Is the title inspired by the song? Could be. Winnie Holzman and Scott Winant
ease into the series. Angela begins by recounting her three kisses. One
could be tempted to ask: Who cares who kissed you, girlie? Only it is done
so tastefully, establishing the seamless editing that flows through this
episode.
Angela is in school. And Lord knows, if you've ever daydreamed in class, you can relate. Especially when her Science teacher, Miss Chavatal, is one of those impossible instructors, who recites partial sentences and acts like someone might finish them for her, like Rickie can do with Rayanne. She says things like "a good experiment requires what?" and then answers herself because no one can possibly predict what she's getting at, even ever-eager Brian.
As a contrast to Angela's romantic reveries, Patty and Graham discuss whether a kiss must lead to intercourse. They kiss.
Cut to a sliced pig heart.
From the dreamy thoughts in Angela's head to the sterile, boring classroom and then to the hallway chat leading to Rayanne requesting a fake ID from Jordan. Whatever he says, Rayanne has the answer. She's asked Tino for too many favours already. So why doesn't Angela ask him herself? "She's, uh, French. She's from France." (You know, as opposed to French from Greenland or something.) There are quick mood changes, as there are throughout this whole episode, which is sort of like dancing in the dark— you can't always see what you're doing.
Nothing happens. Little is accomplished on a Science project for that teacher (what's her name?), Patty and Graham go ballroom dancing (in lieu of ice skating), Patty crops her hair ("Just because I changed my hair doesn't mean you should!"), Angela gets a useless fake ID.
There are other non-events. Graham breaks a date, Angela has an uncomfortable encounter with Jordan and so on. The characters are on display. Like Brian trying to give Rayanne a profound justification for his Science project, then just saying: "It's for extra credit." Maybe he's from France. Little glances, expressions and seemingly innocuous remarks with greater implications. There is more here than meets the eye. Like the scene where Rayanne and Rickie take over Brian's house. She prepares snacks and the camera shows her passing the bowl. It looks as if she's passing it to Brian, being polite, but turns out she's passing it in front of him to Rickie.
To recap episode 1, Act III, Camille tells Patty what she knows about Angela and Sharon— a "mini-series" compared to Patty's knowledge.
Lots of experimentation ensues, the least of which occurs in Science class. As Ms Chavatal aptly puts it: "Once again, an experiment can be termed successful if what? If it yields meaningful results."
There is an exquisite scene at the end of Act III where her parents' instructor is describing the dance as Angela approaches Jordan's car. "Don't look down. It will throw you off balance and you'll lose your footing. So look straight ahead. Look right into your partner's eyes and remember to smile." The editing style has built to this point, so it is perfectly natural to flow from dance studio to the street.
At the end, I was satisfied, yet yearning for more. What sophistication in portraying relationships between persons of different ages and interaction between ages, like the wonderful encounter with Angela and Graham. "I have to say: when my father warms something up, it tastes better than when anyone else does." They share this tender moment about boys, which is then ruined by her hearing the tail end of a suspicious phone conversation. Or Angela's comment: "Mom, you couldn't possibly understand or help."
The incidental music in this episode is wonderful. When they fade it up at appropriate dramatic junctures, it seems to contrast with the mood, almost playfully. In fact, though there is plenty of introspection, these are people who really just want to have fun.
Angela shows a wide emotional range: resistance to meeting Jordan, disappointment at his not "building" up like her first three kisses, then renewed adoration. Jordan is startled, a deer in the headlights, obviously never having encountered resistance from a girl, which prompts him to say she acts younger. Not used to a girl who can hold her own. Yet Angela is completely fertoutst. She's not even sure if she wants a relationship with Jordan or just a fantasy. Or if she's like one of those dogs that point.
With the photography, editing, subtle themes, it's more than television (or most feature films) usually offer.
MIDPOINT ANNOUNCEMENT - ANGELA