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Season 2, Episode 11: ‘Holly’
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Can we just pause for a second to appreciate Elisabeth Moss? She isn’t just the star of “The Handmaid’s Tale”; she is its heart, soul and, above all, its endlessly expressive face. It is her physical performance that digs the show out of narrative ruts and sells its most unconvincing twists. Her Offred can look meek and subservient or utterly dejected, but the character’s core is solid steel. Lest we take Moss for granted, this week’s episode, “Holly,” was a reminder that her work on this series comprises some of the most empathetic and nuanced acting in any medium.
If you don’t count the flashbacks and voice-overs, all of Offred’s lines in the episode probably add up to fewer than 100 words. Yet Moss is onscreen for nearly every second of its 48 minutes. “Holly” follows an unusual structure for “The Handmaid’s Tale”: While the show generally maintains momentum by jumping between story lines in what is, more often than not, a domestic drama, this week’s action takes the form of a simple but intense survival narrative.
That skeletal plot goes something like this: Left alone after Nick is captured, Offred finds herself staring down a wolf. So she returns to the mansion, takes stock of the canned food and other supplies inside and locates car keys. She ventures into the garage, where she fires up an abandoned sports car and tunes in to Radio Free America, on which we hear Oprah Winfrey introduce a song by Bruce Springsteen. (“We’re still here,” Winfrey says. “Stars and stripes forever, baby.”) Back in the mansion, Offred is gathering supplies when the Commander and Serena — who is furious at her husband — barge in looking for her. Offred finds a double-barreled shotgun and trains it on the couple from two floors above, but she can’t pull the trigger. The Waterfords leave. Offred returns to the car but can’t open (or bust through) the garage door.
Those with a good eye for references to other iconic espionage franchises (on both the large and small screens) will have a field day as Kingsman picks up steam and moves toward a calamitous and more or less absurd climax. (The film certainly wins bonus points for the most unorthodox use of Edward Elgar's 'Pomp and Circumstance'.) Firth, probably not the first person you'd think of as an 'action star,' acquits himself quite nicely as Harry Hart, but the film belongs mostly to young Taron Egerton as Eggsy and especially Samuel L. I personally found some of the score by Henry Jackman and Matthew Margeson to be less than helpful (especially in some of the early cues, which just kind of well up out of nowhere and then just as quickly recede), but the score is very well rendered and offers a sonic bed which spreads quite forcefully at times through the side and rear channels. Fidelity is excellent and dynamic range extremely wide on this problem free track. Kingsman: The Secret Service takes a while to fully reveal it's in the slightly wry camp, and that means that some viewers may be initially confused by what seems to be a more straightforward spy yarn.
Then she goes into labor. After scaring off the wolf with her gun, she gives birth on the floor of the mansion, beside the fireplace. She names the child Holly, after her own mom.
In terms of plot, that’s about it, aside from the brief flashbacks, most of which show June surrounded by Luke, Moira and Grandma Holly during the final months of her first pregnancy. But you only have to observe Moss’s body language to understand how important “Holly” is to Offred’s story. The way she breathes and blinks in the episode’s opening close-up is enough to contain the torrent of emotions — terror, hope, confusion, exhaustion, desperation — she must feel when she realizes she is alone. In the past day, she has been raped, has held her daughter for the first time in years and has watched the father of the child she’s carrying get shot at and dragged away. He could be hurt, if not dead. Even as she silently panics, you can feel a plan forming in Offred’s resourceful mind.
The scenes that follow are just as stunning. As she aims her gun at the Waterfords, who are too busy tearing each other apart to notice her upstairs, Offred is so at war with herself that she’s shaking. Would she have shot them, her serial rapist and his accomplice, if they had discovered her? Her full-body exhale when they finally drive away suggests relief that she may never have to find out. And the look that crosses Moss’s features when she finally does shoot the gun, some mix of determination and satisfaction, suggests a feeling of liberation and personal agency that goes well beyond the act of sending a wolf scurrying into the woods.
