Legion – Season 3 | Review


Published on Aug 28, 2019


“What we were doesn't necessarily determine what we shall be, but often is an excellent imitation.”

It was also concluded in Italy on Fox the journey of the tv series the Legion, second adaptation for tv by Noah Hawley after Fargo The Series. Speaking of “travel” in this case is more than ever spot on, as the three seasons that made up the serial taken from the Marvel comic book by Chris Claremont and Bill Sienkiewicz have been a real trip in the mind of the protagonist David Haller (Dan Stevens from applause), aka the Legion of the title, and indeed the Legion, many in one, that's what makes it incredibly powerful... and dangerous.

A mutant, rather, THE mutant for excellence, from the incredible powers of telepaths, and distortion of reality inherited from his father Charles Xavier, he is the prof. X, which in this last season is also a cameo played by Harry Lloyd (Counterpart, Game of Thrones).

Let's recap. David is a thirty-year-old schizophrenic who was admitted to a mental asylum, where he met his girlfriend, Sydney, who can not touch anyone otherwise, exchanges his soul with it, and is freed by an association that wants to protect mutants like him, who in reality are not sick but gifted. He soon discovers that a demon, Amal Farouk, was undermined in his head when his parents have abandoned him, and from there comes his “disorder”.

What Hawley does with the Legion – after re-creating the same atmosphere and types of characters in the universe Coeniano, without telling the same story of the film – is to adapt a Marvel comic book as a nobody, at the cinema or on tv, had done before (or will ever in the future, probably). Builds all so very brave, visually psychedelic, with a constant flahback-flashforward, and a mixed perennial reality and fiction, dream, fantasy, alternative reality. While watching this series, you wonder constantly “am I awake or dreaming?” and the clear desire of the narrator-author Hawley destabilize the public until the end of the story being told, even in previously to the beginning of the episode stating “probably/maybe in the previous episodes”. Hawley and associates are courageous, even in the phase of direction and editing, retrieving from the second season a little that lynchano Twin Peaks and its staged so precise as dreamlike.

In the third season, Hawley also plays with the storytelling, the most pure fairy tale, especially with the characters of Melanie (Jean Smart) and Oliver (Jemaine Clement), from a side to accommodate a child in swaddling clothes, and keep her away from the Wolf with a capital L, from one another in a “nativity” alternative and anchored to the reality (we are talking about chlamydia and where children are born). Sydney Barrett (Rachel Keller, rescued from the universe of television of Fargo) has to live a second life (and perhaps a third) in the function of to be a sort of “saviour”, the only one that will be able to go back in time to stop David once and for all from becoming what it should become.

After the amazing finale of the second season, in which David became the danger and the problem, not the solution, with Sydney and the other against him, the young mutant is hunted and is a common hippie to profess peace and, above all, prove to himself that “is a good person and worthy of love”.

The episode dedicated to introduce the parents of David is intimate, we see Charles Xavier young, always on the go and eager for knowledge, he met his wife Gabrielle (mother of David) in a mental hospital where both were admitted as patients, investigates the origins of the Legion and what would have happened if the parents had not abandoned him as a child.

Hawley gives a reinterpretation, unpublished, and original to the time travel, the new element of this third and last chapter, which arises as the cause and the solution of the problem of David and Sydney. Switch (Lauren Tsai), the new entry version of the punk girl japanese, go through a path of training which is also physical, loses the milk teeth in order to become adult and conscious at the end of the season. The time is represented as a door and a corridor, and then prove to be “an ocean, not a river”. The “journey” in the time of David on one side and Sydney on the other to put the word “end” to the journey of the audience in the mind of the protagonist. Perhaps, probably.

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