July 28, 2021

Biology Reporter

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Rojst'97 (2021) - Series Review

Rojst’97 (2021) – Series Review

It’s been 13 years, and it feels like one day. Piotr Zarzycki changed his hairstyle, Witold Wanycz turned a little gray, and a German investor bought “Kurier Wieczorny”. Besides – everything is as old as it is now. Even the signs of transformation are not noticeable, because homes forgotten by the state and flashy signs of new business are stuck in the mud of democratization. In July 1997, a flood wave swept through a small town somewhere in Poland. The body of a teenager was found in a nearby forest.

“Rojst’97” repeats the good and weak points of the first season. It creates a compelling atmosphere full of detail and flavor for the years the action takes place, but not every screenplay decision has been equally good. Jan Holbeck has once again established himself as an artist with a hand in highly realistic recreations of climate in recent times. And it’s not just that in the first “Rojście” he illustrated a criminal story with period music and the heroes dressed up in Pewex clothes, in the second season he included Edyta Bartosiewicz and Liroy in the playlist, and ordered the characters to watch “Sunny Patrol”.

For the young artist, the following decades are somewhat different states of mind. In the 80s, the heroes did not talk to each other, but whispered, because the walls have ears, and having a good car was not so much a sign of financial status as a sign of strength. In optics, the 1990s were not the period of color gadgets, but the period of widening social inequalities. The clothes, locations, sets, and visual details are of course very compelling, but the credibility of the world on screen is built more on language and cultural facts. The “innocent” chauvinistic jokes that we today call boomers, pervasive homosexual prejudices, early capitalist rhetoric – this is what created Joe Holoubek in 1997.

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Perhaps that is why the dialogues are good to listen to. They not only efficiently push the action forward, but perfectly characterize the characters, revealing their personality and cultural baggage. Too much baggage, as well as a whole lot of secrets. This is why a murder case sometimes goes into the background, and unsatisfactory plot solutions don’t always prevent you from enjoying the course of action. For example, the long-kept secret of Zarzycki’s wife turned out to be more interesting than another hack in the case of the drowning man.

However, there are fewer scenario problems than in the first season, which brilliantly defined the work, but there was an obvious problem to solve. “Rojst’97” has flaws of a different nature – he likes to show and tell us a lot. As befits to continue – there is more of everything here: heroes, conspiracies, corpses, secrets and even time planes. Wanycz and Zarzycki, known from season one, are relegated to the background, and cops Jass and Mika take the lead. Almost every hero – more or less important – has his own, even a thin plot line. Two investigations are still ongoing – the missing son of a local commercial shark and the death of a teen found in the woods. In addition, only the topic of camps in the nearby forest was significantly developed, which was discussed in the first season, where the Germans were imprisoned by the Poles immediately after the war.

Although this fragmentation thickens the action and intriguingly complicates the picture of small-town reality, not all of these threads are treated with the same amount of attention by the creators. An extensive history from 1945 shows the scale of the crime, but it doesn’t tell us much about the Phanicks’ past beyond what we already knew or could have guessed. On the other hand, the authors set aside very little space for the hijack, which for a long moment no longer interests them entirely, and which in the end, when the threads tangle, may evoke a slight sense of disappointment.

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It would also not be wrong to point out to screenwriters that they use the happy coincidence mechanism more often: a policewoman picks up a key witness while in the area, and a friend sees the kidnapping of one of the most important characters by chance. There are, unfortunately, more such situations out there, and they seem to take shortcuts. But a small area of ​​u200bu200bthe city can also be blamed, where it is very easy to meet a friend.

But these imaginative, not always satisfying decisions can easily be forgiven by the creators, as they are rewarded with the value of a complex and multi-threaded story full of heroes who hide their secrets. Revealing their past and personality always influences the development of the business. The creators clearly had a hand in creating the characters, which means that the risky step of sidelining the main characters in season one turned out to be a bull’s-eye. The masculine policewoman sipping liters of whiskey by the name of Jas (in this excellent role as Magdalena Ró مczka plays the opposite of hers) is much better at handling criminal mysteries than the clumsy editor Zarzycki. At the same time, her psychological and family background makes her a heroine not only easy to admire, but also to sympathize with.

The advantages also include the fact that the creators do not treat the thirteen years since the previous season, but as an opportunity to change the cast and break with the past. On the contrary, many threads that were not previously mentioned here have been developed and supplemented, and the ghosts of bygone years still haunt the heroes. It also influenced historical reflection in the 1990s, and fashion flourished in our cinematography going back to this period. “Rojst’97” is another project that has followed this trend along with films such as “Prime Time” by Jacob Piątek or “Proceder” by the Węgrzyn brothers. However, only in recent years Holoubek has clearly demonstrated the camouflaged continuity of the old system in the period of transformation. Color magazines, American TV series and Western cigarette brands are nothing but a meaningless skin update on “Rojście”, obscuring the fact that the previous label performs well in the new conditions. The departing editor-in-chief warns Zarzeki about his departure: “Some of the dreaded upstairs have been replaced by others, and that’s the whole transformation.” But this replacement of elites did not upset the old order, which, as you can learn from a conspiracy unfolding in 1945, was established much earlier, during another social and political turning point.

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So, this story couldn’t be without the local commercial sharks making fortunes on the Batu developer, corrupt prosecutors with connections in the security services, and the mafia that grew out of the company of ex-militiamen, a lesser gang, taking advantage of the weakness of the newly entrenched system. , as well as ambitious law enforcement officers pressured by the results of their bosses and greedy investors who care about nothing other than bullish earnings statistics. There is much cult of “thieves cinema” with “Psy” by Wadislaw Pacekowski in the foreground, but nonetheless from the current anti-liberal popular political narrative, which calls for a break with the achievements of the Third Republic.

The horror that reveals itself to investigators is not only a small town problem. After all, this mud stuck everywhere after the flood to the entire country.