Home / Innovative / Netflix ‘The Eddy is a trip to Paris not to be missed – with a bad detour

Netflix ‘The Eddy is a trip to Paris not to be missed – with a bad detour



The most exciting thing The vortex is that it’s already over. Netflix’s latest bingeable show is a limited series, an eight-episode series about a jazz club in Paris. Produced by the Oscar winner La La Land and First man Director Damien Chazelle (director of the first two episodes) and written by the well-known playwright Jack Thorne, The EddYou have the feeling that it really brings something new to it lots Original series that the streaming giant has been cultivating lately, and it’s one of the most visually rewarding shows in your queue this year.

The series follows Elliot (André Holland, great), who tries to keep his jazz club The Eddy afloat in a particularly bad time. His house band is about to sign, but bad luck is always in the way. His daughter Julie (Amandla Stenberg) now lives with him after a bad time with her mother in the USA and she plays out. There is a famous producer who is interested in his band, but he is fleeting and the band needs some work. And then his partner Farid (Tahar Rahim) is murdered.

The last bit is easily the worst The vortex. The show follows this murder conspiracy in its entirety and transfers a half-hearted crime drama to an excellent European meeting point. Everything the series needs of a shocking death – a way to explore grief and fuel for character explosions – could possibly be accomplished by replacing Farid’s murder with another type of unexpected death. The fact that it is so fully committed to this plot is astounding, since many scenes of police officers and serious people and threatening phone calls only roughly confuse what is otherwise extremely good.

Sometimes when writing on television you have to be careful not to criticize a series for not being what you want, but what it is. The vortex Sincerely, it seems to be a meandering story that is mostly about nothing, just hard-boiled music lovers who feel things and make self-destructive decisions on a small scale. Why spend an episode with the bassist who suffers a day as the third wheel between his former love and her new boyfriend? Or another about the struggle of a singer with her self-esteem, caught between two men who want to use their talents to advance their careers and a mother who has never heard the word “limits” in her life? Why film Paris so unromantic, with a wonderful, lived feeling, with characters that flow from English to French to Arabic? Why work so hard to combine these tiny dramas with such fantastic music?

And yes, in line with Damien Chazelle projects like Whiplash and La La Land, The vortex is incredibly good at visually conveying what it feels like to play music: being in it and doing it right away. When directing the first two episodes, Chazelle sets a standard for it that is not all consistently taken consistently – you will find that later episodes recall his frenetic energy a little – but everyone understands which music means to these characters and work hard to make sure you do too.

About everything, The vortex is a show to experience. It’s a shame that gross crime feels like it’s from a completely different show – one that you want to shock and move from one episode to the next instead of trusting that you just flow there with the current. But it’s a small price for wonderful, structured television.


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