EPISODE 1.04
RM W/A VU
Written by: Jane
Espenson and David Greenwalt
Directed by: Scott
McGinnis
A Home of Your Own
One of the most important stages in a person's life
is moving away from the family home and into a place of your own. It is
significant in so many different ways. It represents a break with your childhood
and a birth of true independence from your parents. You are in a position to
take control of your own life as perhaps never before. For all of these reasons
you can almost say, for better or for worse, it is the definitive experience of
anyone's move from adolescence into adulthood. But in finding this independence
you have to face real difficulties. A move away from your parents and the
support they can provide means taking on significant financial and other
obligations, often for the first time. As a young adult you may be in full time
employment for the first time and will not usually have the means to replicate
as comfortable a lifestyle as you enjoyed while at home. This may mean accepting
less than ideal living conditions. Alternatively accommodation of your own will
only be affordable with one or more others sharing it. And whatever choice is
made you are going to have to (literally) live with the consequences.
For Cordelia in particular the problems of moving
away from home have a special resonance. In the conversation between Angel and
Doyle right at the beginning of the episode we are reminded that her
expectations from life were higher than most. Angel told Doyle that she was
leader of a group of girls from wealthy families.
Doyle: "And she was the richest one
of all? Because the way she talks it sounds like she had servants made
of solid gold or something."
Angel: "Pretty much. Until her parents lost it all.
Riches to rags."
And the contrast to her present grim living
conditions was made immediately apparent by the cut away to her as she enters
her apartment. Her lights don’t work properly, the water is brown and spurts
out all over her and the place is infested with cockroaches. So she flees. But
why now, when she has been living there for so long? The answer is given to
Angel
Cordelia: "Don’t even look at me!
I am such a mess. I am the lowest of the lowest"
Angel: "What happened?"
Cordelia: "My apartment. It’s like the barrio – or the
projects or whatever, and I live there! I’m the girl from the
projects!"
She had stuck things as long as she could but now
she had enough. She was not a person who could survive indefinitely in
sub-standard living conditions. Material things have always meant a lot to
Cordelia. It is how she defined herself and her place in the world. She was
someone because she had things. That is why she refused to speak to Aura. She
was ashamed of what, in material terms, she had become. That was why she had to
throw herself on the mercy of her friends. In short reached a crisis point in
her life where her independence had vanished and her sense of self worth was
seriously compromised.
As a series, ANGEL was, in its early stages anyway,
intended to explore the challenges facing young adults. So, for all of the
reasons I have mentioned at the beginning of this review, the problem of finding
suitable accommodation was an ideal theme for it. But cleverly in "Rm w/a
Vu" the writers have made the most of it as a theme by relating Cordelia’s
crisis of confidence to her inability to find a place to live. Cordelia’s
plight needs a focus, a medium through which to explore it. Because of her
materialism a search for suitable accommodation provides the ideal medium for
this purpose. But perhaps even more importantly, it gives us a point of
reference for her character that everyone can understand. It instantly makes her
situation both more understandable and more sympathetic. Given the very fine
line that Cordelia as a character often treads the latter in particular is very
important.
Humor in the Episode
Another thing I like about the episode is the
accent on humor we find throughout the piece. ANGEL is not a social drama. The
concentration has to be on the supernatural (which is after all the show's
raison d'etre). But at the same time I am glad that the writers didn't make
"Rm w/a Vu" a dark horror story. The discomforts involved in finding a
place to call home tend to be exaggerated when first experienced. But the
passage of time brings a perspective that means we become more conscious of the
funny side of the experiences rather than what seemed at the time the grim
reality. So the emphasis on humor in exploring Cordelia’s difficulties was an
entirely natural one. Moreover resisting the temptation to incorporate too much
slapstick of the "Cordelia puts her foot through rotten floorboards"
variety also paid dividends. Instead the humor is character based with a
concentration on the reactions of our principals to the situations they find
themselves in.
