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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 That machine just seems so old and outdated, which it is.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.
My favorite is #11, just because Sam, even as RoboSam, just looks so beautiful, vulnerable yet frightening, all in one.
Second fav is #13. I like how Dean is kneeling, it almost looks like he is petitioning her, and the fall of the girls hair so it hides her face, it leaves the answer to his petition a guesswork. It's either beautiful or creepy, depending on how you look at it.
Glad you got this up Arde! Makes the wait for Friday that much easier.
As always, I love your choices, dear. I think the impala outside that worn-down building - isn't that the same building the used in CHanging Channels?
My faves are No 11, a moment where Soulless Sam actually came across as a possible human, yet other than Sam, being. 'He want that other guy back. Doesn't care about me.'
But I also like the Whiskeybottle shot, and the last one, with the light of his soul coming out of the bag and enlightening the room. Very Lord of the Rings, here.
Thanks again for this fun piece, Flamey!!
Love, , Jas
Iâ€™m so glad you remembered and found the time to put this together.
I always enjoy your visual reviews.
My favourites are 9, 11 and 14.
#9 for all the same reasons as yours
#11 Because Sam really looks so sad and regretful.
#14 I love the lighting in this one. The way the sunrays are shining through the back windows and reflecting on the floor. I also love how the table still has the poker game in play and Death is so casually sitting and eating like this is all normal.
Btw if you found Deanâ€™s combination of upper and lowercase amusing, you should see mine. Not only do I combined upper and lower, I also bring in a mixture of printing and cursive. Itâ€™s not pretty!
I like #5 the best because we did get to see more of Bobby's property. But there was the sound of the train in the background. I don't think that was something that was added in post-production , that was something that happened while filming. It was one of those happy coincidences that gave added depth to the scene.
I love No. 13, not just for Dean kneeling the whole kneeling down to the kids level but because of the little grin he gives her at the end. He doesn't sugarcoat what happened or lie to her. Nice, Dean.
Also loving No. 11. Just the angles, and the shadows and the angles... Plus the contrast between the look of defeat on his face teamed with the crowbar in this hand. Fab.
Finally, no. 15, mainly for what it symbolises; Welcome back, Sammy!