Loading ...
Sorry, an error occurred while loading the content.

[DS9] Jammer's Review: "The Changing Face of Evil"

Expand Messages
  • Jamahl Epsicokhan
    Warning: This review contains extreme spoilers for the episode The Changing Face of Evil. If you haven t seen the show yet, beware. Nutshell: A powerhouse.
    Message 1 of 1 , Apr 30, 1999
    • 0 Attachment
      Warning: This review contains extreme spoilers for the episode "The
      Changing Face of Evil." If you haven't seen the show yet, beware.


      Nutshell: A powerhouse. This is truly what three weeks of setup warrants.

      Plot description: As Winn begins studying her uncertain role in following
      the path of the Paghwraiths, the Federation engages in battle for the first
      time against the Dominion and their new Breen allies.

      -----
      Star Trek: Deep Space Nine -- "The Changing Face of Evil"

      Airdate: 4/26/1999 (USA)
      Written by Ira Steven Behr & Hans Beimler
      Directed by Mike Vejar

      Review by Jamahl Epsicokhan
      Rating out of 4: ****

      "There's something different about you today, Damar; I can't quite put my
      finger on it. It's almost as if you're half dressed. ... [with mock
      realization] You don't have a bottle in your hand." -- Weyoun
      -----

      Featuring a flurry of excitement, "The Changing Face of Evil" is a
      riveting, carefully crafted balance of all the elements we've had over the
      past three weeks and before that. As DS9 plots go, it's probably the most
      viscerally engaging edge-of-seat experience this season.

      There's a sense that although "Penumbra," "'Til Death Do Us Part," and
      "Strange Bedfellows" were all solid, interesting, forward-progressing
      shows, they were somehow lacking something necessary to elevate them to
      greatness--something "The Changing Face of Evil" clearly has. That element,
      I think, is emotional release. It's fun to be set up, teetering on the edge
      of payoff. But at the same time it's in some ways unsettling and
      frustrating. The payoff is where the crux of satisfaction lies.

      "Changing Face" is like the proverbial roller-coaster ride--a skillful tap
      into a variety of feelings, mainly fear, exhilaration, and anticipation. If
      "Strange Bedfellows" was the piece that revealed to the audience how
      characters were committing to new directions, "Changing Face" is the piece
      where those characters reveal that commitment to other characters.

      There are many different types of scenes in this episode, and pretty much
      all of them work exceedingly well. The episode wastes no time in getting
      its intentions under way; moments after Worf and Ezri are greeted with
      happiness as they return safely to DS9, the bad news arrives--the Breen
      have attacked Earth. A shot of San Francisco shows the burning remains of
      destroyed buildings at Starfleet Headquarters; the Golden Gate Bridge lies
      in ruins.

      Suddenly, the Federation and its allies, who apparently have had the edge
      in the war recently, find themselves again facing desperation now that the
      Dominion have forged this new alliance with the Breen. The Breen's audacity
      in attacking Earth directly on a suicide mission is unsettling. At the
      moment, the Breen seem to operate at least partially upon psychological
      strategy: To strike fear into the enemy is to gain an advantage over the
      enemy.

      With the tone for the hour set, what's interesting about "The Changing Face
      of Evil" is that a lot of its first half doesn't comprise a tight plot so
      much as a series of little character snippets leading up to the final act's
      major events. There are many scenes of calm, everyday life aboard the
      station, though everyone's a little more alert of the possibility of
      forthcoming battle.

      A surprising amount of this works through the doses of humor. There's a
      running gag introduced here about a scale model O'Brien has built depicting
      the battle at the Alamo. The Alamo references, as anyone who has been
      watching this season at all knows, have become an ongoing tradition, and
      here O'Brien--and the show's writers--take it to a completely new level
      that seems to approach self-parody. Here are two guys, O'Brien and Bashir,
      who have become so obsessed with the Alamo that they have taken to playing
      out the battle on a 30-square-foot scale model. Or, as Worf observes, "They
      play with toys." Say what you will about the Alamo references, but I find
      the quirky persistence of the gag to be strangely refreshing, especially
      now that the Alamo has left the confines of the holosuite and is being
      played out in the middle of Quark's bar.

      The fact we can have such broad humor in this episode--particularly the
      joke about Bashir "misplacing" the figurine of Colonel Travis (Nog: "Can't
      you make another one?" O'Brien: "What, so he can lose it again?")--is an
      odd pleasure, particularly considering how intense the episode grows in its
      final act.

