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| Word About BiehnReviews of Michael's Work |
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As disaster films go, the TV mini-series Asteroid is typical of the genre, and it isn't bad. An astronomer observing a passing comet notices in its wake dislodged asteroids that could be a threat to earth. She notifies the director of the Federal Emergency Management Agency (FEMA), and together they take steps to alert authorities and prepare the citizenry for what is to come. Their initial efforts to use modern weaponry to destroy the asteroids meet with only limited success, and ultimately, they must face the devastation wrought when a large fragment breaches the earth's atmosphere to strike Dallas, Texas.
Caught up in all this are the standard assortment of heroes and victims: Fire fighters who risk and lose their lives to save others; doctors, nurses and medical personnel, who selflessly treat the myriad casualties; FEMA staff who organize and conduct the enormous relief and rescue efforts; and of course, the masses of people desperately trying to survive the physical and emotional horror of it all.
Asteroid was promoted as a special effects extravaganza, and it delivers along those lines quite effectively. Though at times the use of miniatures is obvious, for the most part, the movie has a realistic look, allowing us to suspend disbelief and get caught up in the excitement and urgency of the crisis.
Michael delivers a solid performance in his starring role, overcoming two significant obstacles to do so. First, his leading lady (Annabella Sciorra) is so stoic in adversity that she seems detached and disinterested in the goings on. Though Michael manages to convey the sincerity of our hero's attraction to her, one wonders what he sees in her other than scientific competency.
In addition, given Asteroid's strong emphasis on fx, the actors had an uphill battle to win the attention and concern of the viewer for the people involved. Michael succeeds well at building an appealing and likable character in Jack Wallach, the man who, as director of FEMA, bears the overwhelming responsibility of coping with the catastrophe. We recognize in him, not only a man who can be trusted to handle the emergency, but also someone whose clear commitment to helping others is evidenced through his work, which pretty much seems to be his life. He even tells us that he isn't a "vacation kind of guy." He further evokes our sympathy, when he reveals that he's been alone most of his life, suggesting he has few friends and that they must be important to him. When one of them dies tragically, Michael shows us Jack's pain, and we feel it with him.
It would have been nice if Asteroid had been better written to give us more insight into Jack. For example, what was his background? Why was he so alone? How did he win the affection and trust of a young boy in so short a time? But alas, questions like those were neither asked nor answered, and we are left to wonder.
Fortunately, Michael is adept at revealing character despite such script shortcomings, making effective use of the moments that come his way. One such moment in Asteroid occurs after his friend has been killed, when Jack is walking through the emergency medical area and meets a young relief worker who feels she can't go on. Despite his own grief, Jack stops to comfort and encourage her. His voice holds gentleness and compassion, as he puts aside his own anguish in concern for this young woman and the need to help the victims of the tragedy all around them. The sensitiveness of Michael's performance in the scene moves us and allows us to know Jack better. And throughout the film, Jack helps us remain aware of the human element amid Asteroid's technological marvels.
Kay
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