Editorial Review:Amazon.com:After one episode of
The Wire you'll be hooked. After three, you'll be astonished by the precision of its storytelling. After viewing all 13 episodes of the HBO series' remarkable first season, you'll be cheering a bona-fide American masterpiece. Series creator David Simon was a veteran crime reporter from
The Baltimore Sun who cowrote the book that inspired TV's
Homicide, and cowriter Ed Burns was a Baltimore cop, lending impeccable street-cred to an inner-city Baltimore saga (and companion piece to
The Corner) that Simon aptly describes as 'a visual novel' and 'a treatise on institutions and individuals' as opposed to a conventional good-vs.-evil police procedural. Owing a creative debt to the novels of Richard Price (especially
Clockers), the series opens as maverick Detective Jimmy McNulty (Dominic West, in a star-making role) is tapping into a vast network of drugs and death around southwest Baltimore's deteriorating housing projects. With a mandate to get results ASAP, a haphazard team is assembled to join McNulty's increasingly complex investigation, built upon countless hours of electronic surveillance.
The show's split-perspective plotting is so richly layered, so breathtakingly authentic and based on finely drawn characters brought to life by a perfect ensemble cast, that it defies concise description. Simon, Burns, and their cowriters control every intricate aspect of the unfolding epic; directors are top-drawer (including Clark Johnson, helmer of
The Shield's finest episodes), but they are servants to the story, resulting in a TV series like no other: unpredictable, complicated, and demanding the viewer's rapt attention,
The Wire is 'an angry show' (in Simon's words) that refuses to comfort with easy answers to deep-rooted societal problems. Moral gray zones proliferate in a universe where ruthless killers have a logical code, and where the cops are just as ambiguous as their targets. That ambiguity extends to the ending as well; season 1 leaves several issues unresolved, leaving you begging for the even more impressive developments that await in season 2.
It hardly seems possible, but
The Wire's second season is even better than the first. The 'visual novel' concept of this masterful HBO series is taken even further in a rich, labyrinthine plot revolving around the longshoremen of Baltimore's struggling cargo docks, where corruption, smuggling, and murder draw the attention of detective McNulty (Dominic West), who's been demoted to harbor patrol while his former colleagues have been similarly reassigned following season 1. What brings them back together is a series of events which at first seem unrelated (including 13 bodies found in a cargo container), and their ongoing effort to topple the drug empire of 'Stringer' Bell (Idris Elba) and the imprisoned Avon Barksdale (Wood Harris), whose business is suffering from short supply, high demand, and disruption of distribution. The dutiful diligence of a Marine Police Patrol Officer and the moral outrage of the longshoremen's union leader are also factored into the suspicious goings-on at the loading docks, and what unfolds in these 12 episodes is an American crime epic easily on par with the
Godfather saga. Yes, it's that good.
Detailed synopsis is pointless;
The Wire must be seen, heard, and absorbed to fully appreciate the way in which over 40 characters are flawlessly incorporated into a sprawling but tightly disciplined plot that deals, in the larger sense, with the deindustrialization of America and the struggle of longshoremen in a changing economical climate. Offering a privileged and occasionally frightening glimpse of the inner workings of shipping ports and cargo transports,
The Wire is also a detailed exposé of organized crime and blue-collar corruption, and an authentic, well-informed study of political maneuvering among police and city officials. There's not a single false note to be found in the cast, direction, or writing of this phenomenal series, hailed by many critics as 'the best show on television.' With all due respect to HBO's other excellent series,
The Wire tops them all.
--Jeff Shannon
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The Novel as Television
My friend, Rose, told me I'd love The Wire. She was right. She said it was a great show and that I'd be caught up in fabulous dialogue and I was, but there are three other reasons that this HBO Series haunts my thoughts, three reasons I'm going to explain without giving away any spoilers:
1. While it's a magnificent modern story, it's told in the classic hero's journey style.
2. It feels real - the setting, characters, situations, and story all feel as if somewhere it's playing out in real life.
3. It fulfills my own obsession regarding the potential transition of the novel as television series.
The Hero's Journey
Joseph Campbell, noted for his study of the monomyth, posited that all the greatest stories from cultures worldwide had similar elements and could be framed by a structure called the hero's journey. In this journey a reluctant hero, usually an outsider from his own kind, must undertake a hazardous journey where he confronts the demons of the world and the demons in his own mind. In The Wire there are three separate heroes from three distinct societies in modern Baltimore, Maryland.
