One of the most significant challenges of the film is to make us feel as if we're seeing this lifestyle with a fresh eye. The film does a terrific job of putting us in the era and making us feel like we're actually there.
It's so sad (and Moss is so great) as you can see Peggy's hopes dashed across her face while she sits there smiling. She keeps herself together and says yes anyone to this second-rate proposal -- ironically getting to say 'I do,' only when asked if she'd like to eat.
He expected her to wait for him, but she's a modern woman and she can get home on her own. It's telling that she doesn't expect him to come back for her, or does she just not want to be there when he does?
It's the penultimate episode of the season, SCDP is desperate, and Don is making moves. We've come a long way since the beginning of the season, where Don struggled with his own identity, and now SCDP is struggling with theirs.
Last night's Mad Men episode, "The Beautiful Girls," centers around Faye, Sally, Miss Blankenship, Peggy and Joan -- all in different stages of life, dealing with their own roles as women as well as their roles with the men that rely on them.
The quality of Don's voiceover gives the episode a different dear-diary kind of feel. Instead of watching him experience subtle and intense emotion, he's actually telling us what he's thinking, taking control of the narrative.
Wow! This week's episode of Mad Men was truly superb, the best this season--perhaps the best of any season. On the night of the historic Liston-Ali fight, Don and Peggy hang back in the office and do some sparring of their own.
There are a number of ways to view Mad Men. For my own part, I can take it as a period piece, a sort of time capsule of the early '60s, at once relatively close yet far enough away to be intriguing for its unfamiliarity.