As I have watched Stargate: SG–1 though the years, I've noticed that Peter DeLuise is a fine director with a solid knowledge of the many cinematic techniques available to him. He has shown a deft touch in choosing camera angles and types of shots, clever edits, and a wide variety of cool effects from the lighting department to enhance the story while emotionally engaging the viewer to the production. In this review, I hope to point out some of these techniques in order to illustrate how a creative and skilled director can take a mediocre script like THE TOMB and still produce an entertaining episode from it. My complaint about the script of THE TOMB is that the story is a minimal effort rewrite of the most basic horror plot. There is no attempt to provide development to the reoccurring characters; in fact, SG–1 were two–dimensionalized in order to fit into the simplistic plot. In my opinion, sacrificing your regular characters — the very thing that keeps an audience returning week after week — is a fundamental flaw that will weaken and eventually destroy the integrity of a series.
As I've said, the plot of THE TOMB is a fairly routine retelling of the standard horror plot about a group of people trapped someplace eerie with something very dangerous and the drama is generated by who will be the next to die. Since this is a TV show, I knew the regular characters would emerge unharmed while the guest stars who are trapped with them were doomed to be killed off by the ending credits. This episode had been touted by one of the authors as using the Babylonian history/culture. Actually, all they used were the name Marduk, made mention of the creation myth of the Babylonians and set the action in a ziggurat — all this information I found with a google search within three minutes on the net.
The episode opens with a beautiful matte shot of an ancient ruin and the camera pans towards a massive and hulking ziggurat. The tilted towers and the dark maul of an entrance that our intrepid team is approaching suggests chaos and danger. The next scene is of the team attempting to gain entrance but they're thwarted by a puzzle they must solve before the door can be unlocked. The lighting is soft with warm tones, coming from the side and bathing all the characters in a very complimentary fashion, emphasizing their humanity and perhaps suggesting some vulnerability. There is a bit of humorous dialogue between Daniel and O'Neill where O'Neill calls the structure a 'pyramid' and Daniel corrects him by informing him it's a 'ziggurat.' PDL takes a moment to allow the actors to inject some characterization to the moment; Daniel, focused on getting the details correct, is oblivious that Jack is slightly irritated with him for ignoring the point of Jack's question and instead giving him information that is neither here nor there. The performances, as always, are subtle yet detailed under PDL's direction and RDA's comic timing here is perfect.
The plot advances with the discovery of a pack of Russian cigarettes and after the opening credits, the action resumes in the briefing room. There, the back–story that refers to a past episode is explained and new information is given. There is another comic moment where Jack gives Daniel a subtle dig about not being able to open the door and their interplay is wonderful — all of it is visual and none of it inherent in the dialogue. The cast is filmed in a complimentary manner with lots of close ups and there're given time to react to each other's performances. Since I watch the show for the characters, little moments like this are the frosting on that cake for me and distinguish a quality show from the rest of the pack.
It is shown through SG–1's expression that they are alarmed by General Hammond's decision to have them return to the planet for a search and rescue mission accompanied by a group of their Russian counterparts. The next scene in Daniel's office, O'Neill is irritably expressing his doubts about the wisdom of trusting the Russians and is upset that both Carter and Daniel do not share his concern. This appears to be an attempt to create addition drama by creating conflict between our regular characters, but it is filmed in such a way that we know our core group is still solidly together.
