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Mad Men Season 4

July 26, 2010 by Post Team 

Mad Men Season 4Mad Men Season 4, If the first line of dialogue from the fourth season of Mad Men is designed to present your topic in progress – “Who is Don Draper?”, Asked by an interviewer Ad Age profiles Don – I think Don’s response is that I really season gets into a more concrete way, directly. SPOILER ALERT. DO NOT YOU WANT TO READ THIS IF YOU DO NOT KNOW WHAT HAPPENED IN mad men tonight.

“What people say when I ask?” Don re-fit. Couple things here. Creator Matthew Weiner, who wrote this episode, was careful to use the word “men” on that line, because in the period between the mid-1960s in which Mad Men is set, no one would think that a woman would an executive at both interviews. Then there is the tone of the answer: Don is irritated by the temerity of the question (to Don about his identity, Batman is like telling your jaw is very similar to Bruce Wayne), but unlike Don Draper’s first season Mad Men, he is more hesitant about letting displayed irritation. Now, the figurehead of the nascent firm Sterling Cooper Draper Pryce – and, outside the office, a man without impediment, no wife waiting for him at home – did not become a new what-hell- and much-chips-fall-where-are-can attitude. He is still settling into the role, however. He told the man Ad Age, “I’m from the Midwest and was taught that it is not polite to talk about yourself” and he is busy being non-polite to the interviewer.

I like this new gift. I like this man likably nasty tells some of the potential customers by selling Jantzen swimsuits, because the opinions of its fussiness fussy both foolish and hypocritical. I like this new gift that goes back to his Greenwich Village apartment and barks in the day as a maid to move your shoe cleaning kit … and then proceeds to show that is so meticulously prim and pious rustics have started to sit after work and immediately shined shoes for tomorrow kicks butt.

At work, Don strode the halls of the new offices of SCDP jazz music, energetic swelled on the soundtrack, like a theme song from a TV show of the time – for example, The Name Of The Game. Director Phil Abraham allowed us to simply luxuriate in the detection of our old favorites (there Peggy! There Joan! There Bert Cooper! There Harry crane with a sunburn LA ridiculous!). Weiner was friendly with fans, allowing us to enjoy a simple bunch of smart dialogue, and introducing a new character, like Peggy’s new partner-in copywriting, Joey. Weiner shorthanded the privacy of work that has been established between them since the last time I saw the show by sharing a joke, moaning “John” and “Marsha!” To each other – a reference to a routine so popular by Stan Freberg, the great comedian and himself a superb ad-man. (In fact, the appearance of a character, as Freberg, one of the race then new ad men who liked to satirize the very notion of advertising – here’s one of your points, that is doing the voice Freberg off – would make for a dandy one-off bit.)

Meanwhile, in the cleft Mi-dolls-Ville, Suburbia, Betty was busy without leaving the house that she and Don used to share, and grabbing the arm of Harry during Thanksgiving dinner with the family of Harry as though it were a life raft. Just when you begin to feel sorry for new fresh hell Betty, was a reflection cruel to his daughter Sally, and mother of Harry hatchet, it contained no maternal, leveled his verdict: children Betty “are terrified it “(very true) and” She’s a foolish woman “(sometimes, but more often a stubborn, fear).

These scenes of tension is too perfectly contrasted with a scene of making Don, who spent his Thanksgiving paying good money to have a whore come and go through what we saw was a regular ritual: The pross at the top, Don slaps. “Harder,” he said. She said the words that could also be Matthew Weiner’s words to us, the audience: “Stop telling me what to do, I know what you want.” Thank God the show cut off before she pulled Don kit shoeshine …

While we have fun subplots Peggy as a publicity stunt gone wrong, the focus was mainly on moods Many of Don Draper, if given the indulgence of a single parent letting the kids vegetables to see Sky King or play hard Betty, threatening to ask her to pay the rent … and you know things are bad for Betty when Harry took the side of Don.

dinner date Don mentioned the murder by the Ku Klux Klan of the civil rights activist Andrew Goodman in Mississippi as a current event, making this season in 1964. (The same goes for the closing music, young Nashville ’64 version of “Tobacco Road”, which in turn may be a sly nod to the comment earlier in the episode of Lucky Strikes currently represents “71% of our billing. “) As always, Weiner and resist the business culture most obvious – Beatlemania – undoubtedly saving it for the right moment later.

In another series, I’d say if you can hold the energy of this release, we face a big season. But when it comes toanlyzing Mad Men, well, I quote Le Draper: “I try and stay away from this kind of mischief.” Mad Men does not play by the rules of setting a tone that is carried out in subsequent episodes. We have to take a week at a time, like Don is facing a crisis, work or in what was now calling home a laugh, a moment, a scene, a line of dialogue at a time. Take it or leave it.

How will the first episode?

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