Life on Mars – Summer DVD Review – Out Here in the Fields

life on mars

Life on Mars
Out Here in the Fields

Original Air Date: Oct 9, 2008

Sara M. – TwoCents Reviewer
sara@thetwocentscorp.com

Life on Mars, the US version, didn’t live too long. ABC shuffled the sci-fi cop drama from night to night; following Grey’s and then Lost didn’t help. The program just never found the right time or the right audience. So, like many shows, it became a casualty of ratings.

Wrapping up their one season with 17 episodes, some of the best songs of the 70s and a finale that left you going “Wait, what?” People familiar with the original UK version often cite the American version as having “less tea and more ass kicking.” Really can’t go wrong with a show like that. Come along Spaceman, we’ll cover the important points of Life on Mars. Starting with the pilot.

We begin in New York City, circa 2008. Detective Sam Tyler and Mya, his partner/girlfriend are in the middle of a high-speed drive across the city to arrested a suspected kidnapper and murderer. As they drive, she questions his lack of commitment in their relationship and why he won’t introduce her to his parents. The conversation is cut short when the arrive at the building of Colin Raimes, aforementioned kidnapper and murderer. He runs for it and Sam gives chase, finally tackling him to the ground. However, he has an alibi, video footage of him gambling in Atlantic City at the time the kidnapping occurred. They’re forced to let him go.

Mya, unbeknownst to Sam, decides to follow Colin. While on the phone with her, he discovers that it was in fact Colin, the video footage is of his twin brother, Lawrence. The call is disconnected, Mya goes missing, leaving behind a bloody shirt. As Sam speeds to Colin’s apartment, ‘Life on Mars’ by David Bowie begins to play. As he heads for the building a car comes out of nowhere, knocking him to the ground.

When Sam comes to things are a bit different. He’s wearing polyester, the apartment buildings are gone, and he’s in the middle of a field. Horror of horrors, his iPod and Jeep are gone. Replaced by an 8-track and a 1972 Chevy Chevelle (which I’d prefer). Sam is, understandably, frazzled by the turn of events. More so when a uniformed cop tells him to move along and asks for some kind of I.D. Good to know that if you travel through time, you have the proper current papers with you. Sam produces a police badge, a current drivers license, and a car registration in his name. Although all of this confusion is dismissed when he turns around to see the recently completed Twin Towers.

Sam’s bewilderment continues as he hits the streets of New York. Hippies, Black Panthers, and Lou Grant looking businessmen fill the sidewalks. Finally he gets the idea to go to the 125 precinct, his precinct. When he arrives he is greeted as the new transfer. Sam’s presences isn’t a welcome one, he is taking a promotion that was originally suppose to go to misogynistic Detective Ray Carlson (Michael Imperioli). Of course Sam doesn’t help the situation by behaving completely mental, screaming about where his desk is and basically vocalizing all of his internal thoughts.

Who better to put an end to this nonsense but the head of the 125, Lt. Gene Hunt (aka Harvey Keitel). Upon demanding what year it is, Sam is ushered into Gene’s office, where he is informed that it’s 1973, and year of the fist. Gene then proceeds to sucker punch him in the stomach, letting Sam know that his manic behavior is not appreciated. Police Woman, Annie ‘No Nuts’ Norris is assigned to making sure Sam is okay and taking him to his new apartment. She’s smart, a college grad, but her abilities are ignored and most of her time is spent dealing with lost kittens and hysterical girlfriends. When Sam tries to use her psychological input for the case it doesn’t go over well.

The case they’re working on is almost identical to the case from 2008. Only problem is that Colin Raimes is only a child, it can’t be him. Sam takes the lead of the case and quickly learns that the future is still far off. DNA testing and fiber analysis on a murder victim is going to take a couple of weeks. Smaller clues, the product of old fashion police work, lead to Colin Raimes’ neighbor Willie. Sam manages to puzzle out that Willie’s victims haven’t been heard because he soundproofed his apartment. He and Gene arrive to find the latest kidnapped girl still alive. While there, Willie returns home and runs. In a chase that mirrors the one from 2008, Sam follows. Finally cornered, there’s a shuffle for Sam’s gun, which ultimately is pointed at his head. However, he has come to the conclusion that dying might get him out of this world and begins to dare Willie to shoot him. Before he can though Gene and Ray arrive in time to cuff and rough up Willie.

As the detectives of the 125 leave the scene, Sam notices Colin and Lawrence glaring as Willie is taken away. Later that night Sam drives back through the neighborhood, beckoning Colin to the window of the car. While the two discuss the vile neighbor, he slowly reaches for his gun, prepared to shot this child. He’s come to the conclusion that if he kills him in the past, Mya won’t be kidnapped in the future. But as he tells Colin that fear is nothing to be ashamed of Mya’s voice breaks through the radio station. She’s speaking to Sam, letting him know that she’s okay. It would seem that the talk put Colin back on the right path and undoes his future. Meanwhile a real call comes through on the radio, a robbery. Sam figures out how to turn on the bulky dome lights that attaches to the top of the car and heads off. He’s there, might as well work.

A fantastic pilot episode! The reason I really loved this show, aside from the science fiction and time travel, is that it reminds me of the cop shows I watched growing up. It reminds me of Nash Bridges, strong story lines and actual action from the police. Now everyone has to stop and talk things through, there’s very little done on a whim. A show about 1970s cops? They have their own versions of negotiation and diplomacy. And you get to enjoy Sam in the fish out of water role.

Next Week: Have You Seen My Mother, Baby, Standing in the Shadows?