This is illustrated by a number of finely conceived
and executed scenes where Angel's self-sufficient, orderly and reclusive
existence is totally disrupted by Cordelia. In the first one Cordelia just lands
at Angel's doorstep and bulldozes her way over him. Here much of the physical
comedy comes from the fact that Angel is semi-naked throughout the scene and
Cordelia doesn't even seem to notice. There has been considerable comment
on the number of "shirtless" scene we see in ANGEL and BUFFY.
Some are quite frankly gratuitous and that is a pity. Nakedness (or rather
this being network television semi-nakedness) can in fact be a very effective tool for
any storyteller using a visual medium but overuse diminishes the effect.
Nevertheless this scene very forcefully demonstrates its strengths . When Cordelia appears at Angel’s front door she interrupts him in
the middle of a shower. He could have been doing a dozen other things –
reading a book or just listening to Beethoven for example. But then the scene we
were then treated to would not have had nearly the same impact. There was poor
Angel dripping wet, desperately clinging on the Cordelia’s suitcases, the
towel round his waist and his dignity while Cordelia, completely oblivious to
his distress, was in full flow about what a shambles her life was. It’s hard
to imagine a more uncomfortable situation for him. Then, she proceeds to take
over his shower, his bed and his life. Buffy's "me, me, me" attitude
comes across as a sign of immaturity and emotional neediness. As such it can be
slightly pathetic. Cordelia's self-centeredness, on the other hand, comes across
as a sign of self-possession and inner certainty. It's hardly a "nice"
quality but it evokes a bemused awe. In that scene we had Cordelia the force of
nature and Angel as hapless victim. But in subsequent scenes there is a subtle
shift in the emphasis. Cordelia is still treating the place as her own but Angel
has recovered his equilibrium so there is much more of a conflict built into the
situation than was possible with Cordelia walking all over him. This conflict
develops round the incompatibility of their characters. She is careless; he is
neat. She is materialistic he is austere. She isn't prepared to treat him with
the respect due to the fact that she is living in his home but he isn't prepared
either to make allowances for her or simply to order her out.
It isn’t exactly realistic for Cordelia to be
oblivious to the fact that there is a half naked man standing in front of her
or, while a guest in someone’s home to cut up his linoleum. But character
based humor like this is often at its best when there is a degree of
exaggeration in the storytelling. Such exaggeration, while it has to bear a
reasonable resemblance to real life and be faithful to the characters concerned,
can bring out the inherent absurdities both in the situations they find
themselves in and in themselves as individuals. Properly done, as it was here,
this not only makes the humor more meaningful but (because we see ourselves
reflected in them) actually tends to engage our sympathies for the characters at
the same time as we find their actions amusing.
Cordelia's Determination
Up to this point "Rm w/a Vu" is pretty
light hearted. But ANGEL, just like BUFFY, needs an edge. Almost any
dramatic scenario works best where the central characters are threatened or
otherwise put under pressure. But more particularly the idea of using the
supernatural as a metaphor for the nasty things that happen in life is robbed of
much of its force unless there is something supernatural in an episode which
carries real threat. So, I am glad to say that in "Rm w/a Vu" we do
not simply have a piece of light fun but a story that skillfully weaves the
humorous with the serious. The warning sign of what was to come was there for
all to see when Cordelia discovered her "perfect" apartment. There had
to be a catch somewhere. In fact it was revealed pretty much straight away and
it might have been better to delay the surprise until Cordelia's first night in
the place. Nevertheless from that point onwards the tension and the pressure
mounts. At first the tone is not too threatening - moving furniture and clothes,
not much more. In fact by morning Cordelia convinces herself that all really is
still right with the world. Indeed our own conventional expectations are that
ghosts only operate at night. But having built up a degree of tension, released
it and lulled us all into a false sense of security things start to go wrong
again. At this point Angel and Doyle arrive and this adds further to the tension
as Cordelia tries to keep the fact she has a ghost quiet. This is a very well
plotted sequence which keeps the audience's attention and leaves them wondering
what is going to happen next. But this is rally only set up. In plot terms it
establishes the problem for Angel and Doyle to solve – why is the apartment
haunted and what can be done about it. More importantly, from Cordelia’s point
of view, through the pressure mounting on her to abandon the apartment, the
writers can really make something of her need for it. In other words they can
look below the surface material discomfort to see what is really going on inside
her head. When it was first shown to her, her reaction to the apartment is
instructive:
Cordelia: "I – I used to have
this. I – I was.."
