I watched the first episode of Mosaic, and although admittedly a bit off-kilter by its presentation and storytelling (how the characters are introduced, the goal of the whole arc), I found Sharon Stone so damn good I just didn't care.
That scene where some smooth-talking conner wants to "help her out" (his working her over how much he gets paid for, getting the most money for her), in regards to keeping her property, and the way she just stares a hole in him, while he seems to waver and wither in her presence (regarding his fee) is just a taste of what Stone can do when she gets a part deserved of her wealth of talent.
The episode does really reinforce children illustrator, Olivia Lake, yearning for a serious, mature relationship with someone, as Soderbergh's camera sort of peeks around corners or astutely surveys her vulnerability in voyeuristic ways. I have always been a fan of Soderbergh, if just for how his films feel as if they covertly spy on the characters to gauge how they truly react to the stimuli and impact of developments engaging different emotional responses.
When a young artist (Garrett Hedlund), responsible for drinks at a charity show in honor of Olivia's "mosaic" catches her attention (and eventually her affection), her response to the arrival of his girlfriend leaves that understandable sympathy as she gives him a chance with her heart, only for it to suffer persecution as a result...Stone, in moments where Olivia sees a chance at happiness with someone, is giddy at the idea that potential romance emerges in her life right after disappointment, playfully banters with a dear friend (Paul Reuben, who is her rock and security blanket) always looking out for her best interest, and sternly dismisses those who earn her ire (how she won't budge at the proposition of forgoing her resort on a mountain despite the debt that is undermining her and the smarting up to a "geologist with a cancer child" con thanks to how he's undressed by Frederick Weller's Neill after overhearing his pitch to her from a bar offer Stone's roller coaster as all these people around her seem to have ulterior motives or cons at play), is on fire.
This partnership between Stone and Soderbergh is quite a fine way to spend 40 of 50 minutes (when not focusing directly on Olivia, there is situations involving her death or attempts to secure her property). You see Olivia stripped of any posturing or performance in front of others, often opening herself up to hopefuls that might fill the void lacking in everyday life. She has the resort tribute to her work from decades prior, but Neill sees the potential still untapped. The first episode leaves that open, although we unfortunately know that her future will end quite differently.
Her "protégé" (with a barn apartment, helping with chores), played by Hedlund, is accused by a law enforcement officer he seems to be friends with of Olivia's murder. All he can do is prepare for the worst it seems...he doesn't necessarily deny he did it, but the subdued aloofness seems to indicate he's mum for a reason not yet revealed. The opening scene about getting an arrest warrant and describing the evidence that would assist in proving Hedlund's guilt is solemn and matter-of-fact by the officer, laid out with an apparent disapproval that would explain the approach...Hedlund shouldn't be standing there facing such daunting, overwhelming charges, but nonetheless somehow he is. The remaining episodes should fill in those gaps.
Oh, and not to forget, Soderbergh's injection of vibrant color cannot be undersold...it pops onscreen. And to just cap Stone's work and Olivia's development, she has this night scene where there is debate over Neill's intentions and if she should embrace him in her life. That gnashing inside, after many relationship trials, just illustrates her condition at this point in her life. And the end has Neill proposing to expand her brand globally...it is a lot, but she smiles at his vision and ambition as he rubs her back, assuring her that this would be beneficial to her.
*The pressure on Neill to influence Olivia to get rid of her "overextended" property is definitely not understated. He answers to a heavy gambler answering to those very interested in gaining control of the property however possible, including troubling Neill to step up the process and push Olivia towards leaving it behind.
That scene where some smooth-talking conner wants to "help her out" (his working her over how much he gets paid for, getting the most money for her), in regards to keeping her property, and the way she just stares a hole in him, while he seems to waver and wither in her presence (regarding his fee) is just a taste of what Stone can do when she gets a part deserved of her wealth of talent.
The episode does really reinforce children illustrator, Olivia Lake, yearning for a serious, mature relationship with someone, as Soderbergh's camera sort of peeks around corners or astutely surveys her vulnerability in voyeuristic ways. I have always been a fan of Soderbergh, if just for how his films feel as if they covertly spy on the characters to gauge how they truly react to the stimuli and impact of developments engaging different emotional responses.
When a young artist (Garrett Hedlund), responsible for drinks at a charity show in honor of Olivia's "mosaic" catches her attention (and eventually her affection), her response to the arrival of his girlfriend leaves that understandable sympathy as she gives him a chance with her heart, only for it to suffer persecution as a result...Stone, in moments where Olivia sees a chance at happiness with someone, is giddy at the idea that potential romance emerges in her life right after disappointment, playfully banters with a dear friend (Paul Reuben, who is her rock and security blanket) always looking out for her best interest, and sternly dismisses those who earn her ire (how she won't budge at the proposition of forgoing her resort on a mountain despite the debt that is undermining her and the smarting up to a "geologist with a cancer child" con thanks to how he's undressed by Frederick Weller's Neill after overhearing his pitch to her from a bar offer Stone's roller coaster as all these people around her seem to have ulterior motives or cons at play), is on fire.
This partnership between Stone and Soderbergh is quite a fine way to spend 40 of 50 minutes (when not focusing directly on Olivia, there is situations involving her death or attempts to secure her property). You see Olivia stripped of any posturing or performance in front of others, often opening herself up to hopefuls that might fill the void lacking in everyday life. She has the resort tribute to her work from decades prior, but Neill sees the potential still untapped. The first episode leaves that open, although we unfortunately know that her future will end quite differently.
Her "protégé" (with a barn apartment, helping with chores), played by Hedlund, is accused by a law enforcement officer he seems to be friends with of Olivia's murder. All he can do is prepare for the worst it seems...he doesn't necessarily deny he did it, but the subdued aloofness seems to indicate he's mum for a reason not yet revealed. The opening scene about getting an arrest warrant and describing the evidence that would assist in proving Hedlund's guilt is solemn and matter-of-fact by the officer, laid out with an apparent disapproval that would explain the approach...Hedlund shouldn't be standing there facing such daunting, overwhelming charges, but nonetheless somehow he is. The remaining episodes should fill in those gaps.
Oh, and not to forget, Soderbergh's injection of vibrant color cannot be undersold...it pops onscreen. And to just cap Stone's work and Olivia's development, she has this night scene where there is debate over Neill's intentions and if she should embrace him in her life. That gnashing inside, after many relationship trials, just illustrates her condition at this point in her life. And the end has Neill proposing to expand her brand globally...it is a lot, but she smiles at his vision and ambition as he rubs her back, assuring her that this would be beneficial to her.
*The pressure on Neill to influence Olivia to get rid of her "overextended" property is definitely not understated. He answers to a heavy gambler answering to those very interested in gaining control of the property however possible, including troubling Neill to step up the process and push Olivia towards leaving it behind.
