“Better Call Saul” ’s final season concludes the complicated journey and transformation of its compromised hero, Jimmy McGill, into criminal lawyer Saul Goodman.
After the series “Breaking Bad” further elevated so-called “prestige television” into the stratosphere, creators Vince Gilligan and Peter Gould reintroduced their iconic character Saul Goodman with “Better Call Saul” (BCS). BCS is about the art of crime as much as the motivations and its fallout. The series emphasizes the artistry and labor Saul puts in while he cuts institutional corners. Showrunners Vince Gilligan and Peter Gould again work with the “Breaking Bad” writers/producers like Thomas Schnauz and Gennifer Hutchinson. New characters like Kim (Rhea Seehorn) and Nacho (Michael Mando) surpass their respective Skyler and Pinkman counterparts. Thankfully everyone’s favorite grouchy enforcer, Mike Erhmantraut (Jonathan Price), co-stars, and fan-favorite Gustavo Fring (Giancarlo Esposito), also returns. As much as I adore “Breaking Bad,” BCS is more character-driven and focused on development with more satisfying payoffs.
BCS contains remarkable chiaroscuro. The shadows cast on characters and spaces are so artistically displayed they would make cinematographer John Alton or horror producer Jacques Tourneur swoon. I cannot believe “Euphoria” beat BCS at the Emmys for Best Cinematography, but those awards are becoming less relevant. BCS’s soundtrack is perfect for its western noir mise-en-scene. Whereas the production and soundtrack of “Breaking Bad” hit their stride during the last three seasons, BCS has been firing on all cylinders from the start. Veteran comedic actor Bob Odenkirk’s performance and timing are perfect. He can dial up the comedy without ever sinking into cheap slapstick and is just as capable of handling the series’ dramatic moments. Kim and Saul’s relationship is the best onscreen couple of any tv show. They have natural chemistry and initially enjoy pulling minor cons like getting a finance bro to buy them Don Eladio’s favorite Tequila Zafiro Anejo. Nacho and Mike begin a relationship that straddles the line between father-son and partners in crime. It is a real toss-up between whose relationship is the most heartbreaking.
After Season 1, Saul plays with his pinky diamond inherited by his con artist buddy Marco who sadly perished in a Cicero alley. His pink ring parallels Walter White’s personality-altering Heisenberg fedora worn during the latter’s criminal activities. The pinky ring is prominent whenever Saul orchestrates one of his many complicated scams. Season 3 thankfully reintroduces Gus Fring just like “Breaking Bad” did during its third outing. Season 4 focuses on the fallout of Saul’s significant loss and the origin of Gus’s underground meth lab, brilliantly hidden underneath an industrial laundromat. The death of Chuck lingers over most of the series like a specter. Mike oversees a group of German engineers that build the underground Lab. His relationship with one engineer turns deadly, which profoundly impacts Mike. Lalo Salamanca (Tony Dalton) is also introduced as a predatory foil to Mike and Gus’s grander ambitions. Season 5 sets Saul and Kim taking on the latter’s banking clients, Mesa Verde, and Mike accepting his role within Gus’s criminal organization as his Machiavellian enforcer. Unfortunately, Lalo is stalking Mike. He’s like a panther with sharp predator eyes and graceful movements. Saul’s involvement with the Salamanca Cartel is the icing on the cake to make him, in Jesse Pinkman’s words, a “criminal attorney.”
And finally, Season 6 is where it all ends. It’s Saul over. The final season begins like “Sunset Boulevard.” Feds are raiding Goodman’s grotesque mansion, and a cardboard cutout of Saul floating in the pool mirrors William Holden’s corpse before he begins that famous posthumous voiceover. BCS lighting and shadows remain flawless and atmospheric beyond anything else on television. In certain scenes, some characters’ pupils glow. Gene’s present-day issues are still colored in lovely black and white. Nacho is facing the wrong end of a barrel in Mexico after the botched assassination of Lalo. Saul and Kim are determined to disbar Howard Hamlin from practicing law, through which Saul goes in disguise, which starts off hilarious before it turns tragic. It’s so fun to watch Kim and Saul conspiring together that it is a real rug pull when the worst happens. We finally get a peek into Howard’s home life, and of course, he has a Patrick Bateman-Esque morning routine. Mike still wields an assortment of tools and weapons as only a specialist like him could. Like Saul, Mike is meticulous, and it is a thrill to watch him work. We also get a deeper dive into Gus’s personal life. In one of the series’ best scenes: Gus is preparing for his new workday routine upon looming threats by the cartel, wearing a Kevlar vest and concealed revolver; the camera follows him through his basement through a sophisticated network of tunnels to commute safely. Thankfully Ed Begley Jr. returns, as well as Huell, the lovable master pickpocket. In one scene, Huell asks Saul, “you’re a lawyer, why do you do all this?” Saul also drops the deceptive line to a prospective client, “I’m using a satellite office on Juan and Tabo and letting a nail salon use my lobby.”
Although every season is masterfully directed, edited, and more, Season Six is the crème de la crème. There are countless complicated unbroken takes with Altmanesque timing, and each scene showcases a more significant scope than in previous Seasons. The teleplay’s lack of exposition shows confidence in the audience and its own material. I yearn for more quiet moments on screen. Throughout BCS, Saul and Kim watched classic films, mainly noir. As with the “Sunset Boulevard” homage, prison bars appear ominously in various artistic ways as they did in “Double Indemnity.” Speaking of imagery, the episode “Plan and Execution” contains some of the most innovative use of angles to make average objects look like cameras. And within these camera-like images, the episode takes a voyeuristic approach to keep with its theme.
The black and white scenes focused on Gene’s post “Breaking Bad” in snowy Nebraska are also much better this season. We get to witness how he is handling life post-Walter White. I have to admit the series’ ending was not exactly what I wanted, but damn, it is marvelously handled. I was wondering what went through Gilligan and Gould’s minds. Are they advocating for the Justice system? They admonished the American capitalist way but perhaps having characters getting punished felt appropriately noir to them. In the old days, there were Production Codes that censored nudity and language, and criminals portrayed onscreen would have to be punished for their misdeeds. . I’ll never forget reading an old NY Times review of “I Walk Alone” starring Burt Lancaster, Kirk Douglas, and Lizabeth Scott that attempted to snitch on the filmmakers for not arresting or killing Lancaster’s hoodlum character. Like Jimmy in “Goodfellas,” I like to root for the bad guy, and I was hoping Saul would get away with it.
While every sitcom and film franchise is being rebooted or expanded upon, BCS is well-earned and never feels like a cheap cash grab. “Breaking Bad” introduced these fascinating characters, and BCS does a fabulous job of expanding on them. Thankfully, Odenkirk has already finished a new series on AMC, while Gilligan and Seehorn have an upcoming show that will stream on Apple TV.
Now available on Blu-ray™ and DVD
