We face the final stretch of one of the few Spanish series with which those in charge have really shown that they understand what it means to offer the public an entertainment of the seventh art: The Money Heist (Álex Pina, since 2017), a classic but unpredictable robber thriller that has delighted the entire world through the Netflix platform.
And one, on the one hand, cannot help but feel a certain sadness that it does not continue and that say goodbye to such a good job and the characters protagonists, from Professor (Álvaro Morte), Tokio (Úrsula Corberó) or Raquel Murillo (Itziar Ituño) to inspectors Alicia Sierra (Najwa Nimri) and Ángel Rubio (Fernando Soto) or Colonel Luis Tamayo (Fernando Cayo).
But, on the other hand, he understands perfectly that it is better that a television fiction ends at a good time; and not that it lengthens and runs the risk of falling into decline. Like the beloved The X-Files (Chris Carter, since 1993), once glorious, our poor thing.
The most dangerous stage of ‘La casa de papel’
We already talked about the first two episodes that we could see a few days ago of the first volume of its fifth season on Netflix. We said that they reintroduce us to the tension and dynamics of La casa de papel with promptness and alertness; that there is some precipitation at the beginning with some imposture that disappears later, that the known structure returns with flashbacks to add context, strong, eloquent conversations and elaborate compositions; and that, despite all this, we find a less introspection than usual to throw ourselves into the sack for the development of the intrigue.
Then we have exemplary opening sequences like those of “The spectacle of life” (5×03) and the vivid montage always; with a varied visual apparatus, close-ups that demand his from the actors and juicy parallels; the unforeseen plot twists and intense emotions that he promised and delivers, and some final fireworks of ordago. Chapó for the work of Álex Pina and his team.
Viewers know very well that tricky situations are the norm in La casa de papel, but in this batch of closing episodes compromise and dangerousness go up a few points. And, as if an approach to its specific genre is not enough, the second in the last three seasons, now they give us another one, less difficult and with a greater dramatic lightness, similar to that of the films of the Ocean’s saga. (Steven Soderbergh, Gary Ross, 2001-2018).
The virtue of the unpredictable
The main narrative thread of this Netflix series does not allow us a breath; between clever tricks, swerving, and overwhelming action with his pounding salad of shots. And it is an achievement that the cast that wields the entire weapon is so credible to us in the ability for these tasks; and we must recognize it without resisting because we cannot suggest that it is the usual thing in Spanish cinema.
We hear again the obvious echoes of the powerful soundtrack that Tom Holkenborg or Junkie XL composed for Mad Max: Fury Road (George Miller, 2015) at the at times magnificent but invariably timely by Iván Martínez Lacámara and Manel Santisteban (El embarcadero), but no longer those of Hans Zimmer’s beautiful score for Interstellar (Christopher Nolan, 2014) in the third season.
And if Álex Pina and his companions can be proud of having managed to get La casa de papel revealed from the beginning as one of the most unpredictable series, not only from Netflix, but from any current platform, the great climax of the chapter “Living many lives” (5×05) is not expected by the most savage moviegoer, nor is it so creepy. So tell me: is there a long way to go before the last five episodes are released?