HBO cycle: "& nbsp; Show me a hero & nbsp;", a space odyssey
Synopsis: In the suburbs of New York, far from the skyline and tourists, a terrible thunderstorm rumbles. We are in Yonkers, the small suburban town hit by a court decision dividing the town and taking it by the throat. Under pain of building social housing in a very tenuous time, it will have to pay a fine completing its accounts and its future. It is in this feverish context that the young Nick Wasiscko, (Oscar Isaac) mustache in the wind, becomes mayor even at the age of thirty. & Nbsp;
The criticism of the series exists, it is even very thorough and catchy on the MagduCiné even so it makes sense to carve in the rock to reveal the work of other assets.
An odyssey of space in urban territory and spaces that everyone accepts to leave without feeling threatened. This is the strength of such a subject, which is first of all to give meaning to political action, in a climate of crisis of institutions and their questioning, in many Western democracies. 2015 is both far and very close to seeing or seeing a very ambitious series in its intentions. Whether in the number of characters, their interactions, up to the technical angle of certain aftershocks, realism is pushed very far to reproduce with real sincerity the power relationships within a small town hall. Yonkers knew 200,000 inhabitants in 2010, it is consequent for a French city but derisory on the scale of the United States and yet: from the first episode, the scenes within the municipal council strike by the violence of the relations between the population and their city council. One would think oneself at war, one could believe in an imminent invasion, but not: if all are crumpled so violently, it is on one side for fear of seeing the construction of social housing distort their daily lives, on the other by willingness to act in common sense and respect for a terribly debilitating court decision.
The heroes therefore hide to mature: Nick Wasicko at the head of the gondola, all have in mind this city project. From the bourgeois activist opposed to the respect of the decision of justice to the underprivileged classes, all the humanities are represented with a concern of very meticulous accuracy. The fan of David Simon will recognize himself there, after The wire and the corner, marked with the same seal, but the sorrowful spirits will have our ears when they reproach the device for representing social inequalities in a slightly too frontal way. Yes, the Yonkers affair is a good subject, but it is not the right fuel to keep a spectator in suspense for several seasons, at the risk of serving him so badly. Because to understand it correctly, you have to accept for 6 episodes to see notions of geography, sociology and city politics take shape in long lines and detailed scenes systematically refusing any form of facility, and therefore of action.
Getting into the holy of holies, the political mysteries, the little arrangements can be as attractive as it is put off. But behind every big decision and every big speech hides highly sibylline approaches which are led to remain in the shadows. This was the meaning of Spielberg's Lincoln, it was also the approach of Show me a hero. The risk is measured, over 6 episodes, of failing to walk and of not attracting to oneself the eyes which can dive into it. However, in a context where action in the cinema and in series eats more and more space, where sometimes great filmmakers and scriptwriters have to put on their scripts the pants of police films, superheroes or any other that will do the trick to attract attention, it is clear that the courage of David Simon to continue to create such strong universes by refusing any form of facility.
The interest is at once cinematographic, narrative and social: a series can work, if given the time, to make accessible and exciting the long litanies of public senate or the parliamentary channel. In these hemicycles, no superheroes, whatever their political backgrounds or ideologies, but technicians, headaches and places that few people would accept so easily, in the end. Because if the path of the character played by Catherine Keener, from the fierce opponent of social housing, almost racist, to the devoted humanist, may seem difficult to accept, it is this path that creates the series that others can take, all or part. It's a way like any other to rise, literally, and to awaken. Saying today that the series should not forget these ambitions can be cold in the back, so we will thank these heroes for showing up once and for all.
Old master of the provincial cinephilia, I am a pro of crastination, to which only the urge to write still resists. Film critics are served, before scenarios, stories and this famous sequel to the Lord of the Rings that I plan to release in 25 years. So yes, it is long, but I would like to see you there writing in Elvish.