When they go up to the briefing room to meet their counterparts, we see that the Russian team duplicates SG–1 physically. Both O'Neill and the Russian colonel, Zukhov, share a distrust of each other — a remnant of the Cold War attitudes they were trained under. There is a Russian of similar size to Teal'c, Lieutenant Marchenko, and unfortunately, he shares Teal'c's near invisibility during the episode. There is an alert looking younger man, Major Vallarin, who is Daniel's opposite, and in our first glimpse of him, he is drinking coffee, an activity that Daniel is shown to frequently indulge in. The fourth member is a woman officer, Lieutenant Tolinev. Unfortunately, the script calls for O'Neill to awkwardly point out that she's female when they enter the room, which makes O'Neill seem both immature and boorish. I find it hard to believe that O'Neill would be surprised by the presence of a female soldier when it has been demonstrated there are more than a few of them in the SGC, not to mention the fact that he has one on his own team. Interestingly, PDL chose to cast against type, choosing a pretty, very feminine actress for the role instead of the more stereotypical butch female one might have expected. Normally, this would pretty much guarantee that she would become a romantic interest for someone, but this is SG–1: Daniel is only allowed to be sexually desirable to the Goa'uld and other psychotic alien females. Teal'c, portrayed by a black actor, suffers their usual fate of being either completely asexual or comedic relief (an indignity he had been spared until recently.) Carter, aside from the fact that she is also female — and TV still isn't ready to routinely go down that path — is a Black Widow, with all her potential mates suffering a brisk death. No, O'Neill is the only one allowed to be portrayed as desirable on SG–1, but after his initial faux pas, he spends most of his time obsessing over his own counterpart.
The similarity between the two teams is again emphasized by having them stand facing each other across the briefing room table. Major Vallarin even soothes over a too blunt statement by his colonel — exactly as Daniel would do for Jack.
Daniel briefs everyone about the lost Russian team and their mission. The room is plunged into darkness for his slide show display. SG–1 are dimly lit but their faces are fully illuminated. The Russian team is even more in the shadows with a very dramatic lighting that only illuminates half their faces, visually reinforcing to the viewer that the Russian have a hidden agenda and aren't to be trusted. The scene concludes with Hammond giving a go–ahead to the mission and the background music that takes us out of the scene is Russian sounding, giving the viewer the faint impression that maybe the ball is actually in the Russian's court at this point. Tension mounts, not because of the script but due to all the subtle clues PDL has fed us.
In the next scene, both teams are lined up in the Gate Room, the Russians are motionless but SG–1 is relaxed, Daniel is even fiddling with his gear. Again, we are given visual clues that our team may be unknowingly pitted against a more focused and militarily efficient group. Colonel Zukhov gives his team instructions in Russian before they leave and neither the viewer nor O'Neill is privy to the meaning. At this point, the colonels have a face off about who will be in command but the matter is left unsettled with Zukhov appearing distinctly non–compliant. Hammond asks if there's a problem and both colonels quickly, and in unison, answer 'No, Sir,' — and the viewer is again reminded that these two men are actually quite similar because we can actually see them behave exactly alike.
On the planet when Daniel takes too long to decipher the puzzle, O'Neill threatens to use C4 to blow the door open and the humorous interplay between these two is appreciated. Daniel then explains how the door panel is a combination lock and that he needs to press certain panels to unlock the door. Daniel, carrying a book and wearing the head bandanna that he uses when he is in archeologist mode, is saved from sinking in the deepening shadows by further use of the rich, warm lighting that fully bathes him in a red glow. All around him are hardened soldiers, but here he stands armed with knowledge and intellect as he fearlessly unlocks a door that leads to the unknown. The actor is given time to caress the ancient inscriptions and we are reminded that Daniel Jackson's true love is exploring ancient mysteries.
There is a rumble as an ancient mechanism begins to lift the massive stone door. The camera's POV is switched to inside the structure and suddenly the image is reminiscent of being inside the mouth of some massive beast, the downward thrusting door now looking like a giant tooth. Stones and sand fall as the door goes up, and the ground inside the building is littered with previously fallen stones. At this point, it becomes clear that the story has moved into the standard horror plot.
The corridors that wind through the ziggurat are dark and crumbling, branching off at odd angles. The character's flashlights supply the ambient lighting but it still leaves much of the area in darkness. The atmosphere is ominous, and our heroes appear very vulnerable and exposed. At one point, the camera is set at ground level and we see SG–1 enter a large chamber that dwarfs them. Slowly, the camera tracks to the right and suddenly, a pair of boots is silhouetted between the viewer and the light source (a technique that's proven to increase viewer unease.) A skeleton in ragged clothes is reveal — a skeleton that is covered in tiny teeth marks.
