‘The Sandman’, Netflix’s most complex series and set to be its biggest success

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fear that Sandmanfamous comedian Neil Gaman which gave the ninth art a dose of fantasy and poetry (promoting the preconceived definition of “graphic novel”), leaving the mediocre Netflix adaptation unwarranted. The final product released in August this year on the platform streaming it is essentially an adaptation, and as such it moves within the printed story and changes races and genders to suit the tastes of the company that produces it.

But the result is just as gripping and entertaining, especially in the first of two adaptations in which Sueno must get his “stuff” back after spending decades kidnapping Roderick Burgess (Charles Dance, the series’ first “guest” star). Gaiman’s own adaptation, along with the awe-inspiring David S. Goyer and Allan Heinberg, is not a perfect product, but the way in which those in charge combine episodic stories and a superb story arc in which the King of Dreams and Nightmares gradually “awakens”. “humanity, it is emotional and exemplary.

ambition Sandman should become one of his very expensive seriefilas banners throughout weird things D Witcher. But as much or more than that, and as a story of pure fantasy, it is bound to capture on the screen a vast universe rich in references and, moreover, of the amazing artistic, symbolic and poetic complexity that flows from something. more than the usual mix of genres (from horror to adventure, always under a whimsical Gaiman lens).

Obviously, in such a complex project, there are compromises, questionable decisions, and a constant struggle with the plausible and the obvious. Comic book fans will be able to expand on this particular chapter. Sandmanthe series, however, sometimes flirts with danger, as that emphatically “emo” characterization of the King of Dreams and Nightmares, which plays Tom Sturridgewhich resembles the vampire Robert Pattinson from Twilight (but ultimately truly charismatic). However, despite a somewhat sparse initial familiarity, the visual and narrative sensibility and craftsmanship of the product soon begin to produce tangible results for the viewer.

Memorable is the fourth chapter, a kind of “independent” horror, where John Dee (David Thewlis memorials) does his thing in a restaurant. Even better is Morpheus’ encounter with one of his sisters, whose identity we don’t reveal, and the walk around London they both take while she’s at work. And also the story of the main character’s friendship with an immortal man, who adds another interesting character to an already rich gallery of them even before the ten-episode season reaches the middle. Comedy, horror, drama and even action are mixed in a rare bird that refers to forgotten titles such as Beyond the DreamVincent Ward, or series RemainsLindelof and Perrotta.

Obviously, here and there there is a struggle (from the creators of the series, from Netflix, from Gaiman himself) in the fight against the complexity of his own creation. But the result is a very different series, filled with great actors and relatively demanding for those who are looking for (legitimately) light entertainment. Good visual texture despite some mediocre digital impact, with one of the few widescreen formats actually used in a production of this type, it’s just an undeniable auction of a series deserving of success.

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