“Colours of Evil: Crimson” based mostly on the novel by Małgorzata Oliwia Sobczak is conquering Netflix, however not solely on the home market. The crime story with Jakub Gierszał and Maja Ostaszewska – regardless of its worldwide success – leaves a lot to be desired, particularly for fanatics of the style that revolves round mysteries and murders. The newest hit has flaws typical of latest Polish cinematography. If it weren’t for the presence of considered one of them, maybe the viewing of Adrian Panek’s movie would have been extra bearable.
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It has lengthy been recognized that crime novels dominate bookstores. This additionally applies to tv and streaming providers, as a result of who would not love to do some considering of their free time and remedy a murderous thriller earlier than the characters within the film do it?
As many media research have already proven, readers and viewers are drawn to this style by the fascination with human nature (particularly curiosity in regards to the legal’s motives), the ingredient of thriller, the power to observe the actions of legislation enforcement companies and the need to see how justice is run.
What’s the film “Colour of Evil: Crimson” about? [RECENZJA]
Subsequently, nobody ought to be stunned by the worldwide success of the newest Netflix hit titled “Colour of Evil: Crimson”, which, lower than 24 hours after its premiere, took second place on the earth rating of probably the most watched movies on the web site (it was solely overtaken by this yr’s Oscar winner for particular results – “Godzilla Minus”. One” by Takashi Yamazaki).
The movie directed by Adrian Panek (“Wilkołak” and “Daas”) due to this fact adopted within the footsteps of one other Polish crime title, the sequence “Forst” with Borys Szyc based mostly on the sequence of books by Remigiusz Mróz.
“The Colours of Evil: Crimson” is an adaptation of the novel by Małgorzata Oliwia Sobczak, which was printed in 2019. Within the Netflix movie, the digital camera follows the steadfast and devoted prosecutor Leopold Shut (performed by Jakub Gierszał from “Suicide Room”). The person arrives on the crime scene, a preferred seashore in Gdynia’s Orłowo, the place the bare physique of a younger lady was discovered.
Every little thing signifies that the deceased, who seems to be the decide’s daughter, Monika Bogucka, was raped earlier than her demise. Furthermore, she was disadvantaged of pink lips, which instantly reminds the prosecutor of an identical case from many, a few years in the past.
Through the investigation, Shut discovers the darkish secrets and techniques of a celebration corridor referred to as Stocznia, native gangsters and household enterprise.
Monika’s assassin can be sought by her mom, Helena (Maja Ostaszewska from Agnieszka Holland’s “The Inexperienced Border”), whose curiosity usually will get her into a whole lot of bother.
The Baltic Sea is a mine of Polish crime novels
The Baltic Sea – nearly just like the mountainous areas of Poland – has turn out to be the primary character of crime novels. Not so way back, we had the chance to look at the sequence “Klangor” with Arkadiusz Jakubik (“The King”), a narrative in regards to the demise of a young person from Świnoujście, and “BringBackAlice” by HBO Max with Helena Englert (“Pokusa”), which was shot in Tricity.
In “The Colour of Evil: Crimson” we additionally soar between Gdańsk, Gdynia and Sopot, cities which are solely a background for the historical past of police corruption and mafia affect. Not like the TV sequence’ format, Panek doesn’t have time to delve deeper into the origins of the corruption of the native authorities. In reality, it doesn’t present the precise scale of the issue – as viewers, we solely hear the characters’ statements, from which we be taught that “it has all the time been like this” and “plenty of women disappeared.”
The movie, lasting lower than two hours, is proscribed solely to the case of Monika’s homicide, which sadly signifies that we will understand its plot as taken out of context. That is only a fragment of a bigger downside that may in all probability be higher handled by a multi-episode sequence.
Fetishization of violence in opposition to ladies?
The script by Adrian Panek and Łukasz M. Maciejewski tries arduous to meet the narrative settlement generally known as “present, do not inform”, though the inclusion of flashback scenes turned out to be inadequate. The creators of “Crimson” feed viewers with extreme publicity anyway. The movie’s characters normally go away little scope for the viewers to precise themselves. They talk about aloud what they see, thereby depriving us of the power to assume independently and draw our personal conclusions.
The movie illustrates in a disturbing method the hurt that occurred to Monika throughout her lifetime. Luckily, her character is just not pigeonholed solely as a “sufferer” – we have now the chance to get to know her higher and even like her. Crime fiction usually tends in direction of pointless fetishization of violence and (not all the time) making the victims partly complicit, which later provides rise to feedback amongst Web customers: “she requested for it.” Nonetheless, on this case it was clearly emphasised that the heroine is just not responsible of something – the issue lies within the objectification of ladies, rape tradition and social acceptance of harming ladies.
Whereas watching “Colours of Evil: Crimson”, I could not assist however really feel that each one the lads on display screen – apart from the prosecutor performed by Gierszał – have unhealthy intentions and pose a menace to others (primarily ladies). Some see Monika as a “fairly face”, others attempt to conceal it, but additionally see her solely as a sexual object.
Let’s be taught to play with silence!
What irritated me most throughout the screening of “The Colour of Evil” was the omnipresent music, which in most scenes veered in direction of pointless pathos. The Netflix hit is not any exception right here – modern Polish cinema (normally widespread) has discovered to play with silence.
The score of many movies, together with the one with Gierszał, would have gone up a notch greater if the sobbing sounds of the piano had been deserted in dramatic scenes in favor of the piercing cries of the characters, the click of heels or the sounds of tearing paper. Synthetic solemnity won’t ever be as efficient as uncooked emotion.
In Netflix productions, music performs all the time and in all places – let’s check out the beforehand talked about “Forst”, “The Queen” with Andrzej Seweryn (“The Final Household”), “The Influencer’s Woman” with Olga Kalicka (“Rodzinka.pl”), “Hold Calm” with Leszek Lichota (“The Quack”) and “Within the Depths of the Forest” with Grzegorz Damięcki (“The Love Tax”).
Zofia Jastrzębska is best than Maja Ostaszewska
In the case of performing, Jakub Gierszał performs decently in “The Colour of Evil: Crimson”. After “The Finest” and “Suicide Room” we all know that he can do rather more. Right here he’s a busy prosecutor who would not get carried away by feelings, he has a job to do and that is all that issues. A typical protagonist, about whom we solely know that he’s a good man.
After final yr’s look within the sequence “Infamia”, Zofia Jastrzębska as soon as once more presents herself as a promising actress of the younger technology. Among the many whole solid, she made the very best use of the chance to create a flesh-and-blood character. Monika is exceptionally actual in her habits – the viewer can really feel as if he actually knew her.
Jastrzębska does nice in brutal scenes. We really feel sympathy for her and that is in all probability what the creators needed.
The most important disappointment – surprisingly – is Maja Ostaszewska. With all sympathy for her different creations, in “The Colour of Evil: Crimson” the actress says her strains as if she have been studying them from a chunk of paper. Her performing is uneven and goes from one excessive to a different – in scenes she both lacks the need to do something or howls grotesquely.
No delights, no tragedy
Within the rating of probably the most watched Netflix productions, you possibly can sometimes come throughout an actual gem. The film “The Colour of Evil: Crimson” is just not, which in fact doesn’t equal the assertion “backside and a waste of time”. As you possibly can see, Panek’s work gathered a big viewers, and a few of them actually turned followers of the variation.
Allow us to not delude ourselves, nonetheless, that the movie model of Małgorzata Oliwia Sobczak’s guide is the top of cinematography. In our yard we will discover significantly better crime tales that impress with their plot, twists, performing and technical points.
