[DS9] Review: "The Siege of AR-558"
Scott Andresson
(Warning: This review is kinda long...I apologise for that right now! I will
try and keep things shorter in the future.)
"The Siege of AR-558"
----
Season Seven, Episode 8
Written by Ira Steven Behr and Hans Beimler
Directed by Winrich Kolbe
"Let me tell you something about hew-mons, nephew. They're a wonderful,
friendly people -- as long as their bellies are full and their holosuites
are working. But take away their creature comforts, deprive them of food,
sleep, sonic showers, put their lives in jeopardy over an extended period of
time and those same friendly, intelligent, wonderful people become as nasty
and as violent as the most blood-thursty Klingon."
-- Quark
The Defiant arrives at planet AR-558 in the Chin'taka system, a world that
was taken from the Dominion in the Federation invasion of Chin'taka. They
have supplies for the Starfleet garrison posted there. The traumatised
soldiers have been up to their ears in death and destruction for months and
have lost two thirds of their men. The Jem'Hadar arrive at the planet,
attacking the Defiant and beaming down troops to a position near the
Starfleet camp. The Defiant breaks orbit and leaves for reinforcements,
leaving Sisko's team stranded on AR-558. Sisko, taking command, has only one
order: "We hold"...
*Ouch*.
I'm not quite sure where to begin, so I'll start by telling you how I felt
after watching this episode. I was stunned. My face felt numb and my stomach
was knotted. Tears were still streaming down my face, having cried my way
through much of the last act. To be honest, I was a little traumatised. (So,
yeah, it was pretty much the same reaction I had to "Profit and Lace". :-)).
"The Siege of AR-558" is an exceptionally powerful, emotionally wrenching
war story -- heart-breaking and at times almost unbearably moving. And
whilst it's undoubtedly the darkest, bleakest episode of Star Trek ever
filmed, it's also one of the best. The outstanding writing, acting,
directing and music all come together to form what is nothing short of a
masterpiece. As television goes, this is pure dynamite.
Aside from the downright disturbing (but amusing) sound of Rom singing, the
episode kicks off rather quietly. We are introduced to the outpost AR-558
which is in the Chin'Taka system, a part of Cardassian territory that was
seized from the Dominion during the Federation's invasion of Cardassian
space (a reference to events of the sixth season finale "Tears of the
Prophets"). There has been a Starfleet garrison stationed on AR-558, holding
off continuous Jem'Hadar attacks for the last five months. AR-558 contains
the largest Dominion Communications Array of the sector and they are
determined to get it back. Whilst they haven't been successful thus far,
they have wrought terrible devastation and killed two thirds of the
Starfleet garrison. The survivors are understandably suffering the severe
trauma resulting from months of continuous death and destruction.
Something that "The Siege of AR-558" does notably well is present its guest
characters as reasonably rounded *people* as opposed to Star Trek's
traditional "red shirts" (you know, the soon-to-be-killed security officers
that accompanied away missions and rarely outlived ten minutes!). Whilst
there wasn't much doubt that many of them (if *any* of them) would survive
the episode, we actually developed quite a feel for them and even began to
*care* about them as people. This is just as well, for if we don't care
whether the characters live or die, then where's the drama? Bill Mumy (who
played Lennier in "Babylon 5" and Will Robinson in the original "Lost in
Space") gave a strong performance as the engineer Kellin. He was definitely
the most likable of the lot and the friendship that developed between he and
Ezri felt amiable rather than forced. Annette Helde and, in particular
Patrick Kilpatrick, did creditable jobs of creating realistic characters
that had been scarred by the harsh reality of life on the Front Lines.
Whilst outwardly they have a steely determination to fight on to the bitter
end, it's nicely conveyed that they have had to detach themselves from their
feelings to survive in such awful conditions where death and destruction are
a daily fact of life. The only character I wasn't particularly enamoured by
was Vargas, and I suspect that had something to do with the actor that
played him. Raymond Cruz was more than a little over-the-top, his grunting
and growling cringe-worthy at times. I appreciate the attempt to illustrate
a man who simply wasn't coping with the trauma as well as Reese and Larkin
but I found Cruz's performance overwrought and jarring. Fortunately that's
the only complaint I have on the acting front, for pretty much everyone else
was superb.
