Forget the history books, because there is one of the Netflix news for October The revolution, a series that will take the viewer by the hand to show him the intrigues and the reality of the events that lie behind one of the momentous events in the history of humanity: French Revolution. A series in which it is perhaps incorrect to talk about uchrony, since it does not pretend to present us with a fantastic deviation from the real course of history, but rather to pretend to reveal a truth that nobody has ever told.
A truth that 1789 with supernatural overtones and, at times, horror., where a very respectable action item all too often sacrifices the thematic depth of this momentous event. Aurélien Molas and François Lardenois, creator and producer of the series respectively, have reiterated repeatedly that only Netflix could have embarked on such an undertaking. Let’s see if it was worth it.
If you think you are witnessing serious social scenes that delve into the depths of that desperation and desire for redemption that led the French people to rebel against the aristocracy and the monarchy, then you must know that you are in the wrong place. The revolution In fact, it tries to bear witness to a truth that you will never read in school textbooks. or in essays by the most enlightened scholars. This is because the cornerstone of the new Netflix series, available from October 16, is to decline the beginning of the end of the aristocracy of France. in a supernatural key. The protagonist of the series is Jose Guillotin (Amir El Kacem), future inventor of the guillotine, orphan who grew up with a passion for medicine and an initiative that led him not only to practice the medical profession, but also to be a luminary, coming to conceive and experience “heresies” such as organ transplants .
The brutal murder of a commoner, whose body is destroyed, torn by mysterious bites, unleashes terror, but also Joseph’s curiosity. In fact it will the beginning of the discovery of a disease that threatens to invade the nation, but that you will find a more political contextualization throughout the series. Over the years, “blue blood” will become the expression used to connote the noble lineage, but you will find in The revolution its origin is obscure, because that is the name of the “disease” that threatens the integrity of the French people so much, due to the color of blood that identifies it.
An intriguing and at the same time very risky concept, which sacrifices that thematic depth and that choral narrative worthy of the best Victor Hugo novels. And sadly this is inevitable, since La Révolution completely erodes the foundations of the socio-economic-political dynamics underlying the Revolution. Or, rather, it tries to justify them through the conspiratorial element of a supernatural mold, flattening historical reality and sacrificing it to the spectacle.
A shame because more careful attention to these problems in the script phase would allow Molas to create a work that would come so close to the density of Kingdom, to cite another Netflix production that perfectly combines social and political dynamics with horror and action.
Absolutism and zombies
As we said earlier, it would be wrong to define The revolution a uchronic series. The story doesn’t change, but your perception changes. From the first scene, set in 1789 in a desolate and desolate context, we meet Madeleine (Amélia Lacquemant), a young woman who will soon reveal to us what really led to that epilogue, making us experience the contrast between an exhausted population contemplating a revolt and a nobility that is willing to do anything to maintain power, but is not exempt from internal conflicts. As spectators we will in fact continue the deeds of the family of the Count of Montargis (Pierre Aussedat), mysteriously absent, whose brother Charles (Laurent Lucas) occupies the place, who plots in the shadows but also has to deal with the curse of a crippled son, Donatien (Julien Frison).
In this context, the figures of Medeleine herself move, whom we discover as the count’s daughter, suffering from strange and disturbing visions, and of Iselise (Marilou Aussilloux), older sister with a burning love wound on her back; two unconventional figures who will act as a bridge between the ubris of the aristocracy and the people’s hunger for freedom. A hunger countered by the most concrete of noble blood who, in a perverse gesture, seek to obtain immortality by infecting themselves with the disease that José is investigating, which leads to uncontrollable cannibalism.
The undead of The revolution However, they are not the same as those that series such as The Walking Dead or the same Kingdom. They are true bloodthirsty ghosts, who maintain their intellect, despite the uncontrollable hunger for human flesh, and benefit from it in strength and physical strength. A real challenge for the population, who see the beheading of the aristocrats as the only lifeline, and we certainly do not struggle to understand the role that Guillotin will have in solving this ancient problem.
Unfortunately The revolution it’s a great missed opportunity, because does not make the most of his writing potential, too often opting for the action element at the expense of greater depth for the main and supporting characters. An oscillating rhythm also affected by flashes of melodrama.
What did he say it is commendable the work done in the staging (The fact of having used Versailles as a location is also worth it), with a direction that intelligently and creatively exploits that action that so penalizes narration, contingenting situations at a spatial level and allowing itself to experiment with photography and successful choreography editing. pressing. The reconstruction of France at the end of the 18th century is excellent and the cast gives good evidence of themselves, despite the aforementioned limitations, with a Julien Frison dominating the scene with his Donatien a bit over the top, but still successful.
The eight episodes of this first season, however, are only the beginning of what will later lead to the real Revolution, which we got a taste of in the prologue of the first episode. The end is indeed more than open and he desperately needs the success of this show to follow up on Joseph’s story and the most difficult moments of the final chapter. La Révolution is able to satisfy the appetite of lovers of action, gore and splatter, who are in the right place, without expecting too much from its characters.
If, on the contrary, what you are looking for is a series in a historical style, staging the events that we all know, with a comprehensive analysis of the reality that led to the conquest of freedom by the French people, then you should first take a look. look at the trailer e decide whether or not to be carried away by the imagination of the authors or sail to other coasts.