There have been but a handful of television programs about the Seventies exploring a decade that is still not completely understood by the vast majority to this day even while it has become a permanent part of our collective cultural experience - and with good reason. These would include "The Wonder Years", "That 70's Show", the NBC miniseries "The Seventies", "Swingtown", and soon, an American adaptation of the BBC's early Seventies time-traveling detective show, "Life On Mars". As for movies, two of the more.....seminal films are "Dazed And Confused" and "Boogie Nights". While the Sixties are held in a certain, somewhat justifiable reverence, the decade following them still doesn't receive all the respect it equally deserves for being a similar witness to profound changes in how many of us view our lives and roles in Western society. The two decades cannot be viewed separately without a loss of understanding as to why they unfolded in the ways that they did. It may be oversimplifying to say that, if the Sixties were the cause, then the Seventies were largely the effect, but there is some truth to that perception; much of the preoccupation with physical, less deep concerns that overflowed well into the Eighties was as a direct result of Vietnam's increasingly unacceptable level of carnage, underscored by Walter Cronkite, David Brinkley and Harry Reasoner's sonorous deliveries on a nightly basis - despite exponentially larger losses of life in the Civil War, as well as both world wars, the spread of television helped death really get up in our faces - and the fundamentally unsatisfying manner in which that conflict ended.
When searching for a word that describes what fueled the late Sixties and Seventies, one frequently referenced is 'exploration' - all that had transpired, from the riots to the assassinations and dehumanizing effect of police actions in Southeast Asia, provoked much soul-searching and a truly ravenous desire to play, lustily reconnect with life after being thoroughly immersed in death for almost a decade. But paradoxically, such indulgences as wife-swapping were really expressions of adult desires to be innocent again. With this exploration inevitably came insight as to the nature of relationships and the aforementioned changes to them. A lot of the soundtrack to this process illuminates it well, but also lays bare the superficial quality accompanying those times. While so much of the music produced in the late Sixties and Seventies was genuinely innovative and diverse, by the mid-Eighties an undeniable ennui and soullessness had crept into it sonically, art imitating life - the new visual medium pushed the societal envelope far more than the sounds being made and MTV thrived for that reason alone. To the ears of many baby boomers - this reviewer's included - the Eighties simply cannot compare to either decade preceding them.
"Swingtown", more than any other television show focusing upon the Seventies, reveals the underlying forces that altered some long-accepted perceptions about relationships; as has been noted by others, any hedonistic forays in this show act only as a vessel for the characters' journeys to discover intimacy again, as illustrated by how Tom and Trina Decker, swinging throughout, bond in the first-season finale with the prospect of becoming unintentional parents while the marriages of Susan, Bruce, Roger and Janet all seemingly hang in the balance - the underlying message speaking to the value of honesty, about who the Deckers are as people and what they feel free to enjoy; they have never been anything less than communicative. True, there is a distinct danger of portraying their experiences too broadly and glossing over the emotional consequences in particular of these explorations, but such honesty will be what helps all concerned to navigate the very new terrain awaiting them and a nation still young at 200 years.
The cast of "Swingtown" features the unsinkable Molly Parker as Susan Miller, Jack Davenport as her husband Bruce struggling to be an effective father and faithful partner, Miriam Shor as earnest, loyal and forthright Janet Thompson - the eventual breakout character whose career path, much to our surprise, fully exposes a strong element of independence and who could potentially become a retroactive icon for women's liberation should the series be given renewed life. Her slightly chauvinistic husband Roger, whose moral bearings have been lost with his job and blurred familial role, is deftly portrayed by Josh Hopkins as, at first feeling less than useful to his family, he inexorably gravitates toward the somewhat emotionally neglected Susan, although she has not effectively communicated the depth of her frustration to Bruce before their relationship degenerates at the Decker's annual end-of-summer beach party on the shores of Lake Michigan. The teenagers in "Swingtown" are also on their own, comparatively modest, journeys of exploration - with the possible exception of Laurie Miller, who is growing up much too fast for Bruce to reconcile, further straining his family's bond with him. That this series takes place around Chicago is not entirely surprising; the social aftershocks in question did take a while longer to reach the heartland.....CBS and producer Mike Kelley have a well-written, thought-provoking show (the latter does need to be more diligent about some anachronisms that have snuck into the dialogue and settings; for example, 'no-brainer' first arose in the Nineties and the men's suit lapels should be wider, but those are minor quibbles) that wholly deserves to be renewed for a full second season; in just 13 episodes, the character development has been outstanding and thousands of viewers have been vociferous in their online support of "Swingtown" - one petition has garnered almost 6,000 signatures in less than a month. Here's hoping that the Tiffany Network rewards that support.....