Perhaps there are better series than The Wire , but I do not believe it. The realization of something even more intelligent, realistic and refined it seems to me to be simply impossible. Apparently this work is not much different from dozens of other titles devoted to the life of police officers and criminals, but - according to the saying "The devil is in the details" - in its deeper layer has to offer so much more. First, because it's not cops and criminals are really the main characters, but the city of Baltimore, in which the action takes place (and therefore these figures are among the many I scroll through the series.) Secondly, because the species is the starting point, a means and not an end in itself. The Wire is the equally criminal as moral, satirical, and sometimes philosophical. For highly innovative, and probably for many more years will see a worthy successor. What is very telling, by the influential writings (with the famous TIME in charge) the show was recognized as the best production in the history of television, but at the time of its issue did not receive recognition on the part of a wider audience. Critics went wild with joy, appointing The Wire today's equivalent of the achievements of Dickens and Dostoyevsky, and sometimes execution of his subsequent visits often became a question mark. The complicated narrative, anti-showy and moving a number of socio-political topics, he could not count on the goodwill of gray citizen. What definitely did not care about its main creator, David Simon . Bluntly put it, the following words: "Fuck the average spectator."
The Wire was aptly billed as a series of anti-police, where a clear distinction between good and evil has been replaced continuous, a truly Sisyphean, the struggle of individual units and subsequent institutions - regardless of which side of the barricade, the figure would have stood. Total has 60 episodes, which are divided into five seasons - each capable of not only the previous threads, but taking it further topics to finally reach gargantuan proportions indeed. Learning in this way almost the whole city. What I mentioned in the introduction, no person can really be called here the main character. But that does not mean that other units are regarded by some authors as puppets. We have constantly expanded gallery of well-structured form and in the case of some of these authors allow viewers an accurate insight into their psyche. Thus, we are nothing close to good friends or family members. Their fate is to appear in the first plan, it is relegated to second or even further. And so it goes. This rotation never stops, although it should be noted that the show is "someone like the main character." It is the officious Detective McNulty, who is famous for disloyalty towards their superiors and to train the great exponents of alcohol and sex. Therefore, which makes it "something of the main character is the fact that in most episodes appear on the set of the first more often than others. At least for the time. What is striking in the first season, is a specific approach to portraying life law enforcement officers, criminals and people with whom they are dealing. Working as a policeman, lawyer or a thief is a style, or even philosophy of life. All according to the saying "You are what you are doing." Getting to know the characters personal lives, we see situations from their profession are not related in order to see how this translates directly into their work (and vice versa). This is not anything revealing, but probably never before been seen that so reliably.
driven by the story of the first season is a police investigation turned against the drug boss Avonowi Barksdale'owi. The main tool of work collected for this purpose is the branch of law enforcement wiretaps. The police can not act hastily, based on continuous observations, detailed documentation and devising subsequent tactics - indeed, to make their opponents. These endless strategies and meticulously illustrated as an investigation, as well as life persons associated with him have made the series occupies the middle ground somewhere between godfather a Zodiac by David Fincher. Only with much more distinct social backgrounds. This happens in places like existentialism removed alive from the papers of Albert Camus's novel and the essay form of journalism, which The Wire in many places becomes. These pre-tapping in time turn out to be purely symbolic element of the film. The authors show is simply great, critical of the absurdities of reality, Voyeur. We are seeing not only selected individuals representing radically different worlds, but all communities, institutions and mechanisms that govern them. If you have already entered the camera makers for a site, we can be sure that their residents (or employees) will be announced at the outlet. At least the important ones. And that they gradually come more and more, the sin would be assessed through the prism of the first series of the season only, which, moreover, by some called the only warm-up later. Consequently, from the beginning to the end, The Wire deals with a display of dysfunction of bureaucracy. Along the way, however, in its successive scenes, focuses on various issues ongoing post-industrial American society. In the season's first major theme is the absurdity of the drug war and all its consequences, for both the authorities and inhabitants of the ghetto. In the second season we see the transformation of street gangsteryzmu in the business, and also - for example, the life of the employees of port docks - contemplates the death of the American working class. In the third season, reaching the issue of politicians and social reforms (including a utopian experiment), the fourth infiltration ruined the education system, in the fifth, from start to finish we know the mechanisms governing the mass media and the hypocrisy of what behind them. All these parts make up a very extensive and, above all, an indivisible whole - an epic portrait of the city of Baltimore. One of these places in North America, of which cinema and television says so reluctantly, but about which - as the authors point out - after all, you need to talk. All this is presented so realistically that even comes close to places of dokumentalizm. And there is not at all surprising if one takes into account who is behind the scenarios. Because, interestingly, there are no TV show or movie screenwriters.
