#6.12 “Labyrinth” Review

NOTE: This review contains information on vital plot points in this episode. Go watch the episode and come back when you’re done if you wish to remain unspoiled.

ANOTHER WARNING: Serious Tom gushing ahead, so go read someone else’s review if that kind of thing bothers you.

What a terrific episode!

Going in, to be honest I was a bit worried. I had hoped for a good episode, “Labyrinth” looked to be Clark-centric and a good acting opportunity for Tom, but an episode being a dream is a cliché. Actually, Smallville had done it before.

The teaser and most of the first act of Season 3’s “Slumber” were all in Clark’s head, and as were large parts of the episode after the dream world was revealed. Other shows have tackled similar storylines with varying degrees of success. So, it’s not exactly a new idea.
However, the story in Smallville went beyond the cliché. Yes, the action was completely in Clark’s head but, unlike Slumber, he was pulled more and more deeply into the dream world the longer he stayed in it. He had bought into the world the Phantom (Dr. Hudson) had created so completely that he had even begun to question who he was. What writers Al Septien and Turi Meyer (“Vengeance,” “Fade”) did so well was have the different parts of the illusion work on Clark as he was caught in the middle. The writers had created a horrible dilemma for him and it was mesmerizing to watch.

Actually, I had a hard time writing this review mainly because I would get pulled into the story each time I watched it. That isn’t normal for me. Even episodes that I loved before I could, after an initial viewing, watch the episode again critically with little or no problem. Not this one. Each time I saw this, I got pulled in again and again so I would forget to look at what I had intended to examine. I have seen this episode more often during the reviewing process than I think of any that I’ve ever reviewed before. Its ability to entrance me so completely is a testament to how brilliantly executed this script was by everyone involved, from the director, actors and all of the designers. The writers especially have a lot to be proud of.

I loved how they set up the world the Phantom had created for Clark. On one side they’d had the Phantom present Clark with his fondest desire: sweet Lana and a simple life on the farm. No world to save, no alien lineage to accept, no heavy burdens to carry. He could just be himself with the woman he loves. All he would have to do to get all that was give in, fully accepting the alternate reality the Phantom had trapped him in.

On the other side, he was also shown the consequences that his “illness” had for the people around him. His loving mother had married Lionel to get him the help she couldn’t have afforded otherwise. The over romanticized Lana was left alone playing dress up in his loft waiting for him to get better. Lex was a wreck of a man, hateful and bitter and a drunk, because of the accident Clark had caused. And, adding insult to injury, Chloe was driven insane knowing Clark’s secret and later was killed protecting him and his “insane” idea of who he is. The Phantom showed him the price others were paying for Clark’s inability to accept what the Phantom told him was real. For a man who cares so deeply for others, it was a compelling argument for Clark’s giving in even if he was able to shrug off his desire to live his life with Lana.

The best part of this world the writers had created was that the stakes weren’t just Clark’s life and the lives of the people he loved. No, the fate of the world hung in the balance. If he gave in, the Phantom would have control of his body and his powers and would use them to take over the world.

That’s a wonderfully powerful rise in the stakes for Clark and he had almost no defense. The Phantom had power over everything and Clark had trouble fighting against the strength of the illusion. Well, almost.

The only things that the phantom had trouble controlling were Clark’s barking dog and Martian Manhunter. Both were weak reminders to Clark he wasn’t in a real world. Martian Manhunter, wonderfully portrayed by Phil Morris, was there to help but he was too easily beaten by the phantom. The Phantom would send in a couple of orderlies to drag Martian Manhunter off or drug him up and Clark would be left alone, more easily drawn further into the fantasy.

Shelby’s barking was constant but sometimes it was even hard to tell what it was. At times became easier to tell when Shelby barked while the Phantom was busy with other things, like dealing with Martian Manhunter or unexpected choices of Clark’s. It was only toward the end when the Phantom was about to succeed that Clark finally recognized Shelby’s bark for what it was. It was only then that he knew for sure that where he was wasn’t real. What a wonderful twist, saved by his dog! What an awesome script!

Only adding to the great story, the actors all did a wonderful job, especially Tom Welling. He was in every scene in this episode and it must have been a lot of hard work, but he pulled it off so well. Clark went through hell during “Labyrinth” and because the success of the episode depended almost solely on Tom’s performance, he needed to do better than perfect. He didn’t disappoint. Clark went through a roller coaster ride emotionally, going from fearful confusion to elation to a deep depression, and Tom portrayed each moment flawlessly.