Meanwhile, Zukhov discovers a sarcophagus and ignores a direct order from O'Neill via the radio to wait for their arrival before investigating. A booby trap is triggered, causing more rock falls in the incredibly instable structure. Both teams race for the entrance in a very exhilarating sequence. PDL uses a hand held camera and places the cameraman in with the characters as they run pell–mell through the corridors. The lighting is brief flashes from the flashlights and is mainly dark interspersed by suddenly illuminated overhangs and glimpses of multiple corridor choices. It is powerfully claustrophobic, chaotic, intense and fills the viewer with acute anxiety. Both teams reach the entrance together, and Lt. Marchenko leaps into the threshold as the tooth–shaped door grinds downwards. His strength is no match and he is crushed to death. The comely young Lt. Tolinev attempts to leap forward to help him, but O'Neill holds her back and gives her physical comfort as she watches her friend die. I was not surprised that O'Neill would be the one to comfort her but was disappointed that the plot included this old chauvinistic chestnut when the series does such a good job at showing women to be fully realized beings in their own right. Thankfully, PDL did not have the actors play up this point very much, keeping it humanistic instead of sexual, and we quickly moved on to the next scene.
O'Neill and Zukhov have another confrontation, their 'in–your–face' intensity made more so by the tight shots of the characters. In fact, once it is discovered that there is a dangerous beastie loose inside the structure with them, many of the shots are tight and the viewer is given an extremely limited view of what could be lurking near the characters and thereby increases anxiety.
Our first view of the beast is a spider–like cocoon down one of those dark, anonymous corridors. It pulsates a few times before two articulated, seemingly exoskeletal legs poke out. It promises to be a very alien monster.
After more plot disclosure, it is decided that everyone will pair up and go off looking for a way out except for Daniel, who will stay and keep translating in the hopes that it will mention another exit. This is very predictable decision and quite tiresome. I've never cared for the idiotic and lame reasoning that makes this part and parcel of horror plots, and it is even more stupid in the context of this show. Incredibly, Colonel O'Neill agrees to let Daniel stay by himself — the one member of the group that can translate the inscriptions and who will be so focused on his task that anything could creep up on him. This decision is very out of character for O'Neill and it is painfully obvious that he does this solely for the purposes of this unimaginative plot.
Naturally enough, it is the women that first encounter the beast. As they come into the area that has the cocoon, the camera is placed higher than normal and it glides up even higher as the women approach until shreds of webbing dangle in front of the camera. The camera is in close on Tolinev when we see the creature, out of focus, skittle past on a wall behind her, startling the viewer by how close this beast was without us or the characters knowing about it.
Meanwhile, Zukhov and Teal'c find one of the bodies of the team they are there to rescue. Teal'c conveniently leaves the site early and allows Zukhov to secretly remove an artifact called the Eye of Tiamet from the body. This jeweled disk is the object of the Russian's hidden agenda for it is rumored to have great power. Again, I felt this plot point was out of character for Teal'c; he had proof that Zukhov was not to be trusted and Teal'c is too thorough to allow Zukhov to be alone with the body.
Next, we see Carter and Tolinev slowly moving down a corridor. Tolinev hears something. Suddenly, the camera's POV is from above, looking down on Tolinev as she unknowingly stands directly below the creature. The lens as been fitted with some device that gives a multifaceted image and the viewer immediately knows this shot is from the creature's POV. PDL is a master at including unusual shots like this one; they are imaginative and add to the moment — never intrusive. It takes a sure hand to try something like this and not go overboard, but PDL makes it look easy.
Rapid gunfire is heard. Jack immediately checks in with Daniel (at least he was aware the archeologist was in the most vulnerable position, but that still doesn't excuse O'Neill from putting him at undue risk.) There is a mad race towards the gunfire and we see Carter quickly using up her ammo. Tolinev lies unconscious beside her, an ugly bite wound on her neck. Now it becomes apparent why a pretty actress was needed; it's more acceptable in TV dramas when concern and caring are directed at a wounded, powerless woman. Carter, strong and competent, doesn't swoon for anybody and therefore another woman was necessary for a plot that seems determine to hit every stereotype out there.