There is no doubt that the number one person in this whole project is David Simon, inventor, executive producer and co-writer, of course. He exercised the greatest control in order to plan and beyond, thereby limiting the role of many emerging in The Wire directors to ordinary artisans (with conducting two segments, including Agnieszka Holland). Simon previously worked for 12 years as an investigative journalist for the Baltimore Sun newspaper . When the newspaper was bought by a competitor - as well as series says at one point - he quit his job and started writing literature fact. First year of time spent working closely with the police department homicide, which resulted in a novel, Fri Homicide: A Year on the Killing Streets . After her success with a television show's screening of his proposed - known us as Homicide - which became one of the producers. Then, with the cop Ed Burns, the year he spent time in the Negro ghetto, where he observed the lives of local drug addicts and drug dealers. Then became friends with a man addicted to heroin and his family, which the result was a quasi-biographical novel, Fri The Corner: A Year in the Life of an Inner-City Neighborhood . Also this work was a great success, which resulted in the screening of a mini-series for HBO realized, for which Simon producing more titles to this day. His "right hand" in the trusted circle of writers The Wire was mentioned above, Ed Burns, who to his credit has 20 years as a homicide detective and 7 years as a teacher. The other hand, are the next ex-Baltimore Sun journalists - Bill Zorzi (policy specialist from the department) and Rafael Alvarez (a specialist in trade and economics, originating from the family for decades associated with working in docks), and writers, known for his meticulous preparation for work, specializing in crime novels - George Pelecanos (author of famous gardener Night), Richard Price (Clockers made into by Spike Lee) and, finally, Dennis Lehane (Mystic River, his been made into by Clint Eastwood, and Shutter Island by Martin Scorsese). Occasionally, this group also joins the others, mainly playwrights. All these gentlemen have created a team whose work is far from serialowych standard because they do not know yet. And what is important - do not want to know. Thus The Wire is more like a mix of short stories and journalism, than a typical television production. All of which tells its author knows inside out. Even all their characters based on real figures, which earlier had the opportunity to learn. The individual stories presented in the series are rarely just pure fiction. Also, the ones that may seem quite unbelievable. Not only that, some real-life themes were sometimes even "ugrzecznione" to appear on the screen reliably - a crazy gangster Omar during the shooting he jumped from the fifth floor of the building and ended with a broken leg, while his prototype jumped from the seventh floor and finished with a sprained ankle.
But this work is far from flashy production. There are no scantily clad actresses who could be models, no car chases, gunfights and the sounds are rarely heard. Once you hear it, it usually somewhere in the background. The show is vulgar as it is vulgar language in which the police, criminals, drug addicts, or laborers. No more. Sometimes dark and brutal, but mainly due to suggestibility, not bluntness, because developers are not interested in violence and violent consequences. It is not important what we see, but what happened between scenes. Subtext and context is essential The Wire, like irony, the severity and (often witty) dialogue. What znowuż approaches to the work of David Simon dokumentalizmu is also surprisingly cost-effective use of music. Apart from the more lead the series showing the corners of the city of Baltimore - which is illustrated with a meaningful song by Tom Waits Fri Way Down in the Hole - creators of almost no use of music transcendent. This appears almost only in the final sequences of the last episodes of seasons. In summary these sequences, which carry a strong existential and emotional charge, which was earlier this saves you time resound so strongly. Occasionally it happens that the music becomes immanent to a transcendent moment (a lot of those licks appeared first season), but generally speaking the most important in The Wire are sounds whose source the viewer is able to see or believe in the the near distance from the camera. So, if you hear music, it is mainly because the characters listen to it on radio, television and CD players. And since we know there personalities coming from various backgrounds, then all kinds of music genres for a series scrolls - from the Greek and Irish folk music to rock and Noble, and the soul and rap ending. Some of the characters are also clearly marked with their own taste in music - for example, each time when the radio will be Detective Lester Freamon, we can be confident that we will hear just an old jazz. It is like so little films of Sergio Leone, where the main characters composing his own melodies, Ennio Morricone. Especially considering that in The Wire often appears a character who has received his own theme music - it is already mentioned Omar, which usually precedes the arrival of its specific whistle. Moreover, threads, where there is this noble bandit who specializes in robbing drug bosses, in many places like the Wild West Theater. There is not even sure it directly referring to the scene of Western fencing. But despite the occasional licks of this type (should also mention the police raid on drug traffickers, which was illustrated Valkyrie Wagner), a far cry from the trendy postmodernism. Even when there are often characterized by old films and videos, or the police and gangster series, it's not for fun, but only because they have been living indented. It's just that in the cinema and television have become frequently powielanymi schemes, in which no one believes, here are the maximum validated. Developers seem to be the same talk to the audience: "This is not fiction, but still you were told this is the truest life. "Whether we like it or not. Interestingly, the main inspiration for the David Simon gives the ancient Greek tragedies, from Antigone Medea after . He says in today's world of capricious gods took the place of more institutions to combat individualism. All his heroes so they are rebels. Some people just give up, others end up on the pavement or in the morgue. But there is no shortage of them winners, even when his case had to pay a high price. Because the most important thing is awareness.
PS: Huge amount of information found in the two interviews conducted with Mr. Simon: klik klik + .
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