Lady: "I guess it’s your lucky day."
Cordelia: "I used to have those, too."
Later on she says: "It’s perfect and
beautiful. It’s so me. I need it!". This is reinforcing the
identification she feels between material possessions and her sense of self. And
this is made still more explicit in the following exchange:
Angel: "You know, this really is
just a place to live."
Cordelia: It’s more. It’s beautiful, - and if it goes away it’s
like.."
Angel: "Like what?"
Cordelia: "Like I’m still getting punished."
Angel: "Punished. For what?"
Cordelia: "I don’t know. For what I was? For
everything I said in High School just because I could get away with
it? And then it all ended, and I had to pay. Oh, but this
apartment. I could be me again. Punishment over, welcome back to your
life! Like, like I couldn’t be that awful if I get to have a place
like that."
We have already seen how Cordelia has been brought
to the point where her sense of being in control of her life and of her own self
worth have been compromised. Here we get the first sign of the effect that this
is having. She has begun to look at herself, her life and the bad things she was
responsible for. But she does so in a very Cordelia like way. Angel recognizes
that suffering can lead a person to seek change in their lives. That is why he
tries to be understanding. When Cordelia compares his situation to her own he
thinks she means that she will now be working for her own redemption. But that
is not what she meant. Cordelia doesn’t see the need to change; she doesn’t
want redemption. In fact, as the speech I have just quoted makes clear, what she
really wants is for things to go back to being the way they were and the
apartment is the symbol of that.
The problem for Cordelia is that, order to get the
apartment, she has to get rid of Maude. But Maude comes after her. Why she did
so is never explained. There have been other tenants who have just left without
Maude trying to kill them. But from the point of view of Cordelia’s inner
journey it is crucial that she does. Cordelia understands what she wants and
more importantly she understands why she wants it. But she is not prepared yet
to take it. And this is the key point. This is still the Cordelia whose
self-confidence has taken such a battering. She needs something to prompt the
recovery. It was Maude that provided it but not in the way anyone had looked
for.
The Turning Point
From the moment Cordelia responds to the fake
telephone call things start getting bad very rapidly. Maude assails her, calling
her worthless and a looser. Then she tries to kill her with a cable. Even when
Angel and Doyle arrive matters do not improve; in fact the poltergeist activity
escalates. The wind howls and things start flying around. Cordelia is reduced to
helpless tears. Then worst of all she is separated from the others who are
distracted and so unable to help her. Finally she is confronted by Maude
taunting her about the stench of poverty and failure. This is Cordelia’s
lowest point. There is now surely no way back for her. But in the classic
tradition, just when victory seemed inevitable, Maude overplays her hand. She
uses the word "bitch" and that triggers something deep inside
Cordelia. Suddenly everything is changed. Maude is the one who is powerless and
Cordelia is in charge. She has taken back control over not only over the
situation but over her whole life. And the fact that she does so leads Dennis
for the first time to face down his mother and together they defeat her.
Both as a piece of drama and thematically I thought
this worked terrifically well. As a piece of drama we have the sense of thing
running out of control. We had been set up to believe that the banishing spell
would solve the problem but it failed utterly and the threat was escalating. The
arrival of the Kaliff demons and their henchman was unexpected and effectively
took Angel and Doyle out of the picture in terms of defeating Maude. And the
reversal of fortune was itself as sudden as it was unexpected. And what makes it
so effective is that it takes place just when Cordelia has been reduced to her
weakest. Thematically, this reversal of fortune resulted not only in Maude’s
banishment but in the recovery of Cordelia’s old self in a way that was
believable and in character but which at the same time was unexpected in the way
it happened. Cordelia was putting the cart before the horse. She wanted to get
the apartment because she thought it would help her recover her sense of self.
