The Eddy, the miniseries Netflix Damien Chazelle | Review


Published on May 08, 2020


A necessary preamble: The Eddy is not a tv series for everyone. Brings the author's cinema and the music of Damien Chazelle on tv, and even streaming on Netflix from may 8, mixing jazz and Paris multicultural today, turning then to a specific audience niche.

Chazelle uses more than two hours (almost a movie) to show the beginning of the plot, forgetting to be on tv, and brings his idea of jazz and music in general from Whiplash and The Land in this work, the show, which he produced and which he only directed the first two episodes, focusing often on the room hand in order to follow the protagonists in the lanes parisians more hidden, as it were, in a musical documentary (he does the same with the actors when they sing on stage, if we were in the Song to Song of Malick, even if here the voiceover and lip-coincide).

The Paris that we see is not the magic of Midnight in Paris Allen, but that “dirty” and “earthly” of the multicultural neighborhoods, effectively represented by the mixture of languages – French, English, Arabic – mixed with each other without solution of continuity.

A miniseries that is do to the spectator a voyage in the “alleys of the jazz”, but this kind of music keeps the “structure” that the essence, the improvisation that the heart, not allowing it to arrive with a passion also for those who are not accustomed to the genre. The Eddy mixes, however, where moments musical moments recited, without (s)fall in the musical, which here would have been wrong in place.

To write the mini-series Jack Thorne, already behind the adaptation of His Dark Materials for HBO: if there had been trumped by the identity general, here we focus on the authorial and music. An exercise of style more than the need to tell a story, which is also the vehicle of a message, or a range of messages. Does not prevail, not even the visual appeal and emotional impact of Tales from the Loop, but we are faced with a complex layered intentions in which no one emerges with respect to the other and in which a mist surrounds everything and it is difficult to diradarla.

Lacking a plot of the fund accurately, with some drifts as the mystery that turn out to have little appeal. Everything revolves around a jazz club in paris, the Eddy of the title, co-managed by a star of jazz in new york moved to Paris, Elliot Udo (André Holland). He, like all the other characters, he has his demons, both internal and external, and will have to deal with them thanks to the arrival of the teenage daughter Julie (Amandla Stenberg), and the risk of losing the local. An orchestra of characters put into the walk, Thorne, and Chazelle, but in which no one is able to really get to the heart of the spectator. A few well-known names involved (remember, even a recovered Melissa George, and the singer-songwriter/French actor Benjamin Biolay).

There is fluidity between the various souls of the series – fiction, music, authorship – that seems to have failed to find a balance of coexistence. The result is then fine, but it lacks the features such as to reach a public, less-demanding and more serialized, even if we are in a “long movie 8 episodes”.

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