Page 1 of 2
I bet you all thought I'd forgotten about this, huh? Well, you'd be right because I did. Mea culpa! In my defense, I was distracted by 12 Days of Christmas and then the convention and...yeah, I know, excuses, excuses. But hey, now it can be a little refresher course, remind us of where we left off...in the world of lovely "Supernatural" images. "Appointment in Samarra" was directed by Mike Rohl and was his seventh episode for "Supernatural." He also directed a few personal favorites of mine, "My Bloody Valentine," "Monster at the End of This Book," and "On The Head of a Pin." So we're in good hands!
This is going to be a long review if I'm grabbing a cap from the first like five seconds of the episode, but what an establishing shot. We know right off the bat that this is definitely not the type of place the Winchesters normally frequent. And I have a soft spot for open-air markets since growing up, my dad used to take my brothers and I to a giant one in Cleveland as a special treat.
I find it highly amusing that Dean has used a combination of upper and lowercase letters in his address.
I really can't tell you why I like this shot so much, of all things, but I do. That machine just seems so old and outdated, which it is. Compare this to the monitors at the hospital later on in the episode, and I'm amazed this thing is still running. I don't know, I just feel like if Dean's going to die hooked up to a pulse machine or whatever they are called, then this is the one.
You have to wonder how many times throughout their lives this scenario has played itself out. Bobby is just waiting for them to stop arguing so they can get on with it.
I always love seeing Bobby's collection of junked cars. They're like a rusted, metal flower garden.
I really like the angle of this shot and the starkness of Dean with that light pole. Speaking of the light pole, this shot really reminds me of the reaper scene at the end of "Faith," which is very appropriate considering Dean is about to become Death. Also, Dean, Count Dracula called and wants his cape collar back.
Now we're talking. The Impala in front of a run-down building? Two of my favorite things! This episode up till now has had a lot of close-exchange dialogue, so there haven't been a whole ton of opportunities for really cool shots like this.