Raquel Carneiro
access_time August 12, 2016, 9:41 a.m.
in his career of little more than twenty years, Baz Luhrmann sum only five feature films. The modest number was enough to leave your purpurinada mark in cinema, with titles like Romeo + Juliet (1996), Moulin Rouge: Love in Red (2001) and the latest, The Great Gatsby (2013). Now, the Australian filmmaker put with hand care in glitter little pot to tell the little-known history of the movement that would lead to the billionaire’s hip-hop market.
The Get Down arrives at the catalog of Netflix on Friday wrapped in a lot of expectations and news of a troubled frame. So much so that only six episodes of the first season were released to fulfill the promise of the release date – six others were for an even indefinite day of 2017. showrunner change, rewritten script and production delays led Luhrmann to leave the post of “Uncle series “to work hard and monitor everything closely. In total, the rights and wrongs cost 120 million dollars, making the attraction the most expensive ever made by Netflix
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the result is at least interesting in parts, innovative – in others, chaotic. The Luhrmann style is seen sparingly, except for the first 90-minute episode directed by him, the more stylized. For those who expect a Moulin Rouge rap, best to lower expectations. The work at most flirts with the urban charm of Romeo + Juliet and remember some cult clip of Beyoncé. The singing is reserved for moments of banter between teenagers at parties, on the stage of a church and when the protagonist, Ezekiel (Justice Smith), recites poems with his beautiful lilting voice.
The boy lives in the neighborhood Bronx, New York in 1977, and write rhymes about their reality, with dramas ranging from parental pain of loss, both shot, to his great passion for Mylene (Herizen Guardiola), a young singer daughter of a minister (Giancarlo Esposito). She, in turn, dreams of leaving the religious stage to master the slopes disco music , the pace of time.
Dubbed the “Books” by friends, Ezekiel exits cocoon when he meets the Shaolin Fantastic graffiti artist (Shameik Moore) and DJ Grandmaster Flash (Mamoudou Athie) that present the universe of dubbed parties you to “Get Down”, where disco and rap begin to merge to create something new. Lack of access to instruments and try to represent an everyday with little appeal for the record, young people create a new art form with limitations but also with freedom, mixing different sounds from existing albums and singing verses loose on top. The group’s friendship and the search for new lives, which would be possible only with the music, is leading the first part of the attraction.
Among the innovations of the series, is the casting, composed mostly by faces little known, divided between blacks and Latinos, one made in discussions of times about the lack of diversity on TV and American cinema. The trail is signed by rapper Nas, who can thrill or fun, depending on the moment. Behind the attraction also is the true Grandmaster Flash, portrayed in the program as a mentor of the new group, function he also plays in the background.
While the music production and good actors squander rhythm, the script and direction are lacking. The pilot episode suffers from long moments of boredom and does not excite the viewer to stay on the journey of history. The next chapter takes on a more direct climate, but still worth it to support the plot, which only meshes with the fine print of the third episode. The ills of the time and the constant violence of the neighborhood are brushstrokes by filmmaker who prefers to polish the musical formation of the group and their creativity. hip-hop luck element of the series that benefits from purpurinado radius of Baz Luhrmann.
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