Lost - The Complete First Season
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DVD Cover Information
Actor: Dominic Monaghan, Evangeline Lilly, Josh Holloway, Matthew Fox, Terry O'QuinnBrand: Buena Vista Home Video
DVD: Region Code 1
Audio: English (Unknown), Dolby Digital 5.1; English (Subtitled); Arabic (Original Language); English (Original Language), Dolby Digital 5.1; French (Original Language); German (Original Language); Korean (Original Language); Portuguese (Original Language); Spanish (Original Language); English (Published), Dolby Digital 5.1; Spanish (Published)
Format: AC-3, Box set, Color, Dolby, NTSC, Subtitled
Picture Format: 1.78:1
Running Time: 1068 minutes
DVD Release Date: 2005-09-06
Audience Rating: NR (Not Rated)
Model: 03966100
Studio: Buena Vista Home Entertainment
Product features:
- 2005 - Touchstone TV - LOST
- Complete First Season - 1068 Minutes
- Bonus Features - 7 DVDs
- Widescreen - 5.1 Surround Sound
- VG Condition -
Movie Reviews of Lost - The Complete First Season
Movie Review: Quite a Wonderful Message in a Bottle
Summary: 5 Stars
There are some films which grip the viewer from their opening seconds, whose beginning sequences are so singularly arresting that the viewer is engaged with no hope of extricating his interest even long after the feature is over. "Lost" is not a film, but from its first seconds it, for lack of a better word, inflicts upon the viewer a narrative power so riveting and intoxicating that no show in the recent history of the medium, if ever for that matter, can match it. The first episode finds the viewer immediately hurtled with the characters into a beautiful tropical shore which is, at the same time, an abattoir of chaos, wreckage and death. The characters find themselves grappling with the central problem of survival in their new environment, utterly cut off from the civilized world.
There is no doubt whatsoever, as has been noted, that the strength of the show is its strident ability to engage the viewer as a witness to the developing fates of the characters on the island, but the crux of its narrative and the active ingredient which galvanizes and rivets the viewer to the story is the journey, unprecedented for a television program, which the show takes into the human psyche. The Bible says that the heart of man is desperate and dark, and the proverb's truth finds striking and unforgettable testament in the characters of "Lost". The show is at once a surreal situation, a surreal context, characters marooned on some tropical island where no plane or boat discovers them and where no satellite can see them, but it is a surreal situation rooted completely within a stark and unforgiving psychological reality. The characters of "Lost", are, to a man and woman, lost themselves, almost hopelessly so, before they ever set foot on the island; their psyches have been lacerated and battered by illness, grief, isolation, abandonment, and abuse; their souls are buffeted about by the often cruel tides of life pilotless and searching fervently for redemption and rebirth; their hearts are wrenched and driven forth by unstable and primal passions of hatred and lust. And yet, "Lost" can tread where most television and cinema are unable to follow precisely because it understands that man is not wholly good or wholly evil and that life itself is a perilous, pitiless, lonely journey which at the same time yields up its joys, its reprieves, its deep attachments between people. The writers understand what a precarious thing life is; how it seizes uipon the unviolated upright human clay which enters into the world and penetrates it, plagues it with torments, shatters it with sorrows, and withers it with that torment and sorrow over the course of time so that the person is forever wrenching about to liberate himself or herself from the endless moral conundrum presented by human existence. We see this in the example of Jin, the Korean who marries Sun, the rich man's daughter. He comes from the poorest of backgrounds; he desperately wants to escape poverty and make a name for himself, and his ambition is both right and honorable. He is intelligent, hard-working, compassionate and fair. At the same time his love for Sun drives him to please Sun's father, a cruel industrialist who enables Jin to gain wealth and status, but at a price. To gain some materialistic success and at the same time sustain a relationship with his wife, Jin has to act as a thug and lackey for Sun's father, who asks him to assault and murder his enemies. To become the image of what the world considers as "honorable", then, Jin in turn completely surrenders his honor--it is this strange and savage paradox of human existence as constructed by "Lost" that people who want to be good, who want to be moral are caught inexorably in the pincers of fate and are forced to rob, abuse, steal and kill simply to survive, or simply because, in the case of some characters, life has so crippled them spiritually that they have no recourse to do anything else. Kate has killed a man, but as we find out, she was ensnared in the pitiless maw of circumstance--she had to do what she did, or so we might assume. Sawyer hates and despises what the con man did to his family, and yet the tragedy becomes the decisive hinge of his own life's experience; so run through with hatred and bitterness, he becomes a castaway within the recesses of his inner emptiness, in the barren plain of his own spiritual dryness; he cannot, except for one exception, feel the remorse of a healthy conscience and so is free to swindle anyone and everyone--but the tragedy is evident; life has so battered him that he cannot fathom any path but that of a mercenary criminal. Charlie Pace is at heart a kind, decent man; and yet, the temptations of rock stardom whisper to him incessantly and he cannot resist them; he debauches himself with rampant promiscuity, he dissipates his talent in the hazy, vacuous stupor of heroin addiction. A somewhat devout man with a knowledge of the Christian path, he cannot tear himself from life's sublime and insidious enticements and succumbs to them while at the same time living under the constant razor's edge of self-recrimination, crestfallen at his abject failure to follow his moral compass. In the end, he is just another victim among victims, of people who have been bitten and who yearn to bite before they can be bitten again.
