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"Catch-22", currently streaming on Hulu
Nuance, detail, feel – these elements and other hard-to-capture elements tend to go astray when translating the story of a book to the screen. When the literary work is a chronological entanglement conceived as a satire, a demonstration of the absurdity of war and the absolute madness that animates the men who fight against it and those who pursue it, it must be considered as "inadaptable".
Joseph Heller's "Catch-22" has long been regarded as such, and Mike Nichols' 1970 theatrical attempt to do so is sometimes presented as evidence. That's not quite right, given the young Alan Arkin, the selfish and selfish protagonist of the film, John Yossarian.
The six-episode version of George Clooney and Grant Heslov for Hulu does not pose the problem of cultural proximity of his film predecessor, released the same year as the award-winning film "M * A * S * H". It is with consistent feelings, the main defect of a production that overcomes if not the main challenges presented by the writing structure of Heller.
Then again, maybe that's our time. The modern viewer has assimilated the stories of that era through the HBO miniseries such as "Band of Brothers" and "The Pacific," as well as Ken Burns' documentary series about World War II, as well as fiction and non-romantic treatments. of the Vietnam War and other conflicts. All of these emphasize the bravery and self-sacrifice that drives a soldier beyond the unnecessary tragedy and surreal nature of the armed conflict.
"Catch-22", based on a very funny and dark novel whose slot has long been ensured on the compulsory reading list of a high school, aspires primarily to be as dark a comedy as possible, recalling that the war is a hell that makes absolutely no sense.
Yossarian, played here by Christopher Abbott of "Girls," asks the viewer to decide if he is a coward. Trapped in a bravery and a stiff backbone to survive, Yossarian is trapped in his fear and instinct of self-preservation.
This is the natural human reaction that a bomber faces every time he sits in the nose of a fish bowl-like airplane sent in order to drop tons of explosives at people and places that he will never see, just missing explosions. When he goes to the doctor at the base, Doc Daneeka (Heslov, who makes a good impression of the Marx brothers) and begs him to declare him mentally unfit to fight, who can blame him?
Daneeka's answer, which gives her title to the book, is really delusional. In order for a doctor to declare a man mentally unfit for combat, all that man has to do is to ask, in accordance with military rules. However, just wanting to get out of the fight means he's not crazy.
"It's a trap, this Catch-22," Yossarian says. Daneeka agrees, "It's the best!"
Through the stories of several aviators of the 256th Fictitious Squadron, stationed in the Mediterranean during the Second World War, the public is invited to some good comic performances, including Abbott, who metabolizes the panic and selfishness of his character into a charming version.
Others miss the mark completely or are not memorable enough to make a strong impression. This is a populated series of a very large cast, but unlike other war-themed miniseries that preceded it, only a few aspiring actors have the opportunity to shine here .
David Daniel Stewart, who tries every time he appears on the screen to tap dance balls to target officer Milo Minderbinder, mess officer, stands out. At the other end of the spectrum, I almost forgot about Hugh Laurie.
Part of the weakness is in the writing. Luke Davies and David Michôd retain much of the novel's memorable prose while tweaking the temporal structure to create an orderly flow to the narrative surrounding Heller's aerobatics. Where this fails, the test consists of jokes that read better than they are spoken; Major Major Lewis Pullman Major Major provides an early example of botched execution in this regard, as he must explain why his name and his very existence are a joke.
But the golden-hued images captured by cinematographer Martin Ruhe make the most of the Italian campaign in which the production takes place, creating a magnificent counterpoint to the horror and madness of the mission's slide. squadron that the defects of the series, although tangible, are also real. easily forgiven.
Clooney and Heslov each made two episodes, with Ellen Kuras at the head of the others. The influences of certain corners of Clooney's filmography can be found throughout "Catch 22", perhaps even plainly in his performance at the screw as Colonel Scheisskopf's obsessive commander of the exercises, he assures that men are essential to the war effort.
