True Detective 3 – Ep. 1-5 | Review preview


Published on Jan 04, 2019


In four years away from the second season (too much blow by most), HBO and Nic Pizzolatto will return to the charge with a new cycle of stories about police officers tormented to grips with the disturbing mysteries: the challenge of True Detective 3 is double, because in addition to make happy all the fans disappointed by the True Detective 2 should she be confronted necessarily with the gigantic first season directed by Cary Fukunaga, who in 2014 had bent the medium of television to riplasmarlo and make it look like as never before in the film industry.

It is interesting to see this third season in relation to the second: times have changed, the quality level of the tv is lifted up out of proportion, and if Pizzolatto, after the success of the first True Detective, he unmasked the year after eight more episodes, in the throes of a delirium of omnipotence resulted from the huge success of the dark story of Rusty Cole and Marty Hart, today in the halls HBO the expectation is high, and the legs tremble, because this third season is waiting at the gate by anyone, so much by the fans – who await the rebirth – as well as detractors – that they hope in what would be the ultimate failure.

The fear is evident in the total subtraction of that ambition look that had characterized True Detective 2 (full of events, characters, sub-plots, so full as to become at times chaotic), and the result is a return to the structure of the sources, who knows, however, essentially a remake of the first season.

The elements are all there, from the various timelines connected to the geographical place (we are in Missouri, not Louisiana, but it is the same middle class white trash that ends up under the magnifying glass of Pizzolatto), even with the situations, scenes and even clues (the doll made of straw instead of the satanic symbol in wood) that refer to the story of five years ago.

The difference, however, is that the suggestions in the philosophical of the first season – that it was spiritual in the second – here become intimate as ever, with Mahershala Ali, the one true protagonist struggling with the same character but in three different moments of his life: in 1980, when the detective Hays (Wings), with her partner Roland West (Stephen Dorff) begins to deal with the sudden disappearance of two children; in 1990, when the private idyll of Hays, now married and with children, is abruptly interrupted by the reopening of the case of disappearance; and finally, in 2015, when a Hays now aged and retired, talks to himself (and to us) the story of his way, before the Alzheimer's that ruin it for ever.

And Pizzolatto, who plays Christopher Nolan, with the memories of the 1980's and 1990's that overlap with the sequences in the present, interacting with each other in some sequences a bit jarring, given that seem to emerge from a history of ghosts) and intervallandosi with nightmares and visions that resulted from the disease that is eating the brain of the protagonist. The idea is very apt, and well suited to the decadent atmospheres of the series, but in this way, the wheel only on the character of Ali, with the other characters (including a wonderful, Scott McNairy, the best of the whole cast) are bound to roles by the actors. Not that there is anything wrong in this, but it is curious to remark for the comparison with the second season of the above, which of the protagonists had four.

Evidently, the perfect blend of the first season can't be replicated, and it is unfair to lay this burden on the shoulders of the other (past, present and possibly future) incarnations of the anthology series, which, however, always remains well above other examples of a similar kind.

The issue of True Detective 3 is not so much the comparison with the milestone in 2014, but his constant desire to want to play the same game but with different cards: to fray the narrative on three different times to tell the same character makes the performance much less compelling (there were two characters in the first season, but only two times), especially when recently there was Castle Rock, which illustrate the theme of senile dementia, with greater efficacy and even in a single episode; also storytelling, especially in the fall thunderstorms, do not stand comparison with the care shown by Mike Flanagan in Hill House, where every single step between the present and the past was justified by a detail, by a word, a gesture, while here everything seems more artificial.

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