The progression of “Marvel’s Agents Of S.H.I.E.L.D.” is based in the structure of an established history which is an interesting way of looking at story but also one that governed the ideas of consequence all the way through “Endgame”. The reasoning in the final season of this series is an interesting one because of the plateau that it sits on but also the interesting confluence of events that leads it to where it is now, specifically after the Netflix and Marvel split happened effectively ending many series except for one: “Agents”. This gives it a particularly bittersweet but interesting transmutation because of its position between phases. The more of this season passes by, the more it can be looked at in certain ways with the next movies in the progression and perhaps the series. That is the larger picture but beneath or above al that, depending on your perspective, is the aspect of choice, not just for the team members but for all those involved…mostly. This is inherently true with Episode 4: “Out Of The Past”. The other aspect that can be discussed since most of the entire episode is a spoiler is the genre it is playing to which in this one is more a noir. Almost the entire episode is in black and white which provides an interesting perspective of gray. While it is not uber stylized, some scenes give that texture which is in keeping with the ideas of the season. This episode compared to others is a bit more straightforward and plot driven and yet small details and reactions are important as the train continues on.
The texture of a series like “Jett” really keys into understanding what it is but the implicit necessity of what can be done within its confines. Writer/Director Sebastian Gutierrez and his wife/actress Carla Gugino have a real sense of the way to make noir idealism with sexuality and emotional overtones without becoming melodramatic. They have done this in many of their low budget films like “Elektra Luxx” and “Women In Trouble” but were always limited by the budgets or the eyes of the independent film crowd.
In making “Jett” with Cinemax (which has delivered another interesting tale right after “Warrior”), this series takes that European sensibility that Gutierrez has created (watch his most recent film: “Elizabeth Harvest” which played SxSW in 2017), but gives it an effective almost low end DePalma make over without losing the abstract elements in part that have become a stalwart of these collaborations. Gugino famously starred in “Snake Eyes” with Nicolas Cage for DePalma nearly 20 years ago so seeing her transformation from there to this is undeniably satisfying. Though there are moments of plot driven exposition, the idea and dynamics flow along at a decent pace while still letting some of the scenes breathe.
The plot without getting into too many details follows Jett played by Gugino whose real name is Daisy who is a master thief both helping and providing intel for Charlie, a debonair gangster played with aplomb by the dynamic Giancarlo Esposito. Many different characters interplay but what is interesting is no matter how damaged they are, or how cold Jett might be, there is always a sense of what might be called malignant hope…a hope that gnaws in the plot and the characters even though you know it is bad to believe in it. Whether it is Elena Anaya (who Almodovar discovered) as the rock Maria to Gaite Jansen as the lost Phoenix to Michael Aranov as the intrepid Jackie, there is so much to rip them apart and yet certain travails keep them going and connected. The violence is motivated but also malignant in its wantonness.
Gutierrez is specific with his colors and textures as he has always been but what this medium allows him to do (as he wrote and directed all 9 episodes) is a consistency of vision but also to focus on small character moments which are made specific by the titles of all the episodes. One of the more dynamic because it doesn’t focus as much on the main characters is called “Rosalie” where Bennie, one of Esposito’s hitmen, gets into a different situation than he bargained for with one of the affected victims of a hit. It is both a diatribe on human behavior but also ironically funny and introspective in many ways. The inherent essence also behind “Jett” is that it doesn’t feel it necessary to put an air of true finality on certain relationships and yet it defines them…it gives the perceptions of the characters but lets the viewer decide on their own what they think of them.
“Jett” is by no means an excellent series but it is quite good. It is self indulgent at times. But it is also undeniably poetic and vicious, tender and dark, beautiful and messy. Gugino glides through the scenes like a crow stalking its prey but also understanding that without the surrounding messy ends around her, she would not exist. Her losses are visceral but they are also necessary. Jett is an image but also a reality in terms of the character build. And for that reason because Gugino and Guitterez can approach this material in this medium with a sense of instinct, style, fun and gravitas, it allows that kind of tone that maybe might have been difficult to give a wide breathe in an independent movie the kind of texture it needs in a cabler series like “Jett”.