Mad Men: Season 3

In my review of “Mad Men: Season Two,” I criticized the writers for taking a laid-back approach to the entire storyline, with too much emphasis on the character of Don Drapper. Well, in hindsight, I can say that I may have been too harsh in my grade. Of course, with its impeccable cast and a talented writing team, I knew “Mad Men” would strike back. After viewing the third season on Blu-ray in a marathon session spanning a two-day period, I can convincingly say that “Mad Men” continues to demonstrate its fascinating and intriguing journey into the world of advertising, corporate mergers, multi-faceted human nature, and suburbia with a degree of dexterity that is a rarity these days. The critical components of the show--the writing, acting, and story--are all remarkably improved, at times setting a new standard on how a TV series should be created. There is no doubt that this season is the best one so far, eclipsing the last two seasons in quality by a wide margin.

Warning: Spoilers ahead

The second season ended when Betty told Don (John Hamm) that she was pregnant again with their third child. It was also assumed that Betty had forgiven Don for his infidelity, and that both were willing to move on. We also saw detailed insights on Don’s past and his professional relationship with his peers, notably with Peggy. The third season begins right where season two left off, although not in a literal sense. The opening episode of the third season, “Out of Town,” begins rather strangely, in which Don is caught up in a reverie. He visualizes a woman giving birth to a still-born baby, later named “Dick.” He soon comes back from the daydreaming sequence to assistant Betty. The sequence shakes you up because the segment is least expected in the overall context. More so, the interpretation of the scene delves deeper into Don’s actual fear of pregnancy and his valid concern for the health of a new-born baby. Don and Salvatore fly to Baltimore on a business trip where Don comes to know Sal’s secret.

In the episodes “Love Among the Ruins” and “My Old Kentucky Home,” Betty’s father, Gene, arrives at Don’s home along with his son and a daughter to resolve a family dispute in the event of Gene’s death. Betty and Don allow Gene to stay in their home. Gene becomes close to Sally, and both start to relish each other’s company. Salvatore and his wife are having intimacy issues; however, later in the episode, he demonstrates a mini-skit of the ad he has been working on. At that very moment she gets an idea that something is wrong with Sal.

Meanwhile, Don as always, manages to grab a big Hilton account with Connie Hilton. Connie is clearly impressed by Don’s work and invites him to Rome. Sterling and Cooper prep their staff for an office visit by their British delegate. Finally, with the help of Don, the team of Roger Sterling and Bert Cooper devise a way out of their unhappy alliance with a British advertising company.

This season by all means has exceeded my expectations. For me the biggest satisfaction was delivered by the writers in properly developing characters with captivating story arcs. This time around the supporting cast get their proper attention from the writers. Even though Don Drapper is the pivot around which the entire series revolves, the talented supporting cast provide convincing portrayals of their roles. John Hamm playing the character of advertising executive Don Drapper will probably be ranked high, in the same league as James Gandolfini’s portrayal of Italian mobster Tony Soprano.

The success of the show ties in closely with the performance of Don Drapper, and considering the high-pressure nature of the TV business, John Hamm exhibits immense calmness in playing the character of an advertising executive. With each season, John Hamm feels comfortable in his role. He is thoroughly convincing and entertaining as the wiz-kid and maverick at the Sterling and Cooper office. On numerous occasions, he has been called up to rescue, Sterling & Cooper from the possible financial loss of large accounts. Not only is he brilliant in his ideas and in their execution, but he is equally perceptive in addressing the needs of unhappy and needy clients, a key trait that has resulted in long-lasting relationships with his clients.

Peggy Olson (Elisabeth Moss) can no longer be taken merely as a secretary sitting outside Don Drapper’s office typing his letters and managing his schedule. She got promoted in the last season and now manages a big account. She is always a step ahead as compared to her peers in hashing out new ideas for an ad campaign. At times, Peggy’s unwarranted inquisitiveness (as in the episode “Seven Twenty Three”) got her into trouble with senior executives, notably Don Drapper. Don continues to undermine Peggy’s talent, and that causes a major rift in their professional relationship. At one point, in a discussion with Don, Peggy demands that her salary be brought up to the same level as her male counterparts. It is a clear signal that she wants to be part of the big-boys club.

Meanwhile, in order to fulfill the demanding needs of her job, Peggy leaves her mother’s apartment so that she can find a place to live that is close to work. In the 60’s, women were very much a part of the household, and their career options were limited. Peggy defies the norms attached to a female figure, and she wholeheartedly pursues her career goals. Her character probably marks the beginning of the 60’s feminist era in which women were not afraid to follow through on their career ambitions. Nonetheless, Elisabeth Moss continues to impress with her performance of a liberated and steadfast woman.

In contrast to Peggy’s character, we have the estranged wife of Don Drapper, Betty, played by January Jones, who is pretty much tied to household chores. Through various episodes, we learn about her feelings for her third child, although at times she ignored the needs of her other two kids. Just like Don Drapper, she has a tendency to flirt with people. Her involvement with Henry Francis (Chris Stanley) in the early stages of their relationship only indicates that she is using Don’s past infidelity as an excuse. At home, Sally (Kiernan Shipka) continues to openly display her disenchantment with the newly born brother and shows sign of temper flare ups on a few occasions. She truly feels sorry for the loss of a family member and can not comprehend why others in the house don’t feel the same. Both the actors demonstrate a great depth and understanding of their characters.