Clooney appears in "Catch-22" just enough to sell it, leaving most of the obligation to wear "Catch-22" to Abbott and Kyle Chandler, whose cruel and abusive Colonel Cathcart burns with enough quivering nastiness to make the public understand why the growing expectations it places on these men rightly lead some people to the limits of mental health.
Without Clooney stealing all the sunlight, Chandler's energetic performance deserves to be reported to the Emmy. But the lack of humor actually written and delivered in "Catch-22" makes it go from flawless flying to a very good flight. The adaptation misses some of Heller's main targets, but hits enough notes to make it a worthy endeavor.
"Fleabag", currently streaming on Amazon
If you're not aware, Phoebe Waller-Bridge's other creation of Koe Eve is at the heart of a very disappointing second season. His fans were also worried when Waller-Bridge entrusted the reins to his friend and fellow writer Emerald Fennell, who started the season well but released some of the tension of the plot at the time of opening of the new chapter.
If Waller-Bridge did not succeed in following up on her wonderful first season of "Fleabag", in which she interprets the script, she could question the importance of making two big series suffer. But this is no longer the case, given the absolutely brilliant performance of the second series of comedy, an example of sparkle dotted with brilliance.
The first season of "Fleabag" is a misleading burglary that slowly pulls the curtain to reveal that she is a nameless heroine (Waller-Bridge) offers a show intended not only to convince us of its freshness, sexual freedom and what it is above conventions, but to hide its internalized hate of self.
The Season 1 finale is not just a rebound, but an absolute change of season presented as a comedy like a psychological fall in despair.
Now, she can only be honest by using the guilt and shame that are imposed on her by others in the service of good, a turning point that gives mixed results, as we see in the scene of Opening of the second season: his bloody nose covers the lower half of his face. scarlet, and she wipes it gently with a rag. Then, at the very last moment, she addresses the camera with the smile of her fox and informs us that we are about to watch a love story.
These new episodes – and unfortunately the last of this series – transform the character's automation into a study of judgment in every sense of the word.
To sell the trick of his character, Waller-Bridge brings the central convention of his one-woman show in the direction of the series, frequently breaking the fourth wall to make the spectator his confidante and confessor. In these new episodes, this device does not protect it anymore as before. The jitter is in place, as they say.
Guilt, shame, confessor. . . these terms are used with a purpose. More than a year has passed since we spent time with this woman. She had plenty of time to make some changes, but that did not make a difference. Or does it?
Season 2 of "Fleabag" features a Catholic priest played by Andrew Scott, who is this fatal combination of dirty mouth, bachelor and sexy dead. He meets his father (Bill Paterson) and his beautiful mother-in-law (Olivia Colman) as a prelude to the arbitration of their marriage. Her sister Claire (Sian Clifford) still despises her and her irritating and glaucous pig of a brother-in-law Martin (Brett Gelman) is content to let her take responsibility for all that is wrong with her life.
Like Season 1, it's probably best not to go deeper into the details of the plot, beyond the sublime Waller-Bridge survey on the definition of love and loyalty, as well as obligations imposed by intimacy. His writing is as confident and his humor as sharp – these episodes offer us some of the funniest moments of television and can be the best of the year.
In this scenario, Waller-Bridge invites the audience to see their characters and the situations in which they are abandoned with a measure of grace and understanding that ultimately leaves us in a much more benevolent place. Even rash sinners are redeemable and worthy of mercy, she seems to tell us. And if they come to blaspheme by returning to the path of goodness, who are we, sinful friends, to refuse them forgiveness?
"Barry", the finale of the season is broadcast Sunday at 22h20. on HBO
The world will be divided into a number of factions – perhaps more than seven – with differing opinions on the success of Game of Thrones. We are already divided, right?
Instead, let this be a reminder that not all series end or end badly. "Barry" has launched an outstanding second season that should be celebrated far more than we are currently. It is also a short film easy to catch up via the HBO streaming platform. Do not remain totally inconsolable by everything that happens in Westeros on Sunday, because the world does not end. Bill Hader's agile comedy is still killing her and deserves to be preserved once the latest "Game of Thrones" credits are over.
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