The group splits up again, leaving the unconscious Tolinev with Daniel and Vallarin. Vallarin hears something and instead of staying in a well–lit room and defending a wounded teammate and a civilian who is focused on translating, he decides to wander out alone in pursuit of the creature. At least the character Daniel makes a comment about the stupidity of that decision, saying out loud what every viewer must be groaning over. After an extremely tight shot on Vallarin, the camera reverts to the creature's POV. Through those alien, multifaceted eyes, we see Vallarin's boot pass within inches. As the Russian soldier moves away down the corridor, the camera twists sideways and ascends the wall, creeping closer to an oblivious Vallarin until the creature is wedged in a cranny almost directly above of him.
Zukhov and O'Neill have another discussion, first about using C4 to blast their way out. The lighting is well done here. As before, O'Neill is well lit with warm light and is fully facing the camera. Zukhov is profile and deep within the shadows. Their disagreement continues on, touching on attitudes about the importance of their fellow team members. Suddenly, both characters are profile and in complete silhouette. It's very dramatic and tells us visually that while these two men could be interchangeable, the one thing that sets them apart are their words at this point. To Zukhov, soldiers are disposable during a mission; to O'Neill, no one gets left behind. It's another cool moment that adds depth and meaning to the dialogue.
Meanwhile, Carter and Teal'c find the creature's dead body. Unfortunately, the beast is not so scary close up, and even somewhat comical from a certain angle. Since these two can sense Goa'uld symbiotes, they realize that the symbiote is still on the loose. The plot now ventures into the territory of films like, The Thing, where there's runaway paranoia as the characters attempt to discover who among them is no longer what they seem.
The rest of the show is very predictable plot wise. O'Neill and Zukhov are trapped in a Mexican Standoff of mutual suspicion (completely unwarranted as they have not been out of each other's sight since the last time they saw the goa'ulded beastie.) Vallarin — who is now goa'ulded, interrupts them and demands the Eye of Tiamet. Zukhov refuses to give it up until O'Neill's life is threatened, thus adopting O'Neill's value system. There's an explosion, and the Eye is buried under smallish pile of rubble. At the end of the program, O'Neill is unjustly accused by a Russian general for sacrificing most of the Russians on this mission — and I sort of expected it to be revealed that O'Neill had retrieved the Eye of Tiamet thus adopting the Russian's penchant for concealment.
One shot that I do appreciate is when Daniel turns around to find that Teal'c and Sam have their weapons trained on him. They are ruling out that he has not been goa'ulded, but poor Daniel is suddenly faced with two of his friends and they are looking seriously dangerous at him. It was a sudden and quite visceral reminder of how competent and dangerous our band of heroes are since the writing rarely goes down that road.
I'd also like to take a moment to compliment the talented crew. Without them, the show could never attain the superb quality I've come to expect from it. Nearly invisible decisions like the small costuming choice of having Daniel's jacket unzipped help to remind us visually that he is not one of the soldiers. His face is framed between the soft browns of both his shirt and bandanna, giving the character a gentle look that separates him from all the other camouflage wearing soldiers. Another small choice is to have Carter's makeup done with a delicate touch, allowing the actress' natural beauty to shine through while still keeping her character within the realms of military protocol. Such small, subtle touches show a real finesse. And of, course, the special effects department is wonderful and regularly produces miracles on the small screen.
In closing, I think that PDL has taken a script that is a mundane retread of the most basic plot in the horror genre and made an episode that is very watchable thanks to the high workmanship and attention to detail. He is very skilled at using dramatic lighting, clever edits and unusual shots that bring additional depth to the production.
This script had no revelations about our regular characters — indeed, it had some major inconsistencies with what we already knew of our heroes — but between the efforts of the actors and PDL, we were given a dozen small pearls where the characters became real for a moment and were infused with life, humor and warmth. It is only when the characters become likeable and 'real' that the viewer feels compelled to 'tune in next week' and discover what next will befall the heroes and maybe gain some insight from how they deal with their problems. PDL understands the viewer's desire for this and makes an effort to ensure that these pearls are included — whether they are inherent in the script or not.
PDL also allows his actors time and opportunity to work in some characterization and interaction. As a regular viewer to a show, I tune in each week to discover what the characters are up to, and how they will deal with it. I always enjoy any episode directed by Peter DeLuise as he understands that what viewers want to see and gives it to them. He's a talented crowd pleaser.
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