The strongest character work was by far that of our regulars, and that's
exactly as it should be. Behr and Beimler basically throw Sisko and co. into
hell and explore the consequences. Not to suggest that our crew haven't been
in mortal combat before, for they have many times, but the situation has
never been quite as bleak as this. The episode opens with Sisko looking over
the latest casualty list. He tells Odo that when the war started he would
read over every single name, feeling it was the least he could do to honour
their sacrifice. He doesn't do that any more. Over time the names have
started to blur together.
By the end of the episode, having been to hell and back, he arrives home
only to be greeted by another casualty list. "They're not just names," he
realises with sobriety. "It's important that we remember that. We have to
remember..." We maybe didn't need this spelled out quite so clearly, but
Sisko's little character arc was nicely handled and suitably poignant,
bolstered by an understated, compelling performance by Avery Brooks.
Recently Brooks has been more "external" with Sisko, which is fine, but his
more introverted approach here was particularly suitable given the demands
of the story. Some very solid work here.
As for Ezri, her friendship with Kellin was nicely handled and the two
developed nice rapport. There was certainly enough resonance to make the
sight of Ezri holding Kellin's lifeless body nothing short of
heart-wrenching. I do have one piece of advice for young Ezri, however --
hey, Miss Counsellor, it would have been nice if you had at least *tried* to
help those poor soldiers who were in very definite need of a shrink. Poor
Bashir was evidently lumbered with the lot of them. Speaking of which, the
good Doctor was a little under-utilised aside from Kellin's pointed remark
that it was obvious that he had loaded a phaser rifle before. Bashir notes
the irony that he joined Starfleet to save lives.
You want to know something almost unbelievable? Some of the strongest
character moments involve...the Ferengi! Yup, although the Ferengi are
primarily used as comic relief, some of the best character work in "The
Siege of AR-558" involves Quark and Nog.
Nog is representative of the lost innocence of youth. He starts off
determined to prove himself as a soldier and earn the respect of his
superiors. He's the naive kid that displays the gung-ho patriotism and
eagerness to achieve glory that I imagine is typical of many young men
heading off to war. From what I remember learning about the Second World War
in school, the young soldiers that went off to fight were full of grandiouse
notions about the glories of fighting for one's country. Given this set-up I
had a pretty good idea that Nog was in for a rude awakening and was bound to
come away from this a changed man. And I was right.
Quite against expectations -- and despite a *very* shaky excuse for being
aboard the Defiant -- Quark proved a major asset to the story. Whilst I
didn't entirely agree with his opinions, he provided some very interesting
insight into war and us *hew-mons*. Quark certainly isn't here for light
relief and the questions he raises are both thought-provoking and
intelligent. His extreme nervousness around the soldiers prompts him to
explain to Nog that while humans are generally a friendly, wonderful people
if you take away their creature comforts and endanger their lives they are
capable of becoming "as nasty and as violent as the most blood-thursty
Klingon". Which could well be true. This is a matter of survival. You either
shoot or are shot. It's odd that he doesn't seem to think that the Ferengi
would react the same way. When a Jem'Hadar attacks him and Nog later on in
the story, he does not hesitate in raising his phaser and killing the
intruder.
What's interesting, though, is that Quark can see through the Federation's
"we are superior" veneer. Now, no one loves Roddenberry's concept of
humanity evolving more than I. I truly believe that we are still evolving
(if you don't believe me, just look how we have progressed in the past
century alone). But quite often in Trek -- in every series except DS9 -- the
concept is presented in a way that verges on sanctimonious. You know, the
"let's pat each other on the back because we're so highly evolved" idea and
the "we look down you lesser species". That, I don't like.
Quark sees through the hypocrisy and emphasises that when the situation gets
grave enough, humans will react in the only way they can in order to
survive. Remember that Earth is a paradise. "It's easy to be a saint in
paradise," Sisko once said. But we're not in paradise any more. We're at war
and it's a matter of survival. Humanity may have evolved but war is still
war -- either you kill or you are killed. Now that's probably one of the
darker messages you're ever likely to see on Trek, it may even be a little
cynical but it's an honest one. And by humanising your characters,
presenting their flaws, it makes it far easier for the audience to relate to
them than a group of flawless cardboard heroes put up on a pedestal. Yes,
boys and girls, we're big enough and old enough to handle a little moral
ambiguity -- and DS9 has proven that Trek is, too.
