Sometimes, when I want to live it to the limit my love to the series, I walk into the library of any platform and, it straight away too, I will choose one. I resist the temptation to immerse myself in a sea of titles that I’m unable to choose and, crazy, choose one of the proposals that appear at first glance. So I found the other day with ‘The widow’, the latest addition to Amazon Prime Video to your catalog. Almost eight hours later, I congratulated myself for having chosen something that I was interested and entertained enough, even though the series is not going to happen to the history of television.
Starring Kate Beckinsale, ‘The widow’ is a miniseries of eight episodes that tells the story of Georgia Wells. The woman referred to in the title of the production, after losing her husband in a plane crash three years ago. Since then lives isolated from humanity in a log cabin in Wales, but this does not prevent you to see the serious disturbances that occurred in Kinshasa, the capital of the Democratic republic of the Congo. And with them the return of an old feeling. Will, her husband, is not dead.
[Llega a Filmin ‘Press’, la mordaz visión británica del periodismo actual]
Driven by her conviction, Georgia turns to Martin, a friend of his family with important international connections. But he is reluctant to believe it, and she decides to set sail for the place of the facts, Kinshasa. The beginning of an adventure with many low – (and some sticks) that proposes to the viewer a drama of action-tinged thriller, and a tear. And that ends up in a telefilm desktop. Fortunately or unfortunately this happens lateand when one wants to realize the story has ended (predictable and empalagosamente).
Oenegés corrupted and coltan
In ‘The widow’ Kate Beckinsale does not leave his gifts for the action, and although Georgia is a woman who has suffered greatlywith the narrative time that goes with it, also has scenes to show off. Because under their innocent-looking, Georgia hides a past as a captain in the military forces. A facet unknown, which only emerges when circumstances so require.
And so, the creation of Harry and Jack Williams is a kind of ‘Homeland’ or ‘The infiltrator’ without the u.s. government and without psychiatric problems, but with oenegés corrupted and the tragedies inherent to the tearjerker sentimental you have more on hand. To be able to say that did not just stay on the surface of the problem background, the war of coltan, the creators spent two subframes, the two characters are congolese.
On one side is Abdidja, a girl abducted and turned into soldier-faces with coldness your new routine. On the other, the general Azikiwe, a violent man and an alcoholic who for years has been known take advantage of your profession in a country like the Democratic Republic of the Congo. Both follow very different paths, sometimes interesting, and the risk that they assume the creators is commendable. But the outcomes of both stories are too predictable.
The survivor blind
Fortunately ‘The widow’ also has time to move to Rotterdam to tell the story of Ariel. Ólafur Darri Ólafsson (‘Caught’) is in charge of embodying this icelandic who became blind after surviving a plane crash in Africa. At least that is the story that tells to Beatrix, a woman who is known in the clinic that you go to take an experimental treatment. After his appearance gentle, hides a man a coward who has decades of fleeing of his past. And he knows it.
The presence of Charles Dance in the role of Martin Benson, the friend of Georgia, it is another of the great attractions of the production which also features Alex Kingston (‘Emergency’) in the other of the main roles, that of Judith Gray. The head of Will, which is not shown too excited when Georgia tells him that he will investigate if the man who has seen it on tv it is actually her dead husband.
Trapped by these late chapters are designed precisely for this purpose, and by the speed of the platform, the viewer will come to the sixth episode animated by a story not short on surprisesbut also not topical. The ambition of some of the frames contrasts with the rough outcome that the creators have designed for them. Something that is subtracted to the charm of the production during the last hour and a half. And if the heartbreak weren’t enough, it seems that Williams burned all of his ships in the first few episodes, and throw in some manual sentimentalist (and cheat) to close the story of the sad widow.
Despite the fact that it would have been desirable in a pair of shades less in its makeup, and that maybe the tear is not your thing, Beckinsale saves the ballot in his first series as the protagonist. In part, because it is well-accompanied, and in part because Amazon and the british ITV, coproductoras of fiction, have been concerned to equip the series of context moderately credible that brings realism to the story.
‘The widow’ is the ideal choice for a heavy use and fast that it doesn’t pose too many questions about the reasons for its protagonist and, by extension, the raison d’être of the series. A fiction that does not leave too much for posterity, but not required. This series in which you stay because the only thing that you want is something to spend (literally) on the afternoon.