Reviews

This episode does not attempt to truly fit into canonic form, abandoning staple X-Files enticements for want of something more. Its focus is entirely on creating the character of the mysterious "Cigarette Smoking Man" (CSM) who, until this point, had remained largely two- dimensional in the context of the show, appearing only as a menacing (though influential) background figure. So often characters such as these are given little or no development, and until this point there had been little exception in the case of CSM.

As such, it's both a break from (brilliant but) routine storyline, and a break from TV show tradition, for the X-Files to create something of this nature.

The mysterious past of CSM, including what made him the person he is today, is partially revealed through memories and flashbacks, which help us build up a personality of what previously had been a soulless individual. What we in fact discover is somewhat revolutionary. This is a man who does his work, but has not let it consume him so completely as we have been led to believe (and, indeed, is normally the case for similar supporting characters in other TV shows). He previously appears to have no remorse, emotion, or doubt; all a front, as is revealed here. It leaves you almost with a sense of pity, and even sympathy, with his plight - and for the series' chief antagonist, that's an amazing feat.

CSM carries out several of his more infamous tasks of the 20th century in this episode, which include the assassinations of Martin Luther King and JFK. He displays his ruthlessness and power. These actions are then contrasted with scenes of him handing out Christmas presents to his co-conspirators, or "colleagues" in this context, before going to his own, sparsely decorated apartment, completely alone, and wishing it were all different. We see snippets of him writing novels on his most cherished possession, an antiquated typewriter, as he pursues a burning, life-long ambition: to become a writer. Nothing more.

And finally, after years of constant rejection, and set close to the present day, we see CSM open a letter from yet another publisher to say they will be printing his work. His joy is without bound as he finally has hope once more. His transformation is so total that, on the morning of the publication, he types out his resignation from the Syndicate to which he belongs. Then on buying the magazine he finds that, once more, his talents and skills have been manipulated and abused by others. It may be a different context from his MiB duties, but the end result is the same. Demoralised and embittered, he tears up his letter of resignation.

CSM has been transformed in this episode. Perhaps it's unnecessary. There will always be those die-hard fans of Mulder/Scully who'll say, "but where were they in this episode?", and quite probably, they'll dismiss it with the same callous disregard as displayed by those people whom CSM works for, be it the Syndicate, or the publishers. We didn't NEED this episode. But with its inclusion, we are given something that only advances the series' artistic nature, its originality, and its willingness to create real, believable characters in all quarters.

In short, it's little short of amazing, and one can only hope future TV shows produced from this point will show as much respect and devotion to its characters, and their histories, as this one has.

WARNING: This review contains a couple of PLOT POINTS and

SCENE SPOILERS; if you do not wish to find out too much about

this movie, then please DO NOT READ.

This film is often billed as a comedy on television, but in fact this is

not entirely accurate. People often associate comedy with films

such as "Airplane!", or "Hot Shots", but anybody looking for this

kind of humour is going to be a little disappointed. "Bye Bye Love"

simply tries to bring the subject of divorce, with all the benefits and

the costs it can have, in a comical fashion, admittedly, but it does

not let the production be ruled by laughs and gags. In fact, it is

doused with only a sprinkling of laughs, particularly in the middle

of the film itself.

The film itself is also incredibly effective at relaying the message it

brings, and leaves the audience with some doubt as to whether

divorce is the answer to an unhappy relationship - but it also

enforces that it is not the end of the world.

When the jokes do come in, to relieve some of the tension in the

film, they are usually quick and simple, and all the cast deliver with

skill. The real star of the show, however, has got to be Randy

Quaid (Vic), who plays a spectacular performance and brings out

the best comical content in his scenes, particularly those involving

his wife's porch, his date (played by Janeane Garofalo, a good foil

against Quaid) and his reactions to Dr. David Townsend (played

superbly by Rob Reiner).

In all, the film tackles some important issues about married life

and the problems that can happen, without ever taking itself too

seriously, and in the end, it's hard to say how the film might have

improved itself.