The Knick: More Than Just Black & White

To be sure, there have been equally good series in this golden age of television, such as The Wire, Breaking Bad, and even its spin off "Better Call Saul" - with its locked down tripod shots vs the "always moving" handheld feel of "Breaking Bad". The Knick, directed by Steven Soderbergh (who also acted as , DP, Camera operator, Cinemtographer) is an amazing visceral mix of handheld work and locked off tripod shots. Soderberg continues his tradition of not minding "blowing out highlights” from window light sources, and he keeps to his tradition with "The Knick". Its not that he is not capable, rather its because once again he has proved that the choices he makes are absolute genius. The blown out windows only contribute the "sterile" hospital environment - and makes us pay more attention to the skin (healthy vs not, in many ways) and characters (who are largely defined by their skin “color” in an old era as well). It would be all too easy to call this another genius “Doctor/Tragedy” show simply set in another time, but that would be doing a grave disservice to this exquisite example of filmmaking. From Clive Owens’ performance to the deft hand of Steven Soderberg, "The Knick" delivers on all infinite levels of mind, spirit, and emotion. You sincerely feel the pain and the struggle of characters whose characteristics you would normally be inclined to disregard.

The richness of these characters makes us realize that despite our inherent desire to judge based on precepts, men are neither all good nor all bad - sometimes men are just men doing the very best they can. The Knick highlights not only the amazing medical advances made during the early 1900s, it shows how dark our understanding will always be no matter how far ahead we may believe we are. The final episode, episode 10, of season one, hits us with a hammer blow of a poetic cliffhanger. I call it poetic because it is genius enough to either leave a lot of room for Season 2, or allow it to stand on its own as a Mini-Series (very much like True Detective Season One). While most Directors will choose to show 20 or so “mini-shots” before they show a master or vice versa - Soderbergh believes in getting exactly the right amount of coverage. He will use one shot rather than stick together multiple shots, the effect is that you sometimes don’t even realize you are seeing one long shot as its happening and only on second viewing does one notice this effect occurring. This is filming at its finest folks, we suggest you do not miss it.