      Also amusing is the new play on Worf and Ezri. It's nice to see them able
      to sit with each other at Quark's and socialize without the constant
      tension looming overhead. Finally, Worf is able to see Ezri as *Ezri*, and
      not Jadzia. (Ezri: "You're a good friend." Worf: "I know.") And now that
      Ezri thinks she might be in love with Bashir, Worf can offer his friendly
      (sarcastic) opinion on the matter. Okay, so "He plays with toys" isn't the
      most persuasive argument against Bashir, but it is a funny one.

      The newlywed Siskos also get some screen time here, leading to the
      inevitable but necessary discussion on how they both still have jobs to do
      and ships to captain, despite the danger with the war going on. None of
      this is groundbreakingly original, but it is sensible and well played, so I
      have no complaints. It's marital bickering that's truthful in its concerns
      and not annoying, so it's absolutely fine by me.

      As with the previous three installments, the episode cuts back and forth
      between several perspectives, one of them of course being the inevitable
      collision course of Damar and Weyoun. (Actually, the collision has already
      happened; Weyoun simply doesn't know it yet.) The chemistry between these
      characters proves absolutely stellar here, the best Damar/Weyoun scenes
      we've had to date (and quite possibly the last of them). Damar, who has
      been plotting secretly with Gul Rosot (John Vickery) to prepare the launch
      of an insurrection against the Dominion, is a changed man with a new
      confidence--and Weyoun has taken notice.

      The dialog here is sharp and acted to perfection. Jeffrey Combs' mocking
      jest at Damar is as much fun as it has ever been, but the dynamic is
      different because Damar is no longer willing to be a Dominion puppet ...
      and Weyoun doesn't see that. The fact Weyoun mistakes Damar's attitude
      change as a renewed confidence in the Dominion's ability to win the war is
      absolutely delicious--and absolutely appropriate. In the meantime, the
      dialog plays suspense games with us as it appears Weyoun might, *maybe* be
      on to Damar's plan--before showing us that Damar indeed does have Weyoun
      completely duped. Casey Biggs brings a commanding confidence to Damar;
      seeing how his partnership with Weyoun has disintegrated is probably the
      most well-played element of the past four shows, and in no small part
      because of Biggs' performance.

      Back on Bajor, the Winn/Dukat arc continues to foreshadow the likely
      disasters to come, but I was particularly glad to see that the Evil
      Scheming Dialog at the end of "Strange Bedfellows" was more of an isolated
      moment of dramatic excess than a true indication of Kai Winn turning to
      transparent "evil." In this installment, she's depicted more as a person
      searching for answers, trying to come to an understanding of the
      Paghwraiths and her role in using them to bring about the "Restoration" of
      Bajor. Unfortunately, what she doesn't seem to understand is that the path
      she has chosen is more than simply a self-serving means to an end; it's a
      path of unknown danger that could spell disaster for her and all of Bajor,
      especially considering our awareness of a "great trial" that the Emissary
      will have to face. What consequences exactly this will have is anyone's
      guess, but it seems pretty clear that Winn is completely unaware of the
      gravity of her situation. She continues to get in deeper and deeper. At
      this point she has removed books about the Paghwraiths from Bajor's sacred
      archives, including an ominous text called the Kosst Amojan, which may be
      the key to releasing the Paghwraiths. Her perusing of these forbidden
      texts, however, has raised the suspicion of her chief aide, Solbor (James
      Otis).

      Meanwhile, Dukat's menacing side resurfaces in a frightening way (the mere
      presence of Marc Alaimo's is enough to send chills). When Solbor tries to
      return the texts to the archive, Dukat punches the guy and tells him not to
      interfere. Ultimately, Dukat has his way with the Kai, simply because
      there's no one else around to stop him from manipulating her.

      The first four acts of this multi-layered story provide backdrop. The whole
      time, through the humor, the setup, and the character dynamics, we get the
      feeling the story is turning into one big, ticking time bomb waiting to go
      off--which it does in its final act.

      Sisko is ordered into a major battle when it looks like the Federation is
      going to lose its only foothold in Dominion space (the Chin'Toka system,
      gained in "Tears of the Prophets"), and suddenly the whole tone of the
      episode launches into anticipation when the prelude to battle takes an
      unusually large amount of screen time (and is executed with great skill).
      In a way, it feels almost like the beginning of an end, a final battle.
      That might be because it *is* the final battle for the Defiant, which
      engages the Dominion/Breen fleet and is disabled and destroyed in a
      sequence of alarming and surprising swiftness. One minute, Sisko is
      ordering his ship to engage the enemy, and the next, Sisko is suddenly
      ordering his crew to abandon ship. The Defiant's death is almost painful to
      watch. (The visual-effects sequence works on the visceral level, but the
      concept of the Defiant's destruction benefits even more from the human
      touches, like Sisko's final glance at his wrecked bridge before heading to
      the escape pod.)

