(written for the DQMW List on Sept. 1 to celebrate the first McKay anniversary)
     Yes, you've read it right. I have reviewed McKay as a character, and evaluated David Beecroft's performance as an actor in other series and movies, but I have never gotten down to consider whether he does a good job, as an actor, playing his most famous character. Though the answer may seem obvious, maybe there's still something to say from a technical point of view. Why this post today? Beside the fact that I've gotten all McKay episodes in English thanks to kind friends, thus being able to value DB's voice, and the fact that having seen other things by him I can now make comparisons - today is the first anniversary of my first view of "Reason to Believe" (which Italian TV conveniently aired yesterday, putting me in the right mood for celebration). After a year my interest doesn't seem to wane; thanks also to all the wonderful projects I'm currently involved with (Tiff's virtual season, a new pass-along story on the Delphi forum, the newest ideas for my own "season 2"), to the friends I keep making thanks to this, to the intellectual exercise. It may be that *your* interest is waning and that by now the name "David" is becoming another "D" word (you know who I'm talking about)... §:)

     *Warning*: the following contains tons of lyrical and totally gratuitous descriptions, barely held together by the pretext of a technical commentary...

     As we all know, DB appears in DQMW only for 6 episodes between seasons 5 and 6 as Terence McKay, the "good" Cavalry sergeant that hunts Sully but ultimately is converted to his and the Cheyenne's cause. First of all, let's consider his look. Always in his uniform, only rarely giving himself to wild initiatives such as taking off his hat or his jacket, always with a three-days stubble and bristly sideburns (when I saw his "All My Children" pictures I was surprised by how thin his face actually is when he's clean shaven). Granted, one does not act with his knees or his cheekbones, and his look in DQMW wasn't probably decided by him, but the fact that the "package" is more rough-looking prompts the spectator to search deeper, to notice little things. There's a lot we don't know of him. We don't know how he likes to dress off-duty, what his favourite colour is, whether he likes to get tidy for a country dance, or if he is vain of his looks (whenever you see David in some movie with hair fairly long and slicked back, you can be almost sure his character is a meanie, or wants to look like one). We can't get a peek into his private life (think about Sully alternating his Native-looking clothes and his "good" suit) and therefore into his soul. When there are no such props, the actor must do his best to open his soul in some other way.

     For example, DB's body language. I can't think of nothing better here than to quote directly from my essay McKay: The Ineffectual Hero: "... his body language reveals deep contradictions. He walks with shoulders thrown back and arms a little away from the body. His hands are seen closed into fists or open, rarely relaxed. His head is bowed reflectively more often than not. He falls easily into a John Wayne stance, feet apart, weight on one leg, which shows apparent self-assurance. He gestures a lot while he speaks, looking closely into the other person's face; restrained and yet expressive, as if he wanted to drive the point home. He looks like a man who cares about what he does and who he talks to." I don't need to add much, if not that, having seen him in other movies, his way of moving in DQMW is decidedly more restrained. He seems born on his horse - most of the time he sits back on the saddle, admittedly not a very martial posture but a relaxed one, following the horse's movement a bit tiredly. Add to this that here he falls less often into mannerisms such as blinking fast, licking his lips or nodding his head. In other movies it seems a bit stilted; here, every time he does it, it means something.

     Now, his voice. In DQMW he uses it differently than anywhere else I've seen him in so far. He always has a rich range, from soft entreaties to hoarse shouts. But in particular, gone is the ringing and perfect diction of "The Counterfeit Contessa". (How can I judge a good diction if English is not my first language, you may wonder. Well... I understand every word he says.) We hear him talking quietly, almost hesitantly ('er's and 'uhm's), practically in a whisper. His speech is less clear, as fitting to a less educated character. And what impressed me most on first hearing him is that he often sounds out of breath. Nowhere else he uses this trick. He really makes me believe he's just jumped down from his horse after a breakneck ride.

     What else? To quote again from my essay: "His eyes show understanding, and also, maybe exactly because of that, a deep sadness, a haunted look which gives him a sort of vulnerability, wipes away any macho impression and enhances the appeal of the character."
     Or his smile. McKay never really smiles. The closest thing is a fleeting grin when he assures Mike he'll work for Sully's pardon in Denver. Then there's a sort of vaguely amused grimace, in his very first scene, when he warns Sully he'll look out for him, as if to say "I'm a nice man, but don't play games with me". If you consider they told me that in AMC he smiles too much, you will get my point. Such measure, once again.
     In short, his whole expression says so much - respect when he looks at Michaela (relaxed forehead, eyes intent), regret whenever she scolds him (sudden lowering of eyes, biting the inside of his lip), contempt for Preston (hard still gaze, eyelids half lowered), defiance towards O'Connor (steady stare, a hint of a macho snarl - "who's the leader of the pack here?"), doubt and rejection (eyes shut in despair) righteous rage (teeth showing, nose wrinkling, eyebrows flattened down, eyes ablaze).

