The dc comics series of the year, but has a big limit
Come to the end of the season (series) for Watchmen, the adaptation for television by Damon Lindelof for HBO from the comic strip of worship broadcast in Italy on Sky Atlantic, it is natural to draw conclusions, also because of the end of the decade.
Watchmen is really the series of the year, as you are reading around? And if it can't be, why? We try to answer these questions started to reverse.
First of all, kudos, in the times in which predominant are the directing, the photography and all aspects of “technical” that should be secondary in mass production, goes to the scripture and the structure of Lindelof. It was brave and at the same time a sign of great awareness and respect for the source material, the author choose to do a sequel to breaking up what there was before on the paper and bending it to its own poetics. Not only: it has also been shown to have clear the canvas on which he was painting the story, knowing exactly where he wanted to go.
In our initial review we said that “this Watchmen, he looked like The Leftovers, with the superheroes”, and in fact it is true. Not only for the parallels of the presentation of the character of Regina King, here the undisputed queen, but just for the feeling of strangeness that takes the viewer while the images scroll on the screen, between a WTF and a gasp shot scene amazing and at the same time adorably nonsense of the week (the machine that falls from the sky).
The merit, secondly, it goes to the interpreters, to the direction and to the portfolios and technicians. Among the first Jean Smart who gives us perhaps his character more honest after the Legion, other adaptation comics of the author by Noah Hawley. But also Jeremy Irons for having so well expressed all the delusions of narcissism and self-promotion of Adrian Veidt. The shots and direction are able to create a new iconology for a sacred monster, a pillar of the comics, as was Watchmen by Gibbons and Moore. In the masks that lead, paradoxically, the police after the White Night, in the pills of Nostalgia, the drug part of an appendix of Veidt in the comic, and here the protagonists, the focus of intense sixth episode.
The value of the serial is also be able to mix cleverly the themes of the comics – the fear of war, the concept of superman so dear to the americans, the racism, with those dear to the author, the dichotomy between “faith and science” since the days of Lost and the question of the ancestral of the birth of man. The issue of race here, however, is predominant and is reminiscent of what was done by Jordan Peele in his new The Twilight Zone.
For Lindelof, science and faith are two sides of the coin of our life, and, paradoxically, does not exclude the other. Who is God and what is his role? And who is the Man, is at the center of the universe as he wanted to the Renaissance, or is a higher entity to control every thing?
In the court, this serial creates a “precedent” on how you should adapt any type of original work – book, comics, film. In his definition of a sequel, however, is the only real limit of Watchmen on HBO.
Because if the average viewer who has never read the comic or seen the movie, want to approach this adaptation with a great effort, with a displacement not satisfying, because of the need of a manual and this is a deterrent, because it reduces the recipients of the serial in a very precise circle of the target. In his favor, however, has a structure so serialized, that forces the viewer to fidelizzarsi and to come back the next week to try to understand the incomprehensible. The final acts as the right from “summary-spiegone” for those who had never read/seen anything previously.
So maybe Watchmen is not the series of the year – should be able to get there at all, like the Lost and The Leftovers, but surely it is the adaptation of the year.
The dc comics series of the year, but has a big limit is MangaForever.net