      That leaves the Federation with another problem: the Breen's new
      energy-draining weapon, which takes the Federation by surprise and leads to
      the fleet's swift loss of the battle at Chin'Toka. Fortunately, Damar's
      timing couldn't be better; his insurrection has begun. Cardassian fleets
      have attacked Dominion outposts, and Damar gives an invigorating address to
      the Cardassian people, telling them to "resist today."

      Watching the reaction to Damar's speech is an episode highlight. The key to
      success is in how all the actors involved look as if they truly *believe*
      they are inside the story as it unfolds. Watching Damar on the screen,
      speaking the unthinkable, Odo stands with a thoughtful, compelled look on
      his face. Admiral Ross sports a can-you-believe-this-is-happening look.
      Sisko wants confirmation on what Damar is claiming. Weyoun is absolutely
      *disgusted*. I wanted to cheer. This is a real payoff, as entertaining as
      it is powerful. (One of the first Dominion targets the Cardassians strike
      is the cloning facility, which conveys a clear meaning: No more Weyoun
      clones. Now *there's* poetic justice.)

      Weyoun orders the Breen to find Damar, no matter how many Cardassians have
      to be killed in the process. Immediately after he gives this order, a
      brilliantly subtle shot has Weyoun looking suspiciously over his shoulder
      as a Cardassian mans his post in the background. (Talk about your uneasy
      situations.)

      While the Federation and Dominion are having their troubles with the shifts
      in power, Winn continues a downward spiral that, based on a series of
      bizarre circumstances, seemingly *cannot* be halted; she seems *destined*
      now to follow through on what she has started. Solbor's appall at the Kai's
      actions, along with his suspicion of Anjohl, have led him to uncover the
      truth of Dukat's masquerade, which sends Winn into a shocked frenzy. But
      she can't allow herself to be exposed, and stabs Solbor in the back--in a
      brilliant sequence where Winn is *so* trapped by her inability to
      relinquish her power and come forward with the truth that she's virtually
      *forced* into murdering her own aide (in her mind, anyway). I could
      understand every moment of her actions and desperation here, because they
      stand on such a sturdy foundation.

      Magical Bajoran properties lead to the secret of the Kosst Amojan's hidden
      words, but I need not explain this in detail (this review is long enough as
      it is); suffice it to say Winn's intentions are so close to turning around
      and backing out of the Paghwraith path, but at the last moment the
      knowledge and power reveal themselves, leading her--based simply on who she
      is and how power has constantly led her astray--to continue down the path
      Dukat has so deviously laid out for her, whatever that may be. (Though it's
      interesting to note that Dukat seems nearly as awed about everything going
      on around him as does Winn.)

      Of course, stellar execution over this slew of plot and characterization
      certainly doesn't hurt. Mike Vejar's cinematic direction of this episode is
      phenomenal. "Changing Face" has the aesthetic qualities of a feature film;
      Vejar's visual sense is always a highlight, and here it enhances the mood
      wherever necessary.

      But what's perhaps most commendable about this episode is that the plot,
      for all its eventfulness at the end, never obstructs the insight of
      characterization. Even though most of the events taking place are larger
      than the characters can possibly be in themselves, the characters never,
      for one instant, become cogs in the plot's wheel. The personalities remain
      exceptionally strong and well defined, and major events are punctuated with
      nice touches (like the simplicity of Weyoun saying, upon the Defiant's
      destruction: "Poor Captain Sisko. I believe he was quite fond of that
      ship"). And it's in an episode like this that one can appreciate how much
      previous stories have made it possible for the motives, dialog, and actions
      of the characters in a plot of this magnitude to not only make sense, but
      to be a logical outgrowth of what came before.

      "The Changing Face of Evil" is a clear triumph, executed with panache. It
      has plenty more setup, but it also has a great deal of release. It's a very
      satisfying hour. Sign me up for the next installment.

      --
      Next week: Chapter five. Kira has a new role in a new alliance, and dons a
      new uniform to boot.

      -----
      Copyright (c) 1999 by Jamahl Epsicokhan, all rights reserved. Unauthorized
      reproduction or distribution of this article is prohibited.

      Star Trek: Hypertext - http://st-hypertext.trekseek.com/
      Jamahl Epsicokhan - jammer@...
    Your message has been successfully submitted and would be delivered to recipients shortly.