Aside from this, we also see another side of Quark that is rarely on
display. We see that he genuinely cares about his nephew and this has never
been more in evidence than here. Of course, like any youngster, Nog is
embarrassed by his uncle's attention and is more interested in making
himself look like a competent officer. When Sisko sends Nog on a dangerous
mission to scout the enemy Quark's objection is perfectly understandable,
particularly as someone outwith the military chain of command. "He has his
orders, Quark," Sisko tells him. Nog has been assigned to the mission
because his strong hearing is an asset. Nog, of course, jumps at the chance
to prove himself. "That's easy for you to say," Quark responds. "But I bet
you'd never send Jake out there". Sisko's response is that Jake is not a
Starfleet officer, but you are left to wonder -- what if he were?
I did have foreknowledge that Nog was going to lose his leg, but it was no
less shocking when it happened. Quark, of course, vents his anger on Sisko.
"If you cared about Nog in the first place you never would have sent him out
there," he growls. Sisko, who has obviously been under the immense burden
that must come with leadership under such precarious life-and-death
situations, angrily tells him, "You listen you me, Quark, because I'm only
going to say this one time. I care about Nog and every soldier under my
command. You hear me? _Every one_."
What's interesting is that Nog seems more concerned with reassuring Sisko
than anything else. It was obvious that the fact he had lost his leg simply
hadn't sunk in. When it does, I think we'll see a vastly different Nog to
the eager young boy that we saw at the begining of this episode. I haven't
seen "It's Only a Paper Moon" yet, so I can't really comment on that yet.
Needless to say, it's all very powerful, emotional stuff. While we've had
characters injured before, the situation and even the injury itself has
never felt quite this dire. Kudos to the writers for taking a chance and
*showing* the very real effect of war upon these characters. Up until now,
with the exception of Sisko, we've not actually seen any real, tangible
evidence that the war was taking it's toll. But now it's hard to imagine
that any of the characters left on the planet during this episode can ever
be quite the same again.
Anyway, things are masterfully built up to the almost overwhelmingly
powerful final act. Throughout the episode it was clear that an all-out
confrontation between both sides was inevitable. That it is built-up so
effectively is an example of excellent storytelling on the part of Behr and
Beimler and, of course, director Winrich Kolbe. As rich as the material and
performances are, it is Kolbe that brings the episode to such vivid life in
what must surely amount to his best directorial effort yet. With the episode
set largely in darkness and the sets quite limited, the episode could have
been somewhat restrictive and unappealing visually. But Kolbe makes
absolutely excellent use of the sets and the lighting. He builds a very
tangible atmosphere of foreboding doom and desperation. "The Siege of
AR-558" is an intensely visceral episode, effortlessly drawing us into the
screen and forcing us to experience the events as they transpire. I was
totally caught up in the episode, totally mesmerised by it. Which made the
final act all the more painful.
As I said before, the lead-up to the final act was very well done. The
nervousness of the officers as they await the imminent attack was very
effectively conveyed. Hell, *I* was nervous as well. But the real stroke of
genius was Vic Fontaine's beautiful rendition of "I'll Be Seeing You". It
came as a big surprise to hear such lovely music just moments before the
inevitable carnage but it worked a treat and James Darren performed the song
absolutely tremendously. While I've sometimes found Vic's cameos a little
jarring and intrusive *this* was just perfect. Of course, it's only a
momentary respite, for within seconds the "Houdini" anti-personnel mines
positioned in the path toward the camp start detonating, meaning only one
thing: the Jem'Hadar are coming. Silence for a minute. Vargas wonders
whether the mines killed all of them. His question is answered by the cries
of the enemy as they race toward the camp. Sisko yells "Fiiire!!" and all
hell breaks loose.
I must again heap the praise on director Kolbe, as the ferocious, bloody,
violent fight that takes place is very, *very* well done. In fact, I don't
think I've ever seen combat sequences as well-directed and masterfully
edited before on Trek. But it was much more than just a case of nice
visuals. For it carried a huge emotional wallop and I just wish I'd had a
box of Kleenex at hand. The sight of our people, fighting for their lives --
and dying -- was simply heart-breaking and almost unbearably powerful in
effect. For whatever reason, the cutting back to Quark who is caring for the
unconscious Nog was particularly wrenching. The look on Quark's face as he
hears the screams of the dying spoke absolute *volumes* -- kudos to Armin
Shimerman who gives what is, in all likehood, his strongest performance yet.
