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Wednesday, April 20, 2011

Clip of the Day, April 20, 2011 (219, 220)



Todd frantically trying to escape the police car. Jessica and C.J. checking each other's well-being...so cute.

LOL, woman on the police intercom: "guys, are you horsing around here or what?...give me a break, over." LOVE noticing little details like this.

Todd manages to escape the car...the door swung open awfully easy after he'd been struggling mightily before...but hey, he's Todd.

Even though he's just a character...you just have to wonder...what is he THINKING right now? It's a gift from God...that's the only way to put it. Then again, Todd told Rebecca about him being able to "sense" they were never gonna catch him while they were on the run, so I guess he always sensed some sort of higher power (in this case, Griffith and Malone, LOL) guiding him.

"Officer Manning" has arrived, as he has announced himself. What you are about to see is the simple fact that Todd would make a better cop than any of the cops in the Llanview police department. It's ironic, yet awesome.

As he's saying his tongue-in-cheek "thanks," you can just SENSE something big is about to happen. This isn't like the other times he got away, even though it starts out as such. You just sense, at this point...this is going to be a little different. At this point in the story, they weren't going to do the same thing all over again with him "slipping through their grasp," in the words of Bo.

And sure enough, here it is! One of the officers is injured but still alive and his life depends on Todd. Todd's conscience is put to the test here, and we see an official confirmation of everything we'd seen in Todd since 1994 began.

The dark humor is still there, too ("Sid took an early retirement").

The car gradually sliding off the cliff adds a lovely element of terror. Plus, Jessica is losing consciousness. All these years later and I'm STILL on the edge of my seat.



I LOVE this moment where Todd stands there, pondering his next move, as his conscience is no doubt sounding alarms in his head. The music perfectly enhances the scene. Sheer brilliance.

And so it starts.

Here's Todd getting to do yet ANOTHER voice. RH must have felt like Dana Carvey in those days.

"Todd Manning is dead." This character used to be quite intelligent. I guess we forgot about that when St. Jawn took over the character name several years ago.

Have I said how much I LOVE the music from these scenes? I LOVE this music. And thankfully, we'll be hearing plenty more of it in many scenes to come.

This moment. Oh. My. God. To this day, I question whether Marty wouldn't have first suspected she was hallucinating. I mean, what are the ODDS?

Here comes another pivotal moment for Todd.

Bo won't be fooled again into underestimating Todd. FINALLY "Bozo" is growing a brain.

And there it is. Gets me every time. Roger is in full flight in these scenes. In his words, comparing acting to softball, I think it was...you either hit the ball or you don't. In this case, he hits it to the moon.

Every line...every reaction. Are you sure this isn't really happening?

Oh, maybe I spoke too soon earlier. Come on, Bo, don't give Nora a false sense of security.


FAIL: None. This is probably the incident in Todd's history where you have to suspend your disbelief the most...the odds are BEYOND astronomical of this kind of coincidental incident occurring...but it is fiction, after all. And it's fantastic.

4 comments:

  1. The suspension of disbelief...not sure this is the biggest one ever, I think being shot in the back and in a truck, thrown over a cliff into an icy sea, and LIVING TO TELL ABOUT IT is probably the thing that pushes our beliefs most. I guess that would make a good blog topic for people to chime in about.

    But it is fiction and it is fantastic, you are so right. And this is why soaps will be missed. It seems to the rest of the world that we're just silly housewives sometimes, but if you really look at soaps, they're a genre that should not vanish. I think I will save that for my own blog commentary later, when I get the nerve and energy to broach this subject. It's entirely too painful right now.

    I love that moment when Marty sees him outside the window. She's in utter horror and CJ is spouting about his friend Ali. LOL. "I can't move."

    "Yeah, I figured."

    He saves the policeman who is alive, he calls in the accident...He stops himself from running, he tries to help CJ live. He lifts the boulders and puts them on the car, he tries to comfort CJ by telling him he's holding the car from falling. He gets Marty out of the car, gets CJ out of the car, and when he gets Jessica, finally out of the car, he will have has a decision to make.

    Todd is not a ghost, or a monster, just a "man who's gone wrong, very wrong," in the words of Luna Moody.

    I LOVE THIS MUSIC ALSO. These moments were the best, if only they'd use these themes when he comes back!

    Can't wait to see the next clip!

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  2. @Kim your right when you talk about suspension of belief...Ireland asked us to really believe someone could survive all of that so we did. It's also interesting that Todd even went looking for the other car. but there he is walking down the hill towards Marty and the kids. I love coincidences. like how it took an awful lot of time for the one police car to get to car 18 but we're supposed to believe that as soon as they found out Todd was still alive suddenly the hills are crawling with police and they're finding it easy in a soupy fog to track one man at night in a mountainous area. yeah right. good ole suspension of belief..I love how Todd starts to leave but CJ puts the guilt trip on him and he realizes for CJ he's got to do the right thing. He does it for his buddy not anything Marty says at least not at first. But it showed us that he really cared for CJ and he really didn't want anything bad to happen to any of them.

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  3. YES BUT - and this is a BIG BUT - he also starts to care about what happens to Marty. He's all set to get away, Scott free, and he hears the crashing and screams her name. He'll end up sticking around. I think my fave line in 220 is "You're right MArty I am stupid, my old man was right..." etc while that Todd music plays. Love all this and nice to see you back posting.

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  4. I think the fact that he helped the cop suggests it goes beyond C.J. He truly doesn't want "anything else on his conscience" now.

    Obviously, C.J.'s guilt trip made it impossible for him to just walk away...but if you notice, he paused for a shorter amount of time when C.J. asked him for help than he did when the cop did. That's terrific attention to detail...probably on the part of RH.

    I can see what you all are saying about Ireland, but people have survived some really horrific things before. But a police car transferring you to prison when they specifically sent it on that route for "security measures" crashing into seemingly the only other car in the area, a car that is being driven by the woman the prisoner raped and one of the kids he'd befriended while he was in hiding (and another he'd observed and helped)?

    To me, that takes the all-time suspension of disbelief. But I have no problem suspending it. I love all these scenes.

    ReplyDelete

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