What Offred does and doesn’t do with her weapon says a lot about who she is now. She’s not a predator like the Waterfords and the wolf; she won’t inflict unnecessary pain. But she’s no helpless victim, either. In the two-part season premiere, it was Nick who facilitated her escape (although the gumption to remove a piece of her own ear was Offred’s alone). Now, he’s the lover in distress, and she has the power to save herself. As Grandma Holly reminds her in a flashback, Offred is stronger than she thinks.
100 percent love telugu movie torrent. She is, for example, strong enough to deliver her own baby by firelight. The birth scene is primal, powerful — and, through no fault of Moss’s, a bit hard to swallow. A few epic screams and there’s little Holly, deposited into Offred’s hands looking relatively clean, after one gargantuan push? Stranger things have happened on this show, and clearly too much gore could’ve spoiled the poignancy of the scene, but it’s not like “The Handmaid’s Tale” to make anything look easy.
That’s a small complaint in the grand scheme of things, though. “Holly” is easily among the show’s best hours to date. It’s a testament not only to Moss (who might have just sewn up another Emmy) but also to the episode’s director, Daina Reid. Her first contribution to the show uses Moss’s talents to depict a riveting struggle between hope and fear, silence and screaming, giving up and getting free. Reid also directs next week’s episode, which is sure to shatter the serenity that surrounds Offred and Holly when we last see them, snuggling in the dark.
Blessed Fruits:
• Not that it was ever hard to guess, but now we know how Waterford and Serena really feel about each other. He thinks she’s a shrew. She thinks he’s a fool and a pushover who’s harboring a “sick infatuation” with Offred. Serena also drops an inevitable bombshell: “I gave up everything for you — and for the cause,” she says. “And I only ever wanted one thing in return: I wanted a baby.” Her voice gets high and soft, almost like a baby’s, at the end. There must be more to her story: Why did such a smart, strong woman sacrifice her power, not to mention every other woman’s, to become a mother? As Serena sobs and tells Waterford, “I have nothing,” they lock eyes with the anguish of two people united by the misery they’ve inflicted upon the world and each other.
• It’s still possible that Waterford set up Nick’s abduction and is lying to Serena about it. It’s also possible now that the guardians’ appearance last week was spontaneous. I think it’s most likely that Isaac is the culprit. Otherwise, why would the show have spent so much time introducing him, establishing his brutality and giving him a motive to go after Nick? I was certainly wrong last time, but my current guess is that he saw Waterford sneak Nick and Offred into the car and sent his guardian pals after them.
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| Serial Teachers 2 | |
|---|---|
| Directed by | Pierre-François Martin-Laval |
| Produced by | Romain Rojtman |
| Screenplay by | Pierre-François Martin-Laval Mathias Gavarry |
| Based on | Characters created by Pica and Erroc |
| Starring | Kev Adams Isabelle Nanty Didier Bourdon Pierre-François Martin-Laval Arnaud Ducret Stéfi Celma Raymond Bouchard Fred Tousch Gaia Weiss |
| Music by | Matthieu Gonet |
| Cinematography | Régis Blondeau |
| Edited by | Thibaut Damade Claire Fieschi |
| Distributed by | UGC Distribution |
Release date | |
| 92 minutes | |
| Country | France |
| Language | French |
| Budget | $16 million |
| Box office | $22.9 million[1] |
Prada serial number check online. Serial Teachers 2 (French: The Profs 2 / Les Profs 2) is a 2015 French comedy film directed by Pierre-François Martin-Laval. It is the sequel to 2013's Serial Teachers (Les Profs).[2]
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Cast[edit]
- Kev Adams as Thierry Boulard
- Isabelle Nanty as Gladys
- Didier Bourdon as Serge Cutiro / Tirocu
- Pierre-François Martin-Laval as Antoine Polochon
- Arnaud Ducret as Éric
- Stéfi Celma as Amina
- Gaia Weiss as Vivienne
- Firmine Richard as Madame Saint-Gilles
- Raymond Bouchard as Maurice
- Fred Tousch as Albert
- Laura Benson as Miss Johns
- Francis Chapman as Young Prince William
- Uday Singh II as best student
References[edit]
- ^http://www.jpbox-office.com/fichfilm.php?id=14990
- ^''Serial Teachers 2' ('Les Profs 2'): Film Review'. The Hollywood Reporter.
External links[edit]
- Serial Teachers 2 on IMDb