Jammer's Review
Star Trek: The Next Generation
"Chain of Command, Part II"
Air date: 12/21/1992
Written by Frank Abatemarco
Directed by Les Landau
Review by Jamahl Epsicokhan
Picard is held captive by the Cardassians and interrogated for information by Gul Madred (the great David Warner), who starts with truth serum and mind games before quickly moving on to torture. Meanwhile, the Enterprise learns of Picard's capture in the middle of their negotiations with Cardassian Gul Lemec (John Durbin), who now intends to use Picard's capture as leverage in the situation. It doesn't help that Picard's raid on the supposed Cardassian facility was a covert operation that violates the treaty and would be considered an act of war. In an example of outrageously false theatricality, Lemec claims Picard's operation resulted in the deaths of more than 50 men, women, and children.
Deep Space Nine was well into production by the time "Chain of Command, Part II" was made, but it wouldn't premiere for two weeks after this episode aired. One wonders if the TNG writers, knowing what the Cardassians would be to DS9, decided ahead of its sister series' launch that they wanted to establish some real meat behind the society that would be the new show's primary nemesis. "Chain of Command, Part II" provides a meaty entry point into the Cardassian mindset through the dark and intense scenes between Picard and Madred. These scenes are all the more believable because we come to see Madred not simply as a generic antagonist, but a specific, even understandable, product of a military government-state that pulled itself out of poverty and starvation by lashing out and conquering its interstellar neighbors (like the Bajorans).
There's no doubt the Cardassians are designed as an Orwellian society. The entire Picard/Madred subplot isn't simply inspired by 1984; it's directly transplanted — from the nature of the electronic torture device to the interrogator's desire to gain not just information but dominion over his victim's mind, to the whole business of the five lights versus the four. (In 1984, it's five fingers instead of four.) Patrick Stewart and David Warner are masterful in scenes of psychological and physical intensity, taking place in a room with production design that oozes dank and dim.
But what also stands out here are the nuances of character and society. Madred has a quiet scene with his daughter whom he clearly loves, and he talks with Picard about his time as a starving young boy on the streets of Cardassia, and how Cardassia made itself strong again through its military agenda. These are terrific, observant scenes of well-written dialogue. In a way, this insight allows Picard to understand Madred — even pity him — in what is, from Madred's point of view, his own strategic miscalculation. What Madred does to Picard is horrible, yes, but what the story does is pretty great — allowing us a portal into the Cardassian psyche via exposition that arises organically from the drama. By the time the episode is over, a major piece of TNG-era mythos has been established.
Back on the Enterprise, the situation with the negotiations, Jellico, and Riker continues to deteriorate, and ultimately Jellico relieves Riker of duty (and puts Data in command) after Riker questions Jellico's initial plan to sacrifice Picard as a negotiation tactic. The plot in this story is all-around solid and engaging, but it's elevated by the tension Jellico brings to the table and the fact that it all ties back into Picard's fate. Ultimately, Jellico and Riker must come to the most grudging of understandings — but not before a classic exchange where the two drop rank and tell each other exactly what they think of each other. (Jellico goes first, and then Riker's response is deliciously brutal.)
And who can forget, once all the cards have been played and the negotiations for Picard's release have been made: "There! Are! Four! Lights!" It's a moment of victory that Picard gets over Madred — but the episode wisely knows that it was a hollow one made possible only by the eleventh-hour agreement that secured his release. Picard confesses to Troi that not only was he going to say whatever Madred wanted him to, but that he could actually see five lights. When given the choice in front of Picard, it's easy to see how pride would be so small a price to pay, and how you could convince yourself a lie was the truth.
Previous episode: Chain of Command, Part I
Next episode: Ship in a Bottle
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16 comments on this review
He was just as dependent on having a victim to give him purpose on his backwater planet.
In terms of serious villainy it went from Armus the Evil Oil Slick to Gul Madred. (Q notwithstanding).
I challenge anyone to watch "Skin of Evil" and "Chain of Command, part II" back to back and see if your head doesn't explode from knowing they're both from the same show.
"THERE ARE FIVE STARS! HOW MANY DO YOU SEE NOW?"
www.slate.com/articles/arts/culturebox/2009/05/there_are_four_lights.html
Despite that though, there are two instances I've seen where Torture added a bunch to an episode, and that's here and DS9's die is cast. It's one thing to torture someone, but what I want to see is how this affects the torturer and the victim on a psychological level. If movies/series/episodes manage that, than the torture scene works.
Someone else pointed out that during the last 3 years of its run, nearly every great episode of TNG was a story about Picard in some sort of box with or without other good actors with minimal periphery scenes with the rest of the cast.
I don't need to add much to the review (or Nic's article) of the torture scenes and how exquisite they are. It occurred to me that, had I directed the episode, the final shot of Picard leaving the chambre would have shown HIS perspective of the lights. A camera shot of Madred roofed by blinding and glaring lights which is just long enough to let you realise, if you pay attention, that there are five lights shining into your eyes. Then would come the line "THERE! ARE! FOUR! LIGHTS!". Not necessary as the episode is a gem as it is, but just a thought.
I'd like to point out the richness of the dialogue and the intellectual calibre of the discussions between Madred and Picard--this was the kind of text which did not survive the TOS era very much. There were still good ideas in the TNG era (and even in ENT) to be explored, but very rare are the episodes past TNG season 4 which don't pander their language to a less intellectual audience.
I doubt in a real torture experience that the torturer would open themselves up like that, and to be honest only a stupid prisoner would open themselves up to further torture by goading them, but in a scripted Sci Fi series with two quality actors this is a great piece of television.
Still, something happened in the later seasons of TNG (which I think carried over to Voyager): It became almost a little too thoughtful or too reasonable or comfortable, maybe. I'm not counting this two-parter (which is excellent) but there are a lot of episodes that are just kind of boring or too sedate.
To be sure, there are some excellent TNG episodes in the final two years (Tapestry, the Chase, Parallels). But there are a lot of high-concept/low-energy outings, too. Thine Own Self, Masks and several others just feel kind of flat.
I've noted this elsewhere, but this was, in part, due to a changed character dynamic. The final two seasons do far less with Riker and Geordi and much more with Troi and Worf. Picard and Data are, obviously, the main characters. But Troi and Worf (even before their romance) supplant Riker and Geordi as the next tier.
Marina Sirtis is clearly the worst actor in the cast (possibly in all of Trek). Michael Dorn was one of the better characters, but attempts to humanize him (particularly in season 7) were just kind of lame. So, when the creators decided to devote much of the final two years on Troi and Worf (individually and together), it hurt the series, IMO.
There are also a lot more ship-bound shows, which was one of my complaints about Voyager (which, to me, is the worst Trek series by a wide margin).
Certainly, TNG evolved from pulpier scifi to something more thoughtful. But I think it also lost some spark after a time.
Hell yeah, in fact every female Trek fan I've ever known (and a few of the boys as well, as you mention) has expressed a preference for Picard over Riker. I don't think Team Riker even exists!
There are 4 lights. I'm watching the episode now on netflix. At time stamp 22:43 you can pause it to see that the small blue light you saw is not present as the lights are coming on. Rather, what you saw as the 5th light was a reflection of the production lights on the canisters of the prop lights. I'm taking time to respond because the idea was so interesting and shocking that I had to check it out.
That would have been seriously devious and extremely dark. Nice observation, in real time it does appear to be another light, but I for one am thankful that "THERE ARE FOUR LIGHTS!"
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