The Deuce – Season 3 | Review


Published on Nov 05, 2019


With the third season ends with the ride of The Deuce – the way of The porn, the HBO series with James Franco (in the double role of the twins Vincent and Frankie Martin) and Maggie Gyllenhaal (Eileen “Candy” Merrell, a former prostitute now fully emancipatasi as pornografa), both involved also as producers. In this last season, the world of the fact of easy money and sex is sadly sgretolandosi, leaving the characters at the mercy of themselves, stop to reflect on their place in the world as people.

The Deuce 3 brings us fully in the years ’80, with the main characters now at the height of their “career”: Vincent (James Franco) is now a landmark in the “team” of mafia member Rudy Pipilo (Michael Rispoli), and it continues wonderfully to manage bars and clubs (despite the problems with Abby, played by Margarita Levieva) as well as Paul (Chris Coy), while Bobby (Chris Bauer) continue to manage the brothel and Frankie (James Franco) it is divided between films porn and a dangerous new round of drugs. Eileen (Maggie Gyllenhaal) is now fully recognized in the world of pornography-and national, of which Lori (Emily Meade) is an undisputed star.

And while affairs seem to be progressing swimmingly, the spread of HIV, some of the manifestations of the feminine and the willingness of the police to clean up the city (where Chris Alston, played by Lawrence Gilliard Jr, plays a main role) realised all the characters in a downward spiral, transporting everyone in the whirlwind of their existential problems, and destroying the “golden world” costruitosi, as we have seen in previous seasons, starting from the core to the mafia, Rudy.

More that their activities and the evolution of the entire “system”, at the centre of this last season (and could not, indeed, be otherwise, we find the characters, (all struggling, more or less, with the increasing spread of HIV), despite only a few have been properly “depth” to the final. Over all then, there are the three women-Eileen, Lori and Abby, each in search of herself, and, that, episode after episode, they can be defined in a path, both positive and negative, surrounded by the drama.

Eileen, to grips, finally, with a relationship “serious”, will try to make a film feminist of all the effects, also thanks to the encounter with the girls, the activists, of which Abby is a part; Lori, now recognizable as a porn star, tries desperately to step out of the role as a prostitute in which, too soon, is the entrance and which is likely to compromise his identity forever, even off the set, after having laboriously freed previously from the control of the C. C.; Abby instead, because of the crisis with Vincent, reflect on his place in the world after being sucked, for the enthusiasm of youth, from the “vitality” of New York.

To hold together the ranks of this great group of characters, Vincent, who remains in the middle between the evolution (tragic or not) of the women previously mentioned, and return the cyclic to the point of departure is typical of many other characters. That Vincent is an order from “the guardian melancholic” (fully fitting with the spirit with which he has always held the profession of a barista, immersed in the stories and in the outbursts of its customers) of the world the new York years ’70-’80 that should be disintegrating, a role emphasized by the fate of the twin Frankie, who finished his ride is not feeling the effects (and reflection) that brings the change.

As a whole, the third season of The Deuce closes perfectly the epic tragic that the creators David Simon and George Pelecanos have narrated from the first episode of the series, leaving an aura of “legendary” around to the historical period presented, full of adrenaline, the vitality, the exuberance of youth and at the same time humanity, which stands out thanks to the dramatic and psychological (that surrounds the life of common men) in which the characters were wrapped up in these last episodes,after being deceived by a dream of the golden eternity, doomed inevitably to fade.

05Alla the end of the feast, we can only do our compliments to the entire cast for having given life to problematic characters “transported” from the real life in the small screen and, especially, James Franco, able to split herself in the role of the twins Martino (thanks to a technical realization of the divine) raising considerably the level of the entire series, even more of the excellent Maggie Gyllenhaal.

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