The slowness and silence of Mike’s side of the story is a stupendous choice for several reasons. First, it aims the spotlight directly at the facial expressions and body language of Jonathan Banks as Mike. As an actor, he doesn’t perform so much as he oven roasts, slowly and quietly allowing the characters skill, determination, ruthlessness, patience and weariness to flavor his every move. Second, it provides composer Dave Porter with a blank canvas on which to paint an engrossing post-rock musical accompaniment, miles away from the jaunty country-western kitsch of the soundtrack. Third, it gives director Vince Gilligan—working here with cinematographer Marshall Adams—the chance to let the visual dimension do much of the talking. Mike’s sections of the show are basically oceans of darkness, surrounding islands of warm yet sickly yellow glowing light in which Mike moves or sits like a castaway; that yellow color beams “CAUTION” at our brains like the lights from a roadside construction project on a rainy night. It’s a powerful contrast with the black and white of the flash-forward opening sequence, showing Jimmy’s eventual fate as Gene the Omaha Cinnabon manager; with the Office Space aesthetic of Jimmy’s 2002-era material; even with the dark wood paneling and bright “natural” daylight that characterize scenes starring Jimmy’s Luddite brother Chuck. It’s tough to think of a series with as distinct a visual aesthetic as Better Call Saul which is also willing to vary that aesthetic so much in a single episode.
Finally, Mike’s slow and steady story gives lie to the claim that Better Call Saul is becoming Breaking Bad Redux. Perhaps Breaking Bad’s magisterial final season (minus that regrettable punch-pulling finale, of course), which moved toward the destruction of Walter White with the grace and grandeur of the inevitable, makes the chaos of that show harder to remember. But from literally the first scene of the first episode of the first season, Walt’s story showed him careening from one calamity to another, creating new disasters to extricate himself from the old ones nearly every time. Mike’s story may involve Breaking Bad heavies like the Salamanca Family and, presumably, Gus “The Chicken Man” Fring; it may have more in common with that show’s violent stock in trade than the white-collar crimes of Jimmy McGill or the mental illness of his hotshot older brother Chuck; but in pacing and in tone it remains a very different proposition indeed.
I reviewed the season premiere of Better Call Saul for the New York Observer. Eff what you heard about the show getting too close to Breaking Bad; other than the characters and the overall skill involved they have very little in common.