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Rating: Welcomed in the United States as "the cinematic event of the year," "Game of Thrones" quickly found a wide array of enthusiasts, enamored with the legendary narratives of George R. R. Martin. Conceived by the duo David Benioff and Daniel B. Weiss, this "Game of Thrones" captivated audiences first overseas, before arriving in Europe and being widely appreciated in the old continent. A television series produced by HBO (by now a genuine guarantee), which revived a fantasy genre that had been lost in the spectacle-focused and Hollywood 3D fascinations.
Martin's Westeros (author of the novels from which the series is adapted) is a complex and multifaceted world, populated by creatures and races diverse from one another, but all, for better or worse, united by one great desire: power. Martin’s fantasy, and consequently the resulting cinematic product, is a mix of issues of honor and family pride to be upheld in an overarching scenario where all attempt to overpower each other, in a struggle for power as violent as it is endemic. In representing all this, the first season of "Game of Thrones" was convincing in all aspects, with only some minor flaws typical of works of this kind. The discourse for the second season, which has recently concluded on Italian screens as well, is slightly different.
Before beginning to discuss the second series, I want to clarify that I have not yet read the novels, so you will not find any kind of reference in this review to Martin's pages or any potential differences between the two products.
As many expected, the second season does not reach the levels of the first: many attribute this decline to the greater liberties the production took compared to the books. As mentioned before, I am unable to make comparisons due to my lack of reading, but aside from the content of the novels, there are several elements that underline the slightly inferior level of this second chapter.
Softening: By "softening," I mean the sometimes overly sentimental turn the series has decided to take. While the sex scenes remain very present (sometimes also to demonstrate a cinematic lack, filled by sexual "fillers"), it is clear that emphasis is placed on the sentimental aspect of the story, with many plots that eliminate screentime that could be used differently. In this sense, there is ample space for a "trivialization" of the material, and the action elements are put in the background: indeed, if the first season laid the foundations for the approach of war, the second does not show us this war, which is only hinted at in some phases. The only moment the warrior fury emerges is in the ninth (and penultimate) episode, titled "Blackwater," for the occasion entrusted to filmmaker Neil Marshall, already a director of works like "Dog Soldiers," "The Descent," and "Centurion."
Fragmentation: Creating a film product on a complex subject like Martin's novels is not simple, but "Game of Thrones" contributes to making it more tangled and sometimes even "superficial." Some aspects of the storyline (especially in the first 5 episodes) are either completely neglected or outlined very faintly, to the extent that it becomes complicated to keep up with an endless series of events, situations, and characters. This flaw is remedied in the second part of the series, when most of the events focus in the halls of King’s Landing.
There would be other small points of criticism, from the greater exhibitionist charge to the loss of that damn medieval aura that characterized the last season, but on the whole, the two major flaws are those listed above.
Yet, we are not dealing with a product that descends into the crude American "green" machine and despite a slight step back, the second season still manages to stand out for some positive aspects. It is worth praising the actors, especially some, who prove to be markedly suited to their assigned roles: in particular, two of them manage to perform excellently, "breaking through" the screen with perfect characters. Firstly, Peter Dinklage (taking on the role of the imp Tyrion Lannister), capable of bringing to life a calculating, authoritative man, yet also tied to his closest affections. Secondly, a special mention also for Lena Headey (who plays Cersei Lannister), a cold and violent woman like the world surrounding her. In addition to showcasing the verve of these (and other actors), "Game of Thrones" demonstrates an ability to skillfully delve into the territory of fantasy, without ever resorting to forced representations of the fantasy genre as a vehicle to attract an audience expecting only dragons, princesses to save, and good and handsome heroes. Westeros is populated by despicable people and for the champions of good there’s little room...
Three and a half stars.
"Knowledge is power..."
"Power is power..."
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