Amazon Prime premiered a series about Diego’s life that aims to move, but does not do so because it has so many clichés (and so over-acted) that it takes you away from the life of Ten.
Let’s start from a base: Diego Maradona exceeds fiction. That said, narrating it with dramatic licenses, no matter how plausible you want to do, will be a problem. Nobody wants to see Maradona performances, we want to see Maradona. Nobody wants to be narrated to Diego, we want Diego to narrate to us. Therefore, from here we have a huge drawback: we do not need this series. And less, just a year after his death.
Maradona, Blessed dream This biopic is called produced by BTF Media, Dhana Media and Raze and distributed by Amazon. The Córdoba-born Alejandro Aimetta is the director, screenwriter (Guillermo Salmerón and Silvia Olschansky also wrote) and showrunner of this bioserie that required about five years of production. It stars “four Maradonas”, Juan Cruz Romero, as a child, Nicolás Goldsmichdt as a teenager, Casero’s son as a young Diego and Juan Palomino as an adult Diego. In addition, the cast includes Leonardo Sbaraglia as an adult Cóppola, Jean Pierre Noher, as an old Cóppola, Mercedes Morán as a younger Doña Tota, Pepe Monje as an adult Don Diego, Rita Cortese as a grown-up Doña Tota, Clausio Rissi as a grown-up Don Diego , Laura Esquivel as young Claudia, Julieta Cardinali as adult Claudia and Peter Lanzani as Jorge Cyterszpiller. Three more names related to their coaches: Fernán Mirás is Francis Cornejo, Marcelo Mazzarello as Carlos Bilardo and Darío Grandinetti as César Menotti. The first season consists of ten episodes, the first five are already available, and there will be one more season with another ten more.
That we name the majority of the acting staff is merely to underline the effect of the characterizations. It was clear that the characters were as similar as possible to the real ones, as we know them. From the appearance, through the idioms. It is partly achieved in some (Rita Cortese, Peter Lanzani, Jean Pierre Noher) and poorly resolved in others (Mercedes Morán, Pepe Monje, Darío Grandinetti). In these cases, it seemed that the appearance was intended to mitigate a null acting direction and a poor script. If we say “hey, it’s the same”, we half forget what he is saying because we are witnessing an imitation rather than a composition. Diego’s life was a tragedy, this is undoubtedly a farce.
It is not that we are pure and that the figure of D10S is pristine, untouchable and immaculate. An endless work of all kinds revolves around his life. Precisely, the popular: Diego was a pagan God, of clay, of the miseries in sight. Recreating your life is not bad. But you can not be so berreta (?). Let’s take actresses and actors aside, let’s take the setting aside. Minimally, the figure of the idol has to be supported by a solid plot: popular does not mean lack of rigor, it does not mean “I give them what they want.” By fun train, it is not underestimated. We say this because there are errors that are really inexplicable.
We all know that Diego was born in 1960. For some reason that we do not know, in the series we are told that Perón died when 10 was 9 years old, that is, in 1969. Half a stack, bro. Even the deputy Fernando Iglesias knows that Perón died in 1974. Precisely, speaking Perón, we did not know that Maradona was born in a more Peronist house than that of the Cafiero. In fact, Don Diego, as we always knew, was more sympathetic to radicalism. We also did not know that a soldier in 1976 was managing Argentinos Juniors: the arrival of Suárez Mason to the Bug occurs two years later. Beyond the fictional licenses that there may be, at a certain moment Diego and his father are made to get off a bus, and when everything seems to indicate that they are going to arrest them and go to a clandestine center, Maradona plays a little game and they are saved (? ). No, the soldiers weren’t that good.
Another curious fact: in a game, while Cornejo talks to Suárez Mason (Cornejo did not go to the First Division games), before Diego’s debut, “olé, olé, olé, Diego Diego” is heard in the stands. That is to say, in 1976 something was sung that Napoli invented the following decade. There are countless errors, there are even textual ones, since in a plate counting Diego’s facts we learn that the verb “would convert” exists. Apparently, according to the series, the final of the ’79 Youth World Cup in Japan beat the USSR yes, but not 3-1 (as it happened) but 2-0. They forgot that Diego himself had scored the third goal of that game!
Then there are script flaws riddled with ridiculous anachronisms. Supposedly in one of his first games Diego had made a play quite similar to the second goal against the English, but it was stuck to the post. This actually happened in a game against England at Wembley in 1980. But in the series Diego looks bad. Then he stays practicing that play after the game and together with Cyterszpiller they have a ridiculous dialogue with phrases like “ehhh you don’t want to make one with your hand too” (?). Beyond this, the transfers of the person who plays Diego are mostly with the right. Perhaps it was not known that Diego was left-handed. Dalma Maradona had warned about this, but “they were revived late and had to be edited by changing the focus.” In a match with Boca, Diego being a ball-catcher, he fights with Gatti and from the stands they shout “you’re going to screw him up with goals”, alluding to the afternoon he scored four. But hey, let’s say they are anachronistic winks for fun. The unusual thing is that the plot tension is based on errors and even current colloquial language is used in the 70s.
The series aims to move. He doesn’t do it because the clichés are so cool and so over-acting that they take you away from Maradona. Beyond this, we know so much about Diego’s life that at this point we just want to find out more about the details of his greatness than what we know too well. There is a whole great documentary work with Diego Maradona making himself to turn to when we miss him. If you novel it and screw it up, imagine the monstrosity you have left.
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