I’m not going to lie. I’m having trouble with Lost‘s final image. You know the one: Jack Shephard (Matthew Fox) is dying in the jungle (in presumably the same spot where he awoke in Season 1) with Vincent, the dutiful yellow lab, lying alongside him. As the Doc looks over with enthusiasm at the pup and then closes his eyes one last time, he (as well as the long-suffering viewer/fan) realizes he’s not alone. None of us dies alone, the show suggests; we have memories, friendships, shared circumstances, and sometimes even literal animals to help us “let go” and “move on.” Considered in this light, the two-shot of Jack and Vincent is a lovely and comforting one. Then why, for the love of John Locke, is it bothering me so?
Before I attempting to answer that question, I should note that critics are praising this closing image — along with the entire 2.5-hour finale (“The End”) — with gusto, labeling it “the most emotionally affecting moment” of the episode, “bittersweet […], a rush of nostalgia coupled with the sense of loss” and “lyrical visual poetry.” As well, random fans of the show are gushing over these final moments, thanking Lost for reminding them that God is Dog spelled backwards, that “dogs are earthly angels,” and that our animals “don’t need purgatory (sideways universe) because all dogs *do* go to heaven.” Finally — and this is perhaps the strangest commentary I’ve come across — even some pet adoption organizations are capitalizing on the show’s final image, encouraging those people looking for pets to visit “our next adoption fair where maybe you’ll meet your very own Vincent.”
There are some viewers out there, however, who read the doggie’s presence a bit more hesitantly. One fan, for example, acknowledges that the reunion of Jack and Vincent worked, but that it was “cheap and sentimental.” Others curse the program “for using the dog as a narrative device” and for playing a “dirty trick” on them for “having the dog lay down next to Jack.” My thoughts about the closing scene align mainly with these mini-reviews.
Before you Lost-lovers bow out and call me a hater, let me state emphatically that I ENJOYED THE SERIES FINALE OVERALL. Like so many of you, I was bowled over by the explanation of the flash-sideways world, the moments of humor (sure, you’re a cop, Sawyer), Michael Giacchino’s soaring score, the lovingly framed shots of the lush island, the playful self-referentiality (“Really? His name is Christian Shephard?”), and the sheer ambitiousness of the program in general. Moreover, I want to point out, like Myles McNutt, that “The End” held me firmly in its palm the entire time, this despite the copious amount of commercials. Hardly ever did I waver in and out of the story as I have in episodes like the uber-boring “Across the Sea” during which I boiled rice, caught up on The Huffington Post, and fed dinner to my cocker spaniels. All in all, the finale was an apt and satisfying end to the series; I would even venture to say that it wildly exceeded my expectations.
With that said, there’s that image of Jack and Vincent that still irks me to no end. I think it boils down to the fact that I do not like written or visual texts using animals, especially dogs, unnecessarily to manipulate the viewer’s emotions. Of course, this is nothing new; filmmakers have featured dogs in their works since the beginning of cinema. How long has it been since you’ve seen Workers Leaving the Lumière Factory, for instance? Yep, the Lumière brothers knew in 1895 that if they featured a dog in their little promotional moving picture, they and their place of business would be seen an honest, loyal, and happy. I mean, seriously, what’s a Labrador doing in a photographic chemical plant? It along with the guys on the bicycles is there to influence the viewer’s emotions. See for yourself:
Perhaps this is all fine and good in the 30-second Lumière picture. But in the case of Lost‘s series finale, we were already emotionally involved. Very. Emotionally. Involved. For example, we’d already witnessed the poignant reunions of Charlie and Claire, Jin and Sun, and Sawyer and Juliet. We’d already cheered for Not-Locke’s (or Smocke’s) death and Rose and Bernard’s mere existence. And we’d already jumped into the Hummer to win over more souls with Hurley and Sayid.
In addition, Jack had already earned his redemption (many fans/critics thought his character collapsed over the past couple of seasons but was redeemed in Season 6). In other words, by this point, we cared about him enough both to mourn and rejoice in his death/re-awakening without all of the sappy connotations the image of a panting Golden Retriever brings. So why the need to undervalue our involvement with such an overly sentimental image, especially on a show that generally renounces syrupy representations in lieu of more hard-hitting questions about science, faith, and humanity?