He manages to imbue a single look with layer upon layer of emotion and
feeling in a way that would make Rene Auberjonois proud. There's little
doubt about it, the battle scenes are easily the most haunting, disturbing
and painfully moving moments of television that I've seen in a long, long
time.
I don't think I've yet mentioned Paul Baillargeon's beautiful score.
Although I've often considered Baillargeon's distinctive style a little
wishy-washy and sometimes inappropriate, this was one of the most beautiful
and strikingly effective musical scores the show has ever been graced with.
Nowhere is this more evident than the last act. His soft, emotive tones were
a stark contrast to the horrific, violent images flashing across the screen
-- which made it all the more moving. Really, top marks to Baillaegeon,
whose work really added a *lot* to the impact of the episode.
But, before I go, I feel it's my solemn duty to point out the one or two
things that I wasn't as happy with. I suppose you could be forgiven for
experiencing a slight pang of deja vu when it comes to the message and
themes of this episode. For a good few years now, the writers have evidently
tried to come up with as many different ways as possible to convey the same
"war is bad" message. Let's see, some prime examples include "The Ship",
"Nor the Battle to the Strong" and "Rocks and Shoals", all of which
presented the same themes albeit in different ways. That's fine but part of
me feels that we've been there, done that and should be moving on. We know
that war is hellish and that people die horrible deaths, but there must be
more to say on the subject than that. How about exploring the reason
*behind* the war -- in essence *why* we're fighting and whether it's worth
it. There's no reason to think that war is a black-and-white issue.
At one point Quark tells Nog that "If the Federation had listened to the
Ferengi Alliance there never would have been a war...We would have reached
an accomodation. We would have sat across a negotiations table and hammered
out a peace treaty." I appreciated this interesting view, one which is
obviously at odds with any views held by the Starfleeters. But, as Nog says,
"you make it sound so simple." I can't help but feel this statement could be
leveled at the writers. It's all very well to make a statement that war is
hell and that it can be avoided with diplomacy. But what happens when
diplomacy fails? Should we be willing to fight for what we believe in? I
almost feel that the message is that "_nothing_ ever justifies war-fare". I
respect that opinion naturally and I myself am, by nature, a pacifist. But
what happens when you cease to care enough about a cause to be willing to
fight for it? What if, because no one wanted to endure another war, people
had simply stood by and let Hitler take over the world? Can you imagine it?
I'm sorry, but sometimes you simply *have* to fight for what is right.
Or, to cite the recent Balkans conflict, could we really have stood idly by
and watched as the Serbs basically perpetrated a Holocaust in Kosovo? I was
appalled by the number of people that claimed that we should not intervene
and that it was not a matter that affected British or American affairs. I
believe that those that turn a blind eye to the suffering of others when
they are in a position to help are as guilty as the perpetrators. I guess
that's why I've always hated Trek's Prime Directive. Anyway, before this
turns into a completely off-topic essay about foreign affairs, I think I've
made my point. War is not a clear-cut issue. Obviously it should be avoided
at all costs, but as much as it pains me to say it, some things *have* to be
fought for and that's something that I would have liked to have seen
addressed at this point in the series. I feel that having already had
several looks at the "physical" affects of war, that we are more than ready
to explore the moral and ethical issues. That is not actually a direct
criticism of this episode, but more an item on my "wish list" that I would
like to see before DS9 ends. Alas, I don't think it's something we're ever
likely to see (certainly not when there are a dozen different Ezri stories
you can tell!! :-{) which is something of a missed opportunity.
Oh well, that aspect of it did leave me a little uncomfortable upon thought,
but I can gladly say that it does nothing to diminish an absolute powerhouse
of an episode. The fact that it *is* thought-provoking is in itself a
triumph -- particularly as I so often despair about the sheer superficiality
and hollowness of so much of the dross on television. No doubt about it, for
what it is, "The Siege of AR-558" is simply superb. It's an engaging,
fiercely intense and visceral story which raises some challenging, mature
questions and is beautifully brought to life by some truly outstanding
directing, acting and production. It's definitely not an episode for the
faint-hearted and I suspect that Trek purists will be riled by the sheer
bleakness of the issues it explores -- but it's nevertheless an amazing,
brave piece of television that ranks very highly among the show's best
episodes.
Rating: 10
=====================================
Scott Andresson - brah...@hotmail.com
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-- A sarcastic Q, ST:TNG's "True Q"
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