Television Review: The Last of the Watermen (Homicide: Life on the Street, S3X07, 1994)

The Last of the Watermen (S03E07)

Airdate: 9 December 1994

Written by: Tom Fontana & Henry Brommell
Directed by: Richard Pearce

Running Time: 49 minutes

Homicide: Life on the Street, like many long-running drama series, often required episodes to deviate from the established routine to maintain viewer engagement. This deviation could manifest through various means, such as altering character dynamics, shifting narrative tone, or experimenting with different storytelling formulas. In the case of The Last of the Watermen, the most significant change was its setting. While it was not the first episode to step away from the gritty streets of Baltimore—Season 1's And the Rockets' Dead Glare featured scenes in Washington D.C.—this episode offers a refreshing departure for fans, transporting them to the serene yet complex environment of Chesapeake Bay.

The plot begins in a rather predictable manner, with Detectives Howard and Felton called to investigate the murder of an elderly Mr. Resnick. The discovery that the victim had her tongue cut out and stuffed back into her mouth serves as a shocking catalyst for Howard, prompting her to take a long-overdue vacation. She retreats to her family's home in Chesapeake Bay, where her father Wesley (played by Michael Currie) and brother Josh (played by John C. Hansen) once made a living fishing oysters. This reunion also brings her face-to-face with Chick Tawless (played by John Dossett), her former love, who now works alongside Josh and their friend Chris Haskett (played by Gareth Williams) on a fishing boat. However, their livelihoods are threatened by Ken Bradley (played by Jim Shanklin), state conservation officer who insists on protecting oyster populations at the expense of local fishermen. The plot thickens when Bradley is found murdered, leading Howard to reluctantly assist local authorities in solving the case, knowing that the killer may be someone from her past.

Simultaneously, another storyline unfolds involving Detective Felton and his temporary partner Pembleton while Howard is away. Their task revolves around solving Mrs. Resnick’s murder—the victim's grandson is an obvious suspect due to his history of violence and drug issues. The investigation is straightforward; Felton and Pembleton's confidence leads them to engage in a light-hearted basketball game amidst their work. Their optimism proves justified when they quickly locate the young suspect, who confesses without hesitation.

Despite Howard's somewhat convenient escape from murder investigations only to become embroiled in another mystery, The Last of the Watermen stands out as a well-crafted episode. Howard’s character is given depth through her realistic background, and while there are hints of sentimentality, they never overwhelm the narrative. The episode also engages with broader economic, cultural, and political themes that resonate differently in rural America compared to urban settings like Baltimore. Moreover, even the romantic subplot is approached with practicality and efficiency, avoiding unnecessary melodrama.

The Baltimore storyline is equally effective and economical; Andre Braugher and Daniel Baldwin are afforded just enough screen time to develop their characters and establish a new partnership. Their interactions are succinct yet impactful, contributing to the overall rhythm of the episode without overshadowing Howard's story.

However, one aspect that detracts from the episode's overall impact is the use of “Raining in Baltimore” by Counting Crows as both an opening and closing song. Its somewhat melancholic tone feels overly elegiac for a narrative that balances tension with moments of levity. Additionally, a semi-comical scene featuring Giardello and Munch in a self-service laundrette during the cold open appears disconnected from the rest of the episode's narrative flow.

The Last of the Watermen exemplifies how Homicide: Life on the Street successfully deviates from its usual format by exploring new settings and character dynamics. While it begins with predictable elements typical of crime dramas, it evolves into a rich narrative that addresses complex themes relevant to both rural and urban America.

RATING: 6/10 (++)

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