The first is Jimmy McNulty, an Irish detective who has an aversion to authority and doesn't care what bridges he burns in his obsessive quest to close a case. Not just any case though, McNulty must solve the big case, the important case, in order to exorcise his self-destructive internal demons of alcoholism and relationship sabotage. Throughout the series you get the feeling that he's always on the ledge windmilling his arms to keep from plummeting to his death. In his journey, McNulty has to fail more than he succeeds and he has to come to terms with the fact that he's not going to make that big score without help. He has to discover somewhere within his nature the ability to be loyal and he has to accept his own fallibility before he can really do some good.
The second hero is a junkie named Bubbles. His journey is all too common, it's the rock bottom dive of addiction and the struggle to drag himself up one day at a time. He's our advocate for the victims of the drug society, ignored by authorities until there's an exploitation opportunity, abused and bled dry by dealers and thugs. From Bubble's perspective we learn the true meaning of despair and yet we also see the few shreds of beauty in war-torn Gangland, U.S.A. Precisely because he'll never be missed if he dies, because there's never-ending line of junkies to take his place, we're tied to Bubbles. We're seeing him as a human being with the potential to journey back from the depths of Hell and rejoin our America. He has the farthest to go and the most difficult tasks ahead of him, Bubbles is the quintessential underdog.
The third hero at first appears anything but. He is Omar Little and his self-described occupation: "I robs drug dealers." He's a stick-up man; Jesse James of the drug community. He hits dealers and money men and all the corner boys scatter when he walks down the street. "Omar's Coming," is a common refrain as the boys scatter like roaches encountering bright light. He carries two trademark weapons, a pistol-grip 12-gage shotgun and a Desert Eagle 50 caliber pistol. Omar's journey is that of a hero with a code. He's one of the most honorable characters on the show and despite his role as an obvious outlaw, he doesn't break that code for any price. It's true that he's a predator, the most dangerous shark in the bay, but he's also the force that balances good and evil, for who else are the drug dealers going to fear? Oh, did I mention that Omar is openly gay? Flaming and scary as hell, especially when he wants to go out for his Honey Nut Cheerios.
I've never seen a story that successfully brought three separate heroes along their quests and managed to interweave these stories until now, until The Wire. In that way it's masterful, exceeding the master, James Joyce and his classic hero narrative, Finnegan's Wake.
The Wire Feels Real.
David Simon was a police reporter at The Baltimore Sun for twelve years. It's this experience that gives the story and creative concept its validity. But it seems that wasn't enough for Simon to create the show. Various consultants and crew members come from the very societies showcased in the series. He has former drug dealers and cops and junkies advising him on what it's like, how it feels, how it looks, sounds, and smells. The show is nothing if not detailed. There aren't grand cops and robber shootouts or magnificent courtroom closing speeches because in real life a shootout lasts only long enough for a bullet to find a target and rarely does a case make its way to the courtroom when out of court settlement is expedient.
When Bubbles pushes his shopping cart down the street, you hear the needles crack under his beat-up shoes. When Omar appears out of nowhere to respond to a message on the street, he scares you, you can smell his sweat and nicotine. When Stringer Bell meets with his developers you can feel the tension like a man out of place, trying to fit in. It's like Deadwood was in its attention to detail.
The Novel as Television.
Simon is an experienced book author (Homicide: A Year on the Killing Streets, The Corner: A Year in the Life of an Inner-City Neighborhood) and when it came to The Wire he "saw it as a visual novel, with each season a distinct chapter exploring an aspect of inner-city life."
That's what I've often said, that a great novel can only really be told visually through a series-length television show. A two or three hour movie can't do justice to the characters, plots, subplots and tension of a novel. The Wire has proven it, because this is the perfect vehicle for telling this perfect story.
Enjoy it. It's a beautiful piece of art.
- CV Rick, April 2008
Rating: -
The Wire seasons #1 & #2
* Raw and gritty and a whole lotta fun. This is made the right way. The actors own there parts. I am never taken out of the show by the actors. It is easy to belive you are watching the real people in their real day to day lives. You may not want to have your children or your mother around when watching this as it can be a wee bit rank and randy at times.
This is worth your time and money.
...
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Greates Show Ever
The Wire does not cease to amaze me. Season's One and Two are masterpieces. I think I like season two a little more, but it is really hard to compare. Season's Three and Four are good, but somehow lack the magic of the first two. This is not only the best show I've ever seen, but also one of the greatest productions ever made. Watching this show is almost like reading a long, carefully detailed, masteruflly engineered novel. If you haven't seen it yet, too bad for you!
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The Wire
* This movie is full of action, it's based off of cops living in Baltimore,MD and believe me it not at all far from the truth. ...
Rating: -
The best show since the Godfather
I am not really a t.v. fan other than sports but this show made me a believer. I was glued to the t.v. when this show aired. This is a great show with a great cast. A must have..