Along the way, the show realistically digs deeper into the underpinnings of a client relationship and how clients can use their money as a lever to dictate their terms in certain situations. Things go downhill for Sal when he refuses Lee Garner, Jr.’s offer. In another scenario, Roger Sterling’s ex-lover, Annabelle, who now runs a food empire, comes back to the Sterling & Cooper office promising a future business account, if she likes their campaign plan. Later on, her disappointment with Roger, leads Annabelle to take her account to another advertising firm. Similarly, a tenacious, Connie Hilton, stamps down his authority in the closing moments, when Don gives a presentation on the Hilton ad campaign. All the shining qualities that Don has displayed throughout his career come crashing down for him when he misses a key component in Connie’s requirements for the ad. In another instance, Peter Campbell learns the hard way that there is a big difference between making clients feel at home and making them feel the need for a campaign.

Finally, the show captures the tumultuous political landscape of the 60’s with perfection by incorporating key historical events such as the Kennedy assassination, the Civil Rights movement, and the race issue. Blacks were finally granted their basic civil rights after a long battle, and the entire nation was beginning to grapple with the race issue. In the episode “The Fog,” Peter Campbell is working on an account for the Admiral TV Company to create a new plan for reinvigorating the sales of their product. Peter’s analysis reveals that sales have, in fact, been high among the black population. However, it is evident that the Admiral owners don’t want to associate their brand with this segment. As seen in the show, during this period of attitude change and race tolerance, people didn’t have the appropriate language to express their thoughts about the black population. In addition, the aftermath of the Kennedy assassination resulted in a major political turbulence, and the writers delicately crafted the emotional experience of this tragedy through their characters.

In spite of all the positives, there is a gaping hole in the storyline, at least for me. In the second season, Peggy reveals her pregnancy to Peter and that he is the father. She later gives up her baby for adoption. We also see that Peter and his wife are struggling to have a baby. However, all through the third season, there is no mention about this aspect in the story. Apart from this concern, this season is an absolute beauty that provides appropriate closure on all fronts.

Before I finish my review, I leave you with a couple of outstanding lines from this season.

Connie Hilton to Don Drapper in the episode “Wee Small Hours”: “When I say I want the moon, I expect the moon.”

Don Drapper to Peggy in the episode “Seven Twenty Three”: “You are good. Get better. Stop asking for things.”

Don Drapper to Peggy: “I will spend rest of my life hiring you back.”

Video:
Lionsgate presents the video in a 1.78:1 widescreen, encoded in an AVC format. Following on the footsteps of the second season, “Mad Men” on Blu-ray looks gorgeous throughout the thirteen episodes. The blacks are much darker than before, and the transfer holds up well during the dimly lit scenes. The dress suits have better texture with improved details. Although you don’t see many bright colors in the show, in the Sterling-Cooper office you see women employees wearing reds and blues. These colors do seem to pop out as a result of the extra resolution. The skin tones are better defined and more lifelike, too. The 60’s color palette is rendered beautifully on this Blu-ray edition. Overall, there is nothing to complain about this transfer.

Audio:
Lionsgate has included a 5.1 DTS HD-MA audio stream for this edition. The dialogue is much cleaner and crisper than before. Being a drama, the rest of the soundtrack is serene, with a minimal use of background music. The audio on this edition satisfies all the requirements expected from a soundtrack of a dramatic TV show.

Extras:
Starting with the extras on disc one, we have thirteen commentary tracks for all the episodes in this season. Matthew Weiner and other crew members provide their detailed insights on the story, the 60’s, and the characters. Also included is a featurette, “MAD MEN Illustrated,” that introduces us to the artists behind the illustrations inspired by MAD MEN.

On disc two, we have a two-part featurette, “Clearing the Air: The History of Cigarette Advertising,” that invites professors from Stanford University to talk about the impact of the tobacco industry on Hollywood and how the tobacco industry changed the playing field for advertising companies.

Also included on disc two is an interactive featurette, “Flashback 1963,” detailing popular events, people, and places that defined the year.

Moving on to disc three, there is an informative two-part featurette, “Medgar Evan: An Unsung Hero,” that explores the legacy of slain Civil Rights activist Medgar Evan through the eyes of his family members and friends.

Finally, rounding out the extras on disc three is an audio segment, “We Shall Overcome,” that leads to the historic “I Have a Dream” speech by Martin Luther King in Washington, D.C.

Parting thoughts:
The writer, Matthew Weiner, and his team, should be credited for scripting enough screen time for the supporting cast along with convincing story arcs. As a result, the writers have injected much-needed urgency into the storyline that was missing from the second season. With smart dialogue, intricate period details, and brilliant acting, this show continues to enthrall its audiences. Indeed, the third season is the best so far for the series, and it surely scores a homerun.

Final Ratings:
Video = 9/10
Audio = 9/10
Extras = 7/10
Show value = 9/10