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"Don't grow up too fast!" With the coming of the third season and at the height of its popularity, the show altered its format. In response to the anti-violence campaigns aimed at reducing the level of violence on television Starsky And Hutch swapped car chases and gunplay for a more conscious look at social issues. Although audiences may have missed some of the excitement of the first two seasons, for the actors themselves it was just a case of better writers producing better scripts. Neither David Soul nor Paul Michael Glaser could define any difference in what they'd done previously to what they were doing now. Both were as committed as ever to making the show as good as it could possibly be. Manchild On The Streets is an outstanding episode. Directed by Soul, the audience is allowed to see how Starsky and Hutch interact with the people they choose to spend their off-duty time with. In this story they behave not as policemen, but as the concerned friends of a family whose father has been gunned down whilst on his way to work. Human relationships are explored in greater depth, not so much between the two lead characters, but with the people in the community in which they police. Choosing not to opt for the standard set-up, Soul's approach to directing is not as a "journeyman". He's not just there to do his job and move on. Each scene is carefully composed to tell the story in the most intimate way possible. Without the luxury of today's video playback, a technical glitch or a badly played scene can go undiscovered long enough for a scene to have to be re-shot sometimes days later. Many a good performance has been lost due to a camera flare up. A "good take" where the actors perform well and the scene comes together is assessed on instinct, and Soul definitely has instinct. When Starsky talks with Jackson, the camera comes in close, it's a private conversation and the audience knows it. Starsky's scene with Junior at a waste site is simple but extremely effective when set against the backdrop of an abandoned, upturned and dirty couch, which Junior has retreated to for comfort. Soul pays particular attention to lighting and composition. He won't go for the standard set-up. Manchild On The Streets has some great shots. Jackson's death is done at half speed. When Starsky gets out of his car to open the passenger door, most of the action is obscured by the wooden slats of a fence where the camera has been positioned, this gives a sense of privacy for the characters whilst allowing the audience to share in their difficult time. Humour is handled sensitively; there is no banter between Starsky And Hutch. Instead, the comic relief takes place between Maurice and Mrs. Hong, the storeowner who refuses to be robbed; and Dewey, who thinks his car has taken on a life of its own. It's certainly not by accident that David Soul is absent from most of the scenes. It's a lot harder to direct when you have to be in front of the camera as well. In unavoidable circumstances, a degree of trust is required as you relinquish the director's reigns, even for a brief period. As with Survival, his directorial debut during the show's second season, Soul calls on Andrew Kulberg (this time accompanied by Chris Mickey) to provide the musical cues.
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