View of a sitting the fourth season of the most successful Spanish series in the world, La casa de papel , the feelings are bittersweet. It is true that throughout its 8 chapters, with a joint duration of six and a half hours, it gives its followers exactly what they are looking for in it, but it is also true that at this point you could expect something else. Here are the pros and cons.
+ A world-class production . Nothing to envy, not even luxurious American series, not even, if they rush me, big movie blockbusters. Technically it is a 10, with lavish visual and sound effects.
- The annoying feeling of déjà vu . It seems that everyone was very clear that if something works, it is best not to touch it and repeat the formula over and over again. The script could be less predictable.
+ The work of the four filmmakers . Jesús Colmenar, Javier Quintas, Koldo Serra and Álex Rodrigo sign a remarkable joint direction. Very cinematographic planning, the odd camera camera and a great sense of rhythm.
- More violence and less sex . In the first seasons, there was a balance between violence and sex that in the third began to unbalance in favor of the first. In this fourth, directly, it has disappeared, because all the eggs have been put in the basket of violence and sex is limited to a couple of advances. Maybe thinking about the North American market?
+ The shortest of episodes . While in previous seasons, the average duration of episodes was above 60 minutes (some, even, well above), here it does not reach 50 minutes. That allows for fewer digressions and more action to the point.
- Transcendence attacks . That there are fewer digressions does not mean that there are not. In fact, all the characters (well, all the actors) have their Shakespearean moment of glory reciting grandiloquent monologues with a quasi-philosophical background. Most of them are left over.
+ Homage to Franco Battiato . If in the first two seasons, the Italian partisan anthem Bella ciao became the leitmotif, in this fourth there is a beautiful tribute to the classic Franco Battiato Centro di gravità permanent . Will this great song become fashionable again?
- The omniscient voiceover . From the beginning of the series, the narration in off of Tokyo (Úrsula Corberó) served to put a poetic counterpoint to the events and to give them another perspective. But here they have passed: it is not acceptable for Tokyo to count and comment on situations that are beyond its reach and knowledge and of which it is not an eyewitness.
+ The chemistry of the cast . At this point, the actors almost no longer interpret but rather directly blend in with their characters, and the interactions between all are credible and well-founded. Not a single one is out of place.
- A tremendous miscalculation . When the creators of the series decided that in the second season Berlin (Pedro Alonso) should die, they should not be aware that they were loading the character with more hook. So in both the third and the fourth, and more in the fourth than the third, the flashbacks occur to recover it. The truth, they do not contribute much.
+ Wink to reality . (ATTENTION, SPOILER). The great moment of this fourth season occurs when the colonel played by Fernando Cayo tells the inspector mephistophile that Najwa Nimri gives life to that she is going to be the scapegoat for all the government and police errors of the operation and closes his speech with a forceful "Be strong" that many will remember the odd episode in the recent history of Spain.
- An end too open . It is clear that the idea was to leave fringe hanging for a fifth season, but perhaps too many have been left, so this looks like going to extend to infinity. And the partridge is no longer for many more dizziness. (ATTENTION SPOILER) And the threat of more and more flashbacks after the death of another key character is a reality.
According to the criteria of
This news has no comments yet
Be the first in give your opinion0 Comments