The secret of the international success of ‘The house of paper’ is a fusion of styles from your premise. Álex Pina knew how to combine the typical history of robberies, bastard child of Quentin Tarantino and Guy Ritchie, with a DNA absolutely Spanish. Your script could have been written in Hollywood if it were not that in their new chapters you can see a bull, there are homages to literary classics our as don Quixote and ‘Platero and I’ and it sounds like at some point ‘Sighs of Spain’. It is a series completely understandable for a spectator in any part of the world and at the same time has a touch of the exotic to the out –. On top of that take a pace endiablado, many drafts of the script and a handful of characters excessive, and you have the perfect formula to engage anyone to a marathon on Netflix.
All of this is still in Part 4 of ‘The house of paper’, which arrives at the platform the next April 3. More than a new season, we could say that it is the second half of the second season. The story continues where it ended, Part 3, in the robbery at the Bank of Spain and with the Resistance in an extreme situation (although this gives the same when you read it): Nairobi is on the verge of death after being shot to betrayal by the police, and the Teacher believes that Rachel Murillo, alias Lisbon, is dead (in reality he is arrested by the police). In the meantime, the band has stopped an attempt by the authorities to enter the Bank of Spain by launching a missile against a tank. It was a cliffhanger explosive (literally) to the one that follows a batch of episodes in the same style: ‘The house of paper’ becomes very difficult and extreme, but also re-committing some of the mistakes of the past.
Although we cannot go into details (Netflix wants to keep the new frames in briefcase under lock and key, as the secrets of State that has the Resistance in his power), we can move forward to this new stage of the heist will be characterized by chaos, both within the Bank and outside. The Teacher is, perhaps for the first time in the entire series, defeated and truly away from his own plan. His flight from the police while he deals with the (supposed) loss of his partner and lover that will make your control of the situation out in the air. And as we saw in the heist at the mint and stamp, their absence brings with it the anarchy among the members of the band that are within the operation.
It is here where they fall the personalities volatile of all the robbers, a resource that writers use too easily to boost the frames and put the characters to the limit. In this the queen is Tokyo, probably the character more unpredictable and less prone to the likelihood. In that sense, the character played by Ursula Corberó is a wild card that the writers, headed by Pina and Javier Gómez Santander, re-draw, as always, need to remove a bit of the game. Sometimes there is a certain aftertaste to déjà vu, if not in what happens, in the structure that has this second half of the mugging, and that reminds in some twists to the Part 2.
Another vice of Pina and his team of writers are perhaps more present than ever in this new batch of episodes: the masculinity toxic. ‘The house of paper’ has always been walked over the fine line that separates the exposure of the exaltation, especially as the machismo is concerned. In the Part 4 is still abuse of women, objectification, micromachismos and in general a lack of feminine look even when the women of the story are intended to drop proclamations feminists, who in general are hung up with tongs and they don’t want to say anything. The most uncomfortable part of the series in this sense is again in Tokyo, whose hipersexualización reminds so much to the heroines of action of past decades, which doesn’t cost to imagine it dressed up with a top of the leather that will extol the chest. On the other hand, ‘The house of paper’ is full of female characters very different from each other, although usually they are the ones that suffer the most at all times. The debate is present from the first episodes of the series and does not seem to be an obstacle for a large part of the public to enjoy without reaching or considering.
In the cast there are not many new features. The great mystery is the character of Belén Cuesta, the actress most busy of Spain who has just won his first Goya. It cost surprised to appear as a hostage of the Bank in a couple of planes at the end of Part 3, and its presence is one of the great unknowns of this new batch of episodes (and even there I can read). Najwa Nimri continues to be the best is what happens in this logconstructing a villain of comic books and blockbuster us, and at the same time humanizándose in a few moments more vulnerable; Alicia Sierra is the great strength of this stage of the series, which began in Part 3.
Aces in the sleeve
But if something has ‘house of paper’ is just making up for any complaint. Turns questionable, characters, irrational, and fill patterns are just matter little when the team composed of the directors (Jesus Colmenar, Javier Quintas, Koldo Serra and Alex Rodrigo), and Migue Amodeo, the director of photography and visual designer that ‘The house of paper’ and also ‘Vis a vis’ you must, do your magic: this is when the series becomes a show of action that many of the productions us would dream to be.
And in the script it’s not all complaints. Alex Pina and his team, that while they take detours and shortcuts they know very well where they are going, they have some great aces in the sleeve that are going to be revealing along these episodes. There is a villain that is delicious that looks like something out of a classic action ‘Predator’and turn half of the season that I ripped a scream, a laugh and a round of applause. It is clear that ‘The house of paper’ is going to be a vaccine for boredom in this quarantine, as to the coronavirus not likely to arrive soon.