The Punisher is many things. He’s an anti-hero, a villain; he’s scary, he’s relatable, and in the hands of Marvel’s Daredevil, he is a deeply tragic figure. Tragedy has always been part of Frank Castle’s transformation into the Punisher, and Daredevil adheres to canon by making his family the victim of a massacre (the only place the show really departs from canon is by not making the Punisher a former cop). Jon Bernthal, who should start asking himself where his Emmy would look best, is absolutely terrifying as the Punisher. He glides through scenes like a nightmare, and when wounded he lurches like Frankenstein’s monster.
But there is a deep well of sadness behind Bernthal’s eyes, one that hasn’t fully been explored until “Penny and Dime.” Daredevil makes a questionable decision in saying that the Punisher is flat-out insane, but Bernthal’s performance is so multifaceted that he transcends what could be narrative contrivance. The bullet wound in the Punisher’s skull isn’t responsible for his madness so much as it is his extreme tolerance for pain, which really comes in handy this episode.
I didn’t think the Irish were going to be as big a presence as they are, but I’m okay with it because between them and the Dogs of Hell, the criminal underworld of Hell’s Kitchen looks more fully formed. Finn, an enforcer from the Emerald Isle, is brought to the Kitchen to track down the Punisher, which he does with zeal and efficiency. (Daredevil has always succeeded in establishing a level playing ground by making sure both the heroes and the bad guys are shown to be very competent.)
So the Punisher is captured, but not before taking down four or five Irish thugs. (His efficiency is genuinely terrifying.) Honestly I felt that “Penny and Dime,” at times, rushed the conclusion of the Punisher storyline for reasons we’ll get into later, but for the most part his captivity and escape were handled extraordinarily well by director Peter Hoar (a veteran of Da Vinci’s Demons and Doctor Who). The Punisher’s escape, aided by Daredevil, is thrillingly directed and ominously lit, and it makes for a nice bit of physical comedy as well, as Daredevil has to continually stop the Punisher from killing anyone.
This all culminates in a heart-wrenching monologue from Bernthal, where he goes into horrid detail about his family’s murder. Hoar juxtaposes this nicely with images of Karen snooping through Frank Castle’s house, shining a flashlight on pictures of him and his family in happier times. This serves to go deeper than the cathartic thrills that directors usually try to wring out of the Punisher’s story (that’s not always a bad thing; check out Punisher: War Zone).
As surprisingly soulful as Bernthal’s performance is, Daredevil seems to scuttle his storyline a little too quickly. It’s only been four episodes, and the show is clearly in a hurry to introduce Elektra (Elodie Yung), who shows up in Matt’s apartment at the end of the episode. And that’s all well and good; Elektra is a great character, Yung makes an impression after just one line, and it’s been no secret that Elektra would be a big part of Daredevil‘s second season.
And look: I know the Punisher is going to return. That’s a foregone conclusion – he hasn’t even worn the skull shirt yet, for Christ’s sake. It’ll be nice to see how his story dovetails with Daredevil and Elektra’s, but I can’t shake the feeling that Daredevil rushed to get to the finish line with him. On the whole, though, that’s a minor speed bump in an otherwise damn fine episode.
A Few Thoughts
- I’m in love with Daredevil’s new helmets. Those red eyes are scary as shit.
- The Punisher hiding a razor blade in his arm cements this incarnation as the craziest one yet.
- “Guilt can be a good thing. It’s the soul’s call to action.” Father Lantam is always a welcome presence.
- I’m sorry these reviews have been so scattered, guys. I appreciate anyone who takes the time to read these, but I am fully aware that at this point I am howling into an indifferent void at the edge of oblivion.
About Author