     So, has DB *any* defects as McKay? Apart from some mannerisms which remain after all - he does a lot of that biting of the lip, makes him look tough, but sometimes he overdoes it - I notice missing things, more than defects. Well, he had to do with what the scripts offered him, but for example, McKay never goes berserk like Matt in "Kidnapped", never cries, never kisses a woman, never gets drunk (fortunately he also never dies - although, you know, Matt isn't really dead, hee hee). My very favourite episode, "Safe Passage", which could have been an occasion of flexing his acting muscles, is sort of subdued. I love DB in it for what happens to the character and inside of him, but if you watch him, apart from the shocked surprise when Morrison turns the tables and when he sees Black Moon coughing blood, he just looks sad, sad, sad. He shows more range in "Moment of Truth": from self-assurance to indignation, from concern to rage, from pain to compassion, and some good interaction with his men. In SP, he's isolated - he doesn't even say a word at the parley table - and he looks depressed. That's all.

     A final warning... you shouldn't take any of the above too seriously. I have a sneaky suspect that the same could be said about a teapot or a bathing towel, if one tapes it in two languages, makes two or three copies and watches it a trillion times - "hear how the whistle subtly changes here, what arrogance... look at that fold near the hem, how melancholy and poignant." §:D



Murder, She Wrote: "A Nest of Vipers"

   Well, to be more precise, this review involves two DQMW guest stars appearing on the episode. Just imagine my shock when, all set to see Sgt. McKay, I found myself face to face with Dr. Cassidy.

    Unfortunately, I can't say much about Jerry Hardin, because his part was rather forgettable: the corrupt director of the zoo who is being blackmailed, but is not mean or brave enough to commit a murder. I understood nothing of the plot anyway, my brain is just not made for mysteries. And then, of course, I was too overwhelmed by my first vision of David Beecroft outside the role of McKay! I had never seen him actually showing his teeth in a smile... or kissing a woman... make that two women! or... dying? Whoops. Rewind.

    Yes, in this 1994 ep, David plays Mark Atwater, the blackmailing, womanising schemer who is killed by his lover, one of the many who want him dead. Just by listening to the music that accompanies his entrance while the other characters are looking at a black mamba snake, one can say, "Ah... all right, he's *that* kind of character". As for his acting, he's credible as the bad guy - as bad as only a good-looking guy can be, with that intense edge and creepy glare, and with the added odiousness that an ugly villain could never have! In his scene with the equally shady but much more fidgety and vulnerable Jerry Hardin, he has the upper hand, with his big car and self-assured attitude. He plays the charmer with Jessica Fletcher, and has a habit of sneaking up on his lady friends from behind, grabbing them and kissing them on the neck. Interesting parallel with the black mamba that falls from above and bites on the neck...
    However, he's the classic TV bad guy, just as disappointing as William Shockley was in that "The Pretender" episode. William's character didn't have the added depth of the doubt, he was hell-bent all the time; so is Mark. At one point he goes up to one of the ladies to explain why he was seen in a compromising situation with the other: for a moment he seems genuinely remorseful as she goes away... then he smiles and does a little shrug. Brrr. Thumbs up to David for conveying the mean nature of the man with so little, thumbs down to the scriptwriters who lost an occasion to give Mark an added layer of complexity.
   There was a strange effect while Mark was dying, and later when a flashback showed the killer hitting him. Sort of a look of helpless surprise and regret on his face, evoking pity and even sympathy... but probably I'm the only one who saw it, because I was thinking about McKay; there was no trace of it before.
   But I guess the MSW format is this: all in black or white. I'm not familiar with the series, and I didn't like the episode as a whole, apart from some clever direction touches. The murderess betraying herself in the most banal way: "Oh, how awful, he was bitten by a black mamba!" "A-ha, but we never said anything about a black mamba!" (Groan.) An autopsy that can't distinguish the puncture of a two-inch needle from the bite of a snake. The callousness of making jokes on the scene of a murder, or writing a book about it... the general bad acting... or the fact that all the young guys have the same interchangeable hair!
   So: all those I asked remembered the episode, one even remembered the dress of the killer, but none remembered Mark Atwater... while, even at my latest SW convention, a guy who had heard about my DQMW obsession said "Sgt. McKay, of course, I know who he is, he's great!"