I’m not sure Tom could have done this episode early on in the series, I believe it’s a challenging episode for him even now. However, he has grown so much as an actor that he made even this complex a performance look effortless. Sometimes portraying Clark’s feelings only with his eyes, an exhale of breathe or a tilt of his head, it was a remarkably subtle performance…

Tom was especially effective in the scene where Clark was in the straight jacket listening to Dr. Hudson’s long speech. Clark usually uses his hands a lot when he talks, so it must have been a big challenge for Tom to not have use of them at all in that scene. However, Tom was very expressive as Dr. Hudson talked to Clark even though he didn’t say much in return. As little as he said, there was no doubt what Clark was feeling the whole time. His mind was clearly working the entire scene, trying to figure things out and yet being shocked at what he thought was evidence of his delusions being laid out in the room around him. You could see that on Tom’s face and in his body. He appeared totally drained by the end of the scene with Clark finally accepting the lies from Dr. Hudson almost because he’d been worn down. And Tom looked worn down and completely drained as he sagged against the wall. It was a totally mesmerizing performance.

If the CW doesn’t spring for a bunch of “For Your Consideration” ads and screening DVDs for Tom’s performance in this episode come award season time, I’d consider it a crime. He’s vastly underrated as an actor and this wonderful portrayal of Clark’s sanity breaking down is proof he’s as talented as he is handsome.

Speaking of handsome (I know I’m going to get complaints in my inbox about this, but I don’t care), Tom was outstandingly gorgeous in Labyrinth. It’s not like he’s ever been ugly or anything, but he was especially beautiful in this episode. Maybe it was the longer hair or the paler make-up or the non-Clark-like colors he wore or the fact that he looked taller than normal, I don’t know for sure, but whatever it was they did I hope they keep on doing it. He looked wonderful.

Kristin Kreuk had the somewhat thankless task of playing the Phantom’s sock puppet for most of the episode. She had to be romantic and soft and loving to Clark, even while trying to convince him to give into Dr. Hudson. She had played her more like the Lana from the first seasons. Her voice was higher pitched and breathier in her delivery, and she also moved more deliberately. She was helped by her hair, make-up and costuming being softer and more romantic. It was a terrific performance by Kristin.

Michael Rosenbaum only had two scenes but he was totally awesome in them. In the dream world, Lex was a wreck of a man. He was bitter and hateful. He actually wished he’d killed Clark that day on the bridge and Michael completely sold that level of loathing. What a great scene for him. Later, Lex had coldly staked claim to his property, Clark’s ex-girlfriend, right in front of him with a very possessive kiss. Lex was saying ‘She’s mine and you can’t touch her’ to Clark, rubbing it in his face that Lana wasn’t his anymore. What a wonderful moment which was only slightly spoiled by Clark actually being civil and sincerely wishing Lex well. It was a terrific performance by Michael.

Allison had sorta phoned it in last week, not that I can blame her after being such a passive character in “Justice,” but this week she outdid herself. Chloe was crazy but still so strong at the same time. She is always the loyal friend to Clark, even giving her life to protect him. How tragic and sad for her and Allison did an excellent job portraying that.

We didn’t really see much of guest star Phil Morris, but I loved what little of him there was in this episode. Martian Manhunter is one of the more humane characters in the DC Comics universe and Phil helped give him a very good introduction as just that.

The episode was helped by some great action. It was weird, a good way, seeing how differently Clark beat people up in this episode. He was fighting for his life and the way he fought the men trying to restrain him was dirtier and more physical than how Clark usually fights. It was nice to see the change since it made sense given Clark’s situation and his lack of powers.

What the show’s costume designer, Caroline Cranstoun, did so brilliantly was support the romantic feel of the two women with their clothing, while contrasting that with the more Spartan (and very un-Clark-like) whites and beiges that Clark wore. Martha was motherly to the nth degree and Lana was so romantically dressed. Also Kristin Kreuk’s make-up was actually more colorful than she’d been wearing in quite some time. Her warm, colorful face was quite a contrast to Tom’s much paler and colder look.

Director of Photography, David Moxness, had made the hospital scenes brightly, but diffusely, lit but everywhere else was dark and shadowy. It was like the hospital was less scary than the outside world the Phantom wanted Clark to reject… The photography wonderfully supported the story so it was a beautifully shot episode.

I really hope this episode gets a commentary in the season 6 DVD set. I would love to hear what people have to say about it, especially Tom, the writers and director.

I loved this episode and I wish I could give it a 6, so it’s too bad my scale only goes up to 5. I believe it’s the best episode so far this season.

I give “Labyrinth” 5 straight jackets out of a possible 5.

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