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Someone Has To Die, from Netflix, Proves That A Handful Of Good Actors Are Nothing Without A Good Story

Someone Has To Die, from Netflix, Proves That A Handful Of Good Actors Are Nothing Without A Good Story

  • Someone has to die , Netflix's Spanish miniseries with a flashy cast, shows that it is better to take care of stories than to resort to genre and fashion stars.
  • The 25 best-rated Netflix series by critics.

Someone has to die , from Netflix, is the latest symptom of one of the great problems of the platform in particular and of cinema and television in general: taking care of the packaging more than the product, the container than the content. And it is not surprising that the same thing happened with this miniseries if we consider what happened with another of his recent Spanish titles.

Do you remember Memories of Idhún ? If not, it is because the company gave up promoting it a lot. And if so, it probably is because of the controversy that executives wanted to tiptoe over. The marketing campaign of the animated series faced an obstacle when it became known that the voice actors, some well-known for other productions of the platform, and for their pull on social networks, were not the ones who had been selected with supervision. of the author.

What was hiding behind this? That Netflix had preferred to lower the quality level to sell better and reach more people. The oldest story in the world now repeats itself with Someone Must Die, a cast in perfect balance between professionalism and influence, but which is totally wasted.

It was last November when we learned that Manolo Caro, creator of the Mexican series La casa de las flores , had taken control of a Spanish miniseries with elements from both cultures. And with a dazzling casting. Carmen Maura, Ernesto Alterio, Mariola Fuentes, Cecilia Suárez ( The House of Flowers ) , Carlos Cuevas ( Merlí ) , Ester Expósito ( Elite ) and Alejandro Speitzer ( Dark Desire ) would be the protagonists of this story set in postwar Spain .

The result, even so, has not lived up to the expectations of such good and popular actors. Someone has to die narrates the return of Gabino (Speitzer) , who returns from Mexico to Madrid in 1954, home. He is the son of a Spanish man and a Mexican woman, Gregorio (Alterio) and Mina (Suárez), grandson of Mrs. Amparo (Maura), and has lived across the Atlantic for 10 years, since the death of his grandfather in an accident.

Someone has to die, on Netflix

The return, however, will be complicated from the first moment. Not only because of the company of Lázaro, his dancer friend, with whom everyone thinks he has something more, but also because of the fact that his father wants to marry him to Cayetana (Expósito) , the sister of his childhood friend, Alonso (Cuevas), only for business reasons.

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The Someone has to die of the title will end up being fulfilled, as you imagine . In this three-episode miniseries, Netflix brings together some of its hit genres: the period melodrama of rich families (which works very well in Latin America) and the thriller of tension and intrigue here with echoes of Carlos Saura and the Spanish Civil War. The truth is that the idea is not bad, because it also approaches the political conflict of that decade with an original point that we have never seen: that of the gay experience and repression during the Franco regime.

Manolo Caro uses a very conventional formula at times to advance what can be told. But the how is disappointing. The quality in aesthetic aspects such as the setting or the music do not manage to alleviate that feeling that the script, the dialogues and the actors do not finish working . The characters are clichés with very few nuances and folds, whose intentions are marked from the beginning, and the direction of the interpreters is proven unsuccessful.

The stars do what they can with what little they have, and not even a veteran protagonist like Maura stands out. What it narrates is very interesting, the costumes and sets are very beautiful and many followers on the social profiles of its actors , but Caro is unable to raise the starting material or to get us to be minimally interested in this indentation.

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