WithLupine, in the shadow of Arsene, Netflix has succeeded in its strategy of producing French fiction. Developed in partnership with Gaumont and broadcast last January, the five episodes of the first part of season 1 were seen by 76 million households, dethroning the unalterable The Lady’s Game and La Casa de papel and becoming number one of views on the platform in France but also in Brazil, Sweden, the United Arab Emirates and the United States.
In the latter country, she garnered rave reviews from the illustrious magazine Variety, which underlined its ” efficiency “And the abandonment of” monocle and mustaches »For spy cameras and deepfakes. We were more than disappointed by this reinterpretation of the myth of the gentleman burglar, born under the pen of Maurice Leblanc in 1905, and intending to change the situation in terms of diversity and class struggle.
Pub for Paris
Annoyed, the adjective is weak. The charismatic Omar Sy, who fits perfectly in the clothes of Assane Diop, the aficionado of Lupine, made himself the cantor of the “invisible”: maintenance agent, uberized delivery man, prisoner lost in the mass … But this bow narrative is quickly abandoned. The disguises of Assane Diop allowing him to fly in peace and to imagine taking revenge on the arrogant and racist big bourgeois who had pushed, twenty-five years before, his father in jail and to suicide.
The story, taken from Queen’s necklace, a short story published in 1907, concealed its share of improbabilities, poor scriptwriting, vain dialogues and sluggish realization. Stopped due to confinement, the production could have set the bar right up to try to finish this hard-working season with dignity, with images in the form of advertising advertisements for the capital – Oh! The Louvre pyramid at night; Wow! The banks of the Seine; Hmm! The arcades of the Royal Palace; Ho la la! The clock at the Musée d’Orsay …
B series TF1 style
And here is the drama ! As hollow as the needle of Étretat, which serves as the backdrop to the novel published in 1909, this second part, accessible in about fifty languages, gets bogged down in improbable twists and finishes making our Arsène modern, politically. correct, a pale ersatz Ethan Hunt, the dark hero of Impossible mission, with, of course, ad hoc high-tech equipment on hand to pilot them.
We are a long way from the anarchist sympathies lent to Lupine by Maurice Leblanc. Conceived like a poor TF1-style B series when it intends to cast a wide net, these last five episodes laboriously follow the fight of Assane Diop-Omar Sy, helped by Youssef, the lupinophile cop (Sofiane Guerrab) to recover his son, Raoul, kidnapped by a sociopath under the orders of his personal enemy, the crooked Hubert Pellegrini. The opportunity to denounce in public – here, a concert bringing together the greatest French fortunes – the forfeiture of the villainous bourgeois, who is preparing to rob the shareholders of the CAC 40 in search of good works.
The list is too long
We are entitled to chases on the small Normandy roads filmed at the speed at which Julie Lescaut extricated herself from her car, that is to say with two tension, inconsistent flashbacks at the height of those of Under the sun to explain the bruised and orphaned childhood of Assane, fights executed as in slow motion, twists without stakes – the consequences of the manipulation by Assane of Juliette Pellegrini to betray her father, for example, remain curiously in the harbor -, thefts – that of the painting by Pissarro at the Musée d’Orsay – not explained.
But also supporting roles of Omar Sy – poor Ludivine Sagnier, poor Clotilde Hesme, poor Nicole Garcia, poor Antoine Gouy -, a white luthier and white provincials, therefore, necessarily racist, dialogues like: ” You know, how it is, women … », A scene of flight on the Seine, at night, punctuated by, we give it to you in thousand, the song of Jacques Dutronc which was used as credits for the soap of the years 1970, with the classy Georges Descrières, of… No, the list would be too long.
Written with a chainsaw, with hints of “woke” culture – and yeah, let’s be careful not to offend anyone! – by George Kay and made up toHelen and the boys by Hugo Gélin and Ludovic Bernard, this end of the season is boring. Annoying even, to see Omar Sy, who carried the first five episodes on his shoulders, lose interest in his role. That said, we can understand that the character, who changes from right-rider to expert in manipulation, abandons his gentlemanly side, contenting himself with appearing and disappearing, as if by magic, without ever the shadow of an explanation, d ‘a plan-fitting, of a development.
For example, in this scene, where arrested by the police, he escapes from a cramped bathroom with barred window of a gas station, where the pandores are refueling, to jump into the following sequence. , located in its Parisian lair, while all the police forces in France are looking for it! We’re hitting rock bottom. It is indigent. Colossal hoax. Colossal betrayal of Maurice Leblanc. Colossal inconsistency in the visibility of diversity on the screen. And to think that they have planned to make a new season… The worst being reached, not sure that we waste our time to spoil the sight.
“Lupine, in the shadow of Arsene”, season 1, part two, on Netflix.
READ ALSO: “Lupine” on Netflix, a dreary recreation