   All right, the man is something. I can just hear you: "what, didn't you notice it before?" Perfectly shaved, longish hair, sombre and elegant clothes... Of course, the eyes and hands, the expressive features, the body, and The Walk (or The Stance), are the same. But McKay is handsome in a different way: three days' stubble, sideburns, dusty uniform, silent charisma and a caring soul... Apart from some pictures I had seen, I didn't expect that, after washing and shaving him, he would emerge as an almost classical beauty, with those cheekbones and mouth! "Almost" because his profile has a hard quality that doesn't fit well with long hair. And besides, long hair doesn't look like much when one is laying dead: no, he's much better with a ducktail and just some strands falling down on his forehead (two words: Safe Passage).



The Counterfeit Contessa

   This is a funny little TV movie (1994), a comedy of errors with witty dialogue, amusing situations and loveable characters. I don't much like Téa Leoni, but her story is a rather original modern adaptation of Cinderella. Brooklyn salesgirl Gina falls for devious socialite Sinclair (DB) and passes herself as an Italian countess to make an impression, and she does, especially because he's looking to the economic advantages. However she is found out by Sinclair's brother Dawson (D.B. Moffett), who helps her with her ruse though being in love with her, then by Sinclair's sister, who is rather sympathetic to her plight, and lastly by Sinclair's mistress, who blows her cover - but by that time Gina has realised that Dawson is way better than his brother. Add to this that meanwhile Gina's brother has been driving the real countess all over the city to keep her out of the way, striking up a funny friendship with her... their loving Italian parents will have quite a shock, seeing who their children bring home.
   DB plays the jerk to the hilt, all slick manners, fine clothes and flawless looks. Interesting how he uses his voice in this one: no trace of McKay's intense, whispered earnestness, rather a perfect diction and a forceful though smooth delivery, calculated to please and charm, just like all the rest of Sinclair. It's quite satisfactory to see him end face down into a cake after being punched by Dawson - but not before, outraged at Gina's ploy, he has commented "My God, being humiliated by some blue-collar b****", not pronouncing the last word, you can read it on his lips. How delightfully detestable.
   A honourable mention for the scene where he and his mistress are eating caviar in bed - nice view of his chest and disarrayed blond hair. §:)



Shadowzone

   The science-fiction movie "Shadowzone" (1989, directed by J.S. Cardone) is basically a variation on the "Alien" theme - a bunch of scientists and a hapless marine (guess who) stuck in an underground lab while a creature from another dimension is devouring them one by one. There’s nothing original - there’s even a scene-by-scene quote of Ripley and the crew going after the cat in "Alien", only it’s a monkey - and the monster itself is a letdown; since the other dimension opens during experiments with the REM phase of sleep, I was expecting something like the Monster of Id of "Forbidden Planet", the expression of the dreamer's unconscious mind, and instead it’s just a ghoulish creature bent on getting back to its own world, no matter what stands in the way.
   Despite its shortcomings, I liked this movie more than I expected. It’s not for all palates, containing gore, bad language and nudity, but hey, I’m a soldier. §:) For the rest, the pace is fast, there’s some humour, and the oppressing, fatiscent atmosphere is very suggestive. The supporting actors (Louise Fletcher and James Hong among them) are good at recreating the quirks and tensions of a group of people forced to work together in isolated and forbidding conditions. A special mention for "Cutter" the cook, ex-cathouse mistress, who has "a date at the Tropicana"!
   As for DB, he does a good job as the marine, who starts out as your everyday space cowboy, few words and no-nonsense ways, but as the movie proceeds he reveals his weaknesses (he’s quite squeamish for being a professional soldier - he’s shocked by the sight of a dead rat! OK, maybe he didn’t expect to see it on a plate as the main course of the dinner...), he has nightmares, he gets frightened, and his nerve fails when he hears a woman screaming. Very human. His best scenes for me are those when he’s trying to help a technician restore power to the lab; they act like worried kids, joking, unwittingly scaring each other, trying to cheer each other up, until the poor technician is eaten in his turn.
   The usual shallow note at the end - DB looks rather good in this one, with a not-so-radical crew cut (his hair is soft, looks very dark and stands up in all directions), clean-shaved, a well-fitting jumpsuit. We are treated to a view of him wearing just boxers, undershirt and dogtags - nice legs. I’ll have to keep it in mind for my kilt scenes. §:D