As Entertainment Weekly‘s Jeff Jenson admits, “playing the dog card is kinda shameless” here. Right, as much as I love dogs and all they represent in my life, and as much as I appreciate Lost and all of its originality and chutzpah, “The End” would have worked just as well without Vincent, maybe even better and perhaps even truer to the overall tone of the show.
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As part of the praise over that final image, I'll make this distinction: while I'll admit it is manipulative, I think its symmetry is more powerful than its basic emotional connection. I'm not responding to Vincent as a dog, I'm responding to Vincent because he's Vincent, and because he was present in the very first scene of the entire series.
The show has brought out Vincent at various points in its narrative to serve this sort of function, so it's become sort of a joke that Vincent in some way unlocks the secrets to the narrative or even that Vincent is the Smoke Monster (a theory I saw somewhere over the past few days). Because of this, Vincent's presence wasn't like a dog in a photographic chemical plant: if the series is going out as it came in, then he has to be there.
If the show had never used Vincent in this capacity before, and if they hadn't reintroduced him earlier in the episode to keep this from seeming completely contrived, I would agree that it steps too far. However, base emotional response was fairly down on the list of experiences for me, personally, during that scene – Jack's little smile was a knowing realization at the symmetry of it all, not "aww, a puppy," and I tend to read that response as the writers' intention.
Whether it was worth the residual, and logical, sense of manipulation is a bigger question.
Hey, Myles! Enjoyed reading your post on the LOST finale, by the way. In fact, after reading 15 or so really thoughtful reviews this morning, I debated with myself many times whether or not I should write this. As I posted on Twitter earlier, I knew I'd probably get slammed/reamed for criticizing that last scene. =)
First, thanks for commenting! Second, I certainly did not mean to liken Vincent specifically to the dog in the Lumiere film; you're right: they're totally NOT the same. I just meant that since the beginning of moving images, directors have known that dogs conjure up certain emotions in their viewers and that they know how to use that to their advantage, sometimes in rather manipulating ways. And a part of me recognized that in "The End," and it bothered me, hence the post.
While "base emotional response was fairly down on the list of experiences" for you, do you think that's how the scene affected most people? From my searches on Twitter and the web, it seems that many, many viewers/fans were completely swept away by the emotion of it all — so much so that they commented on nothing else BUT that scene and how it turned them into blubbering messes, etc. And it's that which I found sorta bothersome, I suppose.
Umm…Vincent is a yellow lab, not a golden… God (or dog) is in the details!
Yikes! Thanks for correcting me. I've changed that in the post. =)
Jack saw Vincent as Vincent, and Vincent ensured Jack did not die alone. The use of the dog as symbol of unconditional love and loyalty, was, IMHO, spot on. Jack earned his redemption and was rewarded with that slobbery kiss that is all about being loved regardless of your human failings. i.e., What Myles said. Vincent has always served this function, and I would've been sad if – after seeing the shoe in the bamboo – we hadn't also seen Vincent.
Hi, Elizabeth — first, thanks for commenting on the post. As I wrote to Myles, I knew I'd find several people out there who disagreed with me about this scene! =)
I completely understand your reaction. I wonder, however, if Vincent hadn't shown up, would it still appear that Jack had "died alone"? All of the memories on the island (and off), his own recognition of his accomplishments, and the image of the plane above suggest that his friends have always been and will always be with him, even if they're not physically there, right?
I tend to agree with the symmetry argument posted above by Myles. Furthermore, there was symmetry in the last moments of life/church scene. Perhaps this final scene is what the authors believe happens during the moment of death for a person. Physical stimuli become triggers for memories?
If this is the case then Vincent was responsible for Jack's memory of being with his father before moving on.
Evidence from scene:
a) Jack sits down on bench, b) Jack falls down to ground, a) Kate and Jack hold hands b) Jack touches his own hand c) Christian touches Jacks shoulder & Jack looks up at him, c) Jack hears dog bark and looks at him & is comforted
Having the dog in the scene was reasonable. Having him lay down next to Jack? hmmm.
Hi, Justin — thanks for commenting! I can certainly read the scene as symmetrical as well (knowing/recalling now that it echoes/bookends the one in "The Pilot,") but I'm not sure that assuages my feelings re: the use of Vincent.
As I mentioned in the post, it just felt a bit manipulative. And as I mentioned in my response above to Myles, I was surprised by how many people on Twitter were crying (some apparently hysterically) over that scene and cited little else about the finale, which suggests to me that its emotion and sentimentality overshadowed the symmetry — at least for many people. Hope that makes sense!
