.
On the other hand, Mulder is here at the height of his element, it is enjoyable to see him paint a portrait so accurately and intelligently. It is the profiling Mulder shining here. And a Scully doing an autopsy in solemnity and repressed compassion, with an explanation of her work step by step in voiceover. I love.
Of course, the main interest of this episode, besides the character of Pfaster so fascinating, is especially the psychological aspect of Scully. It is indeed very rare, finally, that one looks at the difficulties of their work and how that can test the morale of the troops. Scully's session with the Employee Assistance Psychologist tells us a lot about Scully's personality, about her vision of the world, about being a woman out of her nature as an FBI agent. Gillian's moving game, the best in this kind of scenes (to my taste), adds an intense emotional dimension to this episode. We understand all the better how she lives her relationship with Mulder. She wants to protect him from the fact that he has to protect her ... this is another way of describing their deep friendship (which unconsciously for both of them was already a dormant love). This opinion is of course personal. Notwithstanding, the end of the episode is reminiscent of the episode One breath / Coma. Given the scenario and profile of Pfaster, the Scully kidnapping was inevitable. Simple question of logic and credibility.
When I say that this episode is reminiscent of One breath, I'm talking about the impact on Mulder of the new Scully kidnapping. Except that this time, the threat is not extraterrestrial, but just as dangerous, even more, considering how long Pfaster is killing its victims ...
Really in the great tradition of the most beautiful loner I count in this series. They are of course many, but it is distinguished by a "flavor"special. Very dark, with very realistic situations and quite plausible. I think for example of his intrusion as a delivery man for Ficcicello in this family; with mom making cookies, it smells of deep America, a charming mother, who does not know she's getting a monster. This kind of process is indeed quite common in many horror films, except that here, in the intelligence of always, the most important is not so much the murders in themselves but the apprehension of the victims (from Pfaster). I love the scene in the bathroom, when he digs in the trash and breathes, or sniffs a tuft of hair! Pfaster fascinates me because he holds a completely animal aspect, but coated with a great apparent delicacy, to put in confidence, while always having this air a little sadistic.
Finally, the scene in the big house of his mother, is really what one would call in theater "the point". The height of the classic suspense is very effective. On the other hand, this aggression forces Scully to admit that she needs help. Even to have a shoulder on which to cry. Obviously, I do not forget the "detaillistes" that I hear already say to me: "yes, and of course Mulder arrives just when he was going to kill her!" ... Yes.
Here is. Irresistible, I think, is aptly named. When I see him, he is my favorite.
Besides, it is a bit like the season that brought her: when I see her, it's my favorite.
No, really, at the risk of repeating myself - it's not a big deal - it's remarkable to have such a climate and character in such a short time. From where perhaps the Orison episode that, for a season seven episode, I had a lot of appreciation too. But objectively I liked it because it meant the big comeback of my favorite villain / monster. Finally, the fact that the team wanted to do a sequel, is the proof of the success of this episode. A jewel! I give it 10 of course!