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Rating:
The mud of "Deadwood," the lysergic desert of "Breaking Bad," and now the swamps of Louisiana. Foundational settings and only from the last 10 years. "True Detective" thrives on its perfect blend with nature. An environment that can at once be leaden and cracked by the warm colors of the southern United States. Credit goes to the hallucinatory photography of Alan Arkapaw, someone who had already worked on the Australian gem "Animal Kingdom" by David Michod.
Highlighting the aesthetic merits of the series, one might ask why "True Detective" has become the new viral phenomenon first at home and then in our country. After the period of blue crystals and Walter White, "True Detective" seems to be the television product that more than all has been able to continue the path charted by BB, of a quality that has nothing to envy to cinema. In fact, it seems that cinema is much more directed to recycling, while TV series are exploring borderline stories almost for a "niche audience." But in truth, TD draws heavily from numerous TV and film products centered on a pair of detectives, often at odds, investigating improbable serial killers. The framework is thus the same one already explored thousands of times. But many are the right choices that make TD one of the most serious candidates to revolutionize serial storytelling.
In an attempt to give the entire series a well-defined directorial body, direction was entrusted solely to Cary Joji Fukunaga. Even more so than in "Breaking Bad" or "Boardwalk Empire," this series thrives on directorial insights. From revealing close-ups to total shots that highlight an oppressive nature, from always geometric directorial choices to complex and lengthy long takes (see to believe the conclusion of the fourth episode). The screenplay serves Fukunaga's direction, resulting in a markedly slow, hallucinatory, suffocating, and oppressive work. In short, an "acid" series. But TD also rests on essential realism, which also explains what some have seen as one of the product's greatest weaknesses: the apparent inconsistency of the investigative element, with the reconstruction of the puzzle decidedly fragmented and confused. But this is exactly what happens in reality: how many cases remain unsolved? How often do we proceed only by often mistaken suspicions? How often do we blindly go ahead? The problem is that the various CSI and all the multiple crime series have launched the idea that everything is always solvable and always in an incredibly short period. Moreover, the story is not told chronologically but undergoes constant temporal jumps and omissions. Credit goes to the skillful and complex screenplay by Nic Pizzolato.
"True Detective" is a work that draws heavily from authors like the old Hooper and Craven, Lynch, the early 2000s Cronenberg, but is also steeped in Faulkner's atmospheres and the deadly nature of Cormac McCarthy. Not only that: it brings to the screen purely philosophical reflections that make the viewing at times challenging for those not accustomed to certain stretched rhythms. Philosophy explained in the two main characters, Marty and Rust. The first is played by an excellent Woody Harrelson, a classic American already accomplished, well integrated into his work, with a family to move forward. But the course of events will make him increasingly insecure, accumulating betrayals over betrayals, leading to inevitable divorce. The life he had patiently built is slowly destroyed. Rust, on the other hand, is played by a monumental Matthew McConaughey, the absolute star of the series, capable of bringing depth to a character who mumbles more than he speaks and is continually immersed in his psychotic, alcoholic, philosophical hallucinations. A man's delirium that continues solely for one purpose: to find the killer who continues to kill in the name of unspecified esoteric rites.
HBO is now synonymous with undisputed quality. Over the years, they have produced "The Sopranos," "Deadwood," "Boardwalk Empire," "Game of Thrones," and now "True Detective." And this is just for the most beloved. Without wanting to forget the wartime chapters "Band of Brothers" and "The Pacific." This new product marks a starting point in the history of modern TV series: it raises the quality bar. It's now hard to speak in these cases of a TV or film product. Additionally, Matthew McConaughey's performance will remain unforgettable, piercing the screen in a way even Bryan Cranston had not managed (despite taking home the 2014 Emmy).
A TV series that, through the police/investigative element, meticulously explores human psychology, connecting it all to a drugged, esoteric, and hallucinatory scenario. As debatable as a second season with different actors may appear, the overall judgment of these eight episodes can only be decidedly positive.
Highlighting the aesthetic merits of the series, one might ask why "True Detective" has become the new viral phenomenon first at home and then in our country. After the period of blue crystals and Walter White, "True Detective" seems to be the television product that more than all has been able to continue the path charted by BB, of a quality that has nothing to envy to cinema. In fact, it seems that cinema is much more directed to recycling, while TV series are exploring borderline stories almost for a "niche audience." But in truth, TD draws heavily from numerous TV and film products centered on a pair of detectives, often at odds, investigating improbable serial killers. The framework is thus the same one already explored thousands of times. But many are the right choices that make TD one of the most serious candidates to revolutionize serial storytelling.
In an attempt to give the entire series a well-defined directorial body, direction was entrusted solely to Cary Joji Fukunaga. Even more so than in "Breaking Bad" or "Boardwalk Empire," this series thrives on directorial insights. From revealing close-ups to total shots that highlight an oppressive nature, from always geometric directorial choices to complex and lengthy long takes (see to believe the conclusion of the fourth episode). The screenplay serves Fukunaga's direction, resulting in a markedly slow, hallucinatory, suffocating, and oppressive work. In short, an "acid" series. But TD also rests on essential realism, which also explains what some have seen as one of the product's greatest weaknesses: the apparent inconsistency of the investigative element, with the reconstruction of the puzzle decidedly fragmented and confused. But this is exactly what happens in reality: how many cases remain unsolved? How often do we proceed only by often mistaken suspicions? How often do we blindly go ahead? The problem is that the various CSI and all the multiple crime series have launched the idea that everything is always solvable and always in an incredibly short period. Moreover, the story is not told chronologically but undergoes constant temporal jumps and omissions. Credit goes to the skillful and complex screenplay by Nic Pizzolato.
"True Detective" is a work that draws heavily from authors like the old Hooper and Craven, Lynch, the early 2000s Cronenberg, but is also steeped in Faulkner's atmospheres and the deadly nature of Cormac McCarthy. Not only that: it brings to the screen purely philosophical reflections that make the viewing at times challenging for those not accustomed to certain stretched rhythms. Philosophy explained in the two main characters, Marty and Rust. The first is played by an excellent Woody Harrelson, a classic American already accomplished, well integrated into his work, with a family to move forward. But the course of events will make him increasingly insecure, accumulating betrayals over betrayals, leading to inevitable divorce. The life he had patiently built is slowly destroyed. Rust, on the other hand, is played by a monumental Matthew McConaughey, the absolute star of the series, capable of bringing depth to a character who mumbles more than he speaks and is continually immersed in his psychotic, alcoholic, philosophical hallucinations. A man's delirium that continues solely for one purpose: to find the killer who continues to kill in the name of unspecified esoteric rites.
HBO is now synonymous with undisputed quality. Over the years, they have produced "The Sopranos," "Deadwood," "Boardwalk Empire," "Game of Thrones," and now "True Detective." And this is just for the most beloved. Without wanting to forget the wartime chapters "Band of Brothers" and "The Pacific." This new product marks a starting point in the history of modern TV series: it raises the quality bar. It's now hard to speak in these cases of a TV or film product. Additionally, Matthew McConaughey's performance will remain unforgettable, piercing the screen in a way even Bryan Cranston had not managed (despite taking home the 2014 Emmy).
A TV series that, through the police/investigative element, meticulously explores human psychology, connecting it all to a drugged, esoteric, and hallucinatory scenario. As debatable as a second season with different actors may appear, the overall judgment of these eight episodes can only be decidedly positive.
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