Kidnapped in Paradise

   This 1999 USA Pictures TV movie is better than its plot could suggest - spoiled girl kidnapped by modern-day pirates on a tropical island; sensible, spinsterish older sister comes to the rescue, aided by handsome sailor in search of redemption from his shady past and boozy present; brief romantic moment, then he sacrifices himself to allow the two girls' escape. Sigh.
   What saves the story is the cast. The bad guy, Renard (Rob Knepper) is suitably creepy, almost pitiable in his crazy desire to make Megan love and respect him, rather than just wanting to possess her. Then I liked Joely Fisher as older sister Beth, after having thoroughly hated her on "Ellen". Here she is tough and vulnerable, loving towards her sister but hurt and exasperated by her fickle ways, and a sweet match for David Beecroft's Matt.
   Oh, Matt.
   This is the best character I've ever seen him play, apart from Sgt. McKay. I could almost say DB is even better here than in DQMW (were it not that McKay makes it to the end of DQMW alive!): here he has more screen time, more to do, more occasions to show his range. He uses many of McKay's mannerisms - pursing his lips, shutting his eyes in distress, the soft, whispery voice - not to mention that he looks a lot like our sergeant, with that unshaven face. The resemblance is almost haunting: Matt could be a McKay gone sour, embittered by his former involvement with the pirates, and determined to make a beautiful young lady proud of him - we discover she's his daughter. There are a couple of moments - especially the one on his boat during the night before the big confrontation on the island, when he shows up drunk and Beth throws away his bottle (and lets his gun fall into the ocean, just one of the many awkward points of the plot) - where he goes off the deep end and is so heart-wrenchingly poignant. His moments with Beth are very tender, from the moment he teaches her how to use a winch, to their passionate kiss, to his death in her arms...

HOWEVER... (silly moment ahead)

   There's quite am opinion movement which maintains that Matt does NOT die at the end of "Kidnapped in Paradise". We are working on a "Kidnapped II". Think about it, it could be seen this way:

1. Matt's wound was not fatal. Beth thought so because she was in panic.
2. The explosion on the wharf did not disintegrate him, instead it flung him into the water.
3. He was wearing a special sailing shirt which kept him afloat - face up, of course.
4. He was found and cured by a Japanese WWII veteran who had been hiding on the island for 55 years, unbeknownst even to the pirates. (What, the Pacific? Oh, but the Caribbean Islands are much healthier.)

Oh well, they did it with Mr. Spock... §:D



The Awakening

   This 1993 romantic action comedy has all the qualities and drawbacks of the genre: fast pace, funny dialog and a slick package of music, clothes, cars and landscapes, but also a somewhat improbable script. The best thing is DB himself, who runs through a lot of different personas and appearances, and looks as handsome as ever - although for me this fact is a little spoiled by its being continually underlined... I like a more discreet approach to his indubitable charm.
   He plays Flynn, a bounty hunter / undercover DEA agent who barges into Sara's well-ordained life in search of a wanted man. Responsible, predictable Sara (Cynthia Geary), smitten by him and in sore need of money to pay the mortgage on her house, manages to become his partner in the adventurous search. It turns out that Flynn is the weaker one in the partnership: plagued by a painful past, he tries to keep Sara at a distance and puts up a jaded appearance. Instead she sees through him, understanding that he's better than his word and that he too is in love with her; so she sets out to bring him out of his clam, ready to face heartache in case of failure. When they spend a romantic night in a motel (a very chaste and sweet love scene, all in his eyes and in his face), when she gives him a big hand to locate the wanted man in Miami, when he faces the prospect of leaving at the end of his mission, his feelings for her are evident. But at the end he lets her go, thinking he's not good enough for her and that she needs to live her own life. Which she thoroughly does, using her share of the bounty to buy her own club in her little town. But the happy end is behind the corner... Flynn comes back, having finally realised that he can't live without Sara.
   I wish they hadn't made Sara look so dependent at times - it's obvious she's her own woman, but there are moments in their sparring match one can't help being sorry for her, when she keeps appealing to Flynn's feelings and he keeps playing tough. I must admit a personal bias - I have no patience for sensitivities hidden too deep. Compared to Flynn, even an introvert like McKay wears his heart on his sleeve. My first impulse would have been to slap him. But that's just me.
   Among the other improbabilities of the script, the most glaring is the scene when Sara gets captured so easily by the bad guy, thus starting the big final chase. And why doesn't Flynn tell her who he really is until he has practically gotten her under cover with him (no pun intended) and exposed her to mortal risks?
   All in all, however, a must-see for DB fans. Just turn down the volume when the clichés begin to pile. §:)