Hi Kelli,
I understand this image bothering you… just thought I'd throw my two cents in here. During my Art History studies, I was informed that a sleeping dog is a symbol of a house at peace. When you see the sleeping dog in art history, you know that all is well in the house, that the husband loves the wife and there's general domestic bliss.
Given that fact, I thought having Vincent lie down and go to sleep next to Jack was mind-blowingly brilliant (assuming that's what the writers were going for), showing that all was finally resolved and that, due to Jack's heroism, the island is at peace.
Hopefully that helps.
+David
Hi, David — thanks for commenting and informing me of the sleeping dog symbolism. Very cool! Was Vincent ever asleep though? I recall him looking/moving around. =)
Great-looking website, you've got there, btw!
I watched LOST and i Remember vincent coming up to jack
when his EYE first opened in the Pilot!
Jack awakes ..eyes open ..looks over to his right and sees vincent approaching slowly, and the final scene jack is liying down, about to close his eyes and there is vincent again to comfort him and to find him !
both times jack was alone
both times vincent was present
incredible ending ..i cried!
I think you're being a bit harsh on the last scene there. Not only was it symmetry with the first scene, but I think Lost as a whole, as well as being extremely deep, symbolic and multi layered, is also a great metaphor for our viewing experience.
It wasn't just the characters who were Lost on the island, the viewers were too. Lost is a form of escapism, we watch it whilst trying to figure out whats going on, what's the higher purpose, is there a higher purpose and what does it all mean? The way the characters feel is remarkably similar to how the viewers feel. We were as trapped and enthralled as they were. and despite any hardships, bumps or let downs, it was still ultimately a very important milestone in many people's lives. its probably my favourite tv show ever.
So its not just pretty symmetry, its a symbolic gesture. the first scene entices us to chase vincent and find out where he's going. this scene lets us know that yes, it really is over, the journey ends here, and its time to let go. it was a metaphor for our viewing experience, we knew jack was dying, we acknowledged his redemption and we stayed by his side in his final moments and then we let go.
this sensation becomes really apparent when you watch the beginning and end scenes back to back, there's a fair few on youtube. there's even a clip which plays the first scene backwards and they match up very well. Vincent lying down adds that little tone of finality and a little bit of comfort and ultimately closure.
Hi — thanks for commenting on my post! As I've written below, I completely understand your (as well as others') point here about symmetry and symbolism. The final scene is unquestionably a nice visual bookend to the series. With that said, I also (still) read it as slightly manipulative and overly sentimental, especially for a show that rarely exhibited that kind of emotion or asked its viewers to engage with it in that sort of sappy way.
Who knows? When I look back in 5 years on the finale, perhaps I'll rethink my position. After all, that's exactly what happened when I revisited the SEINFELD finale, which I initially hated with a passion. Now, I think it's just about perfect. =)
I loved the finale, and thought it was pure genius. When Jack layed down in the same spot he did on the pilot, I knew that they would bring Vincent back, and he would lay down, and rest. Perfect symmetry. Not only that, but my second thought was one that was mentioned in Davids post. Peace! Pretty genius ending if you ask me. And not only did Jacks eye close, but then during credits they showed the plane crash–Which made me gasp and wonder, did this all really happen? There are many different theories, but regardless, not everyone will be pleased. I feel the writers did their jobs.
As a response to your response to Davids post, they cannot command the dog who played Vincent to sleep. However, they commanded him to lay down, and put his head down aswell, which pretty much looks like they were trying to portray sleep. I wouldn't get too technical with the ending.
Also, I think that making the ending emotional was exactly what needed to happen. Leaving the show any other way would have left more audience upset, and not ended the show it was intended to end. Watching through season after season, you find that all those characters want is to go home, or to find "peace". Not only was the ending symmetrical to the beginning, but it gave the characters the peace they had all been searching for, since the minute Jack opened his eyes on the pilot. And, It does not bother me one bit for them to use a dog to portray this to the audience.
Kudos to the writers and all the people involved in Lost. They got me Lost, and left me Lost, just the way it was intended to be!
Sorry about any gramatical errors!
i will never forget the absolute beauty and breathtaking last moment in jacks' life as he smiled at the sight of vincent, while in the middle of painful death. It was a moment of cinematic genius that this is the one character in the whole series that would be with him when he died . i watch it over and over .