I would also be remiss if I didn't acknowledge that "Lost" is a brilliant achievement in the action-adventure genre. As utterly character-driven as this first season is, the show plots out linear progressions of conflict which develop, play out, and resolve themselves in action sequences which represent a truly lofty height in the history of television action-adventure serials. "Lost" is truly a special animal in the annals of adventure shows and indeed of television as a whole, precisely because it provides vertical character evolution replete with unfolding insight into the psyche of the character, bonding viewers to the characters by the charisma, nuance and depth of the character portraits, and combines this in episodic form with these linear horizontal plotlines of action-adventure which never fail to dazzle and thrill.
Where "Lost" excels where others fail lies in its sublime and deft touch at sketching out these psychological portraits of people which are eminently balanced, of the human person as one who strives for good, only to be struck by life and compelled to strike back; who is seared and brutalized by life's cruelties but still craves love wherever it can be found; who schemes, suspects and plots relentlessly but is still capable at life's denouement of doing the honorable thing. We see this masterfully fleshed out in the various characters whose fractured humanity the narrative reveals in stirring and memorable flashback--Kate, the girl who would seem an unwilling criminal, whose kind smile masks a mind of machinations and secrets; Sawyer, the charismatic confidence man whose swagger and verve dissemble over a life of tragic moral failure and deep private agony; Jack--the gentle and intelligent physician--do his efforts in medicine to rebuild every broken body and heal every infimity he can reflect a desire to serve humanity, or do they spring from an gnawing and silent inadequacy deep within to please a father whose perfectionism and egotism could not be pleased, could never be vitiated? Sayid--the Iraqi interrogator initiated into and pervaded through and through with the brutality that was simply the way of life in Saddam's army--he is a man, although torn and rent by his own cruel misdeeds, who nevertheless impresses the viewer not only by his intelligence but also by his very real capacity for decency and consideration for others. The show's writers exhibit their enormous skill in delineating characters as charismatic, attractive figures; but they also sketch the cast in blurred, vaguely drawn portraits so nuanced in their representations, honorable but duplicitous?, kind but manipulative?--that they shed doubt on the characters' inner worlds and cast the viewer, who wishes desperately to throw in his lot of sympathy and pathos with this character or that, adrift in a sea of ambiguity. Wouldn't it seem that Kate, the journeywoman criminal, has a heart of gold despite a checkered past? She bestows endless kindnesses toward those around her, even those especially undeserving of her benevolence such as Sawyer, and yet she tells Sawyer if she wants his spot on the ship, she will take it--she seems an old hand at using a gun and it rather appears that she manipulated a man to rob a bank and then killed him. And who is more of a likeable dashing rogue than Sawyer? And yet his aloofness, his glib determination to remain selfish and isolated offends and repels the viewer from lionizing him. It is powerful testament to the writers' consummate skill at their craft however, that despite the characters' cruelties, their tantrums, their lashing out, their vanity and recrimination against each other when cooperation is so desperately needed, we the viewers do not lose hope and do not withdraw our sympathies completely. We are faithful and continue to hope against hope that there is some remnant of willingness to intitate the movement towards reconciliation, towards redemption, ultimately towards wholeness, towards healing through acceptance and service. The viewer is quite often offended by the characters' behavior, at times repulsed, even shocked, but the intricately constructed human personalities still compel and attract the viewer to invest their affections and their compassion for them, despite, or perhaps because of their deliberately conceived ambiguity; it is the characters' attempts, sometimes half-hearted, sometimes valiant, to find and discover their own humanity in a quandary of hunger, peril and isolation which captivate us; beseiged and victimized by circumstances in the outside world, they nevertheless strive and battle to overcome their own inner demons with which life has afflicted them while they simultaneously struggle to surmount the physical difficulties presented by the island and build a new life together. As such, "Lost" is a story about real flesh-and-blood human beings who strike out from their own islands of spiritual isolation and seek to discover other travellers in a difficult and trying existence, and in bridging those chasms of the past with the bridges forged in the present, finally triumph over their enemies both of the spirit and of the flesh, both internal and external.
Summary of Lost - The Complete First Season
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