As it turns out it was only because she recovered that sense that she got the
apartment.
Of course it was Dennis who was primarily
responsible for Maude’s banishment and his role in this is also very well
handled. We had already been aware of him and the fact that he disappeared when
his mother died. This left a mystery. If Maude had died naturally why was she
still haunting the apartment. It was only after she was banished that the twist
was revealed. This twist not only added to the unexpected way Maude was banished
but made sense of the mystery. From the dramatic point of view that was very
effective. Just as importantly, though there was a very nice tie in between
Dennis’ situation and that of Cordelia. Dennis had never been allowed to
leave home. The cause for this was the fact that he wanted a relationship
with someone of whom his mother disapproved and indicates the degree of control
that Maude demanded over her son's life. Eventually, he was (quite literally)
smothered by her. He remained trapped in the apartment with her unable to help
Cordelia or anyone else. The implication of the final battle with Maude is that
Cordelia, by standing up to her helped Dennis do the same and thereby find his
own sense of independence as well.
The B Plot
Thus far I have very much concentrated on the A
storyline. The B storyline is a slightly curious affair. In plot terms they are
connected at two points. Doyle helping Cordelia to find an apartment was the
quid pro quo for Angel helping Doyle out of his difficulties with the Kaliff
demon. Then, as I have already said, the arrival of that demon and his friends
in the middle of the confrontation with the ghost distracted Angel and Doyle
long enough to allow Cordelia to solve the problem on her own. To that extent
the episode made very good use of the sub-plot. Thematically there was a much
more difficult fit. The B storyline was never actually resolved. We merely got
an idea of the sort of shady lifestyle Doyle led (without at this stage any
context). A clue comes in the following exchange:
Angel: "Can I ask you something? - Why do you live
like this?"
Doyle: "Why not live like this? I mean, what’s wrong with
it? Yeah, well, I guess, it’s the kind of life that keeps your
expectations from getting too high. Seems like you’d understand
that."
Angel: " I do."
Doyle: "Yeah."
Angel: "I just don’t know why that’s important to you.
This kind of life sort of picked me. You don’t have to do it this
way. What happened?"
With a little hindsight it may be that here Doyle’s
case was being used to provide a little counterpoint to Cordelia’s. For all
her doubts about her future and her place in the world Cordelia retained an
inner belief that she deserved something good out of life. In the end that was
what saved her. Doyle, from these words, by contrast, seems to believe that his
uncertain lifestyle is all he deserves. But I have to say this interpretation
does seem something of a stretch. If this was a line of thought that was
intended it really should have been more explicitly drawn out.
Overview
8/10: This episode is something of a turning point
for Cordelia. When we saw her in "City of…" she was on a downward
spiral. Meeting Angel and getting a job stabilized the position but it was
hardly much of a recovery for an American Princess. Tying this recovery into her
finding her dream apartment worked very well thematically for someone like
Cordelia who does think in material terms. Equally it worked from a dramatic
point of view because the struggle with Maude over the apartment provided a
focus through which her internal doubts were resolved. I have to say though that
there wasn’t that much depth to the issues Cordelia wrestled with. The writers
it seems to me deliberately avoided addressing head on the question of
"redemption" for Cordelia. Admittedly being a bitch at school is a
long way from being a mass murderer but if anything Cordelia was steered away
from taking responsibility or making amends for the way she had hurt others.
That is probably inevitable given the fact that Cordelia’s "I think it I
say it" approach was intended to be one of the corner stones of the series’
humor. But it is still a weakness in any episode about Cordelia dealing with her
past. It is one of the principal reasons I haven’t graded it higher. The other
is the B storyline that, although it had its uses, really didn’t go anywhere
terribly significant and even if it was intended primarily as set up for
"Bachelor Party" and "Hero" it still seemed an ill fit
thematically for this episode. The A storyline itself, however, worked very
well, being a deft mix of humor, mystery, tension and action. Some parts, such
as the final confrontation in the apartment, were genuinely scary.