With the proper perspective, it is quite impressive how far Netflix has taken a Spanish television series like The Money Heist (2017-2021), which we would probably only have enjoyed in this country if the company of streaming I would not have decided to acquire the rights and bet on it. And now with two spinoff planned, one focused on Pedro Alonso’s Berlin, is joined by an unexpected remake Oriental: Lto paper house: Korea (since 2022).
There is no doubt that the mold for the one created by Álex Pina is there, but the version he has directed Kim Hong Seon it turns out very different.
To begin with, the geographical context is not only different, but its writers choose to go to the very near future and invent a considerable change in the situation. In addition, despite the fact that the narrator’s resource persists in each chapter with the voice in offdisdain the enigmas about their past and the most polyhedral and choose the common.
They’re bare-faced, so the plot is all about finding out what happens next. But The paper house: Korea It fails in several important aspects.
On the one hand, both the actors and their leading characters they lack the necessary charisma to be placed at the height of the Iberians. And, if Yoo Ji-tae’s Professor is analyzed, it seems indisputable that our Álvaro Morte took care to provide his with many more nuances.
The paper house: Korea
The paper house: Korea, directed by Kim Hong-seon, is so soulless and mediocre that it doesn’t even make us care what happens to its main characters. The futuristic political situation of the country that he proposes to us seems quite curious, but this comes to nothing because neither the script has the eloquence and spark of the writing by the Spanish, nor does the intrigue absorb us at any moment, nor does the audiovisual proposal shine the slightest. If you want this story to be told well, you’d better stick with the original series.
‘The paper house: Korea’, a robbery that we don’t give a damn about
In this pale reflection of Álex Pina’s proposal, the heroic perspective of the robbers is not constructed very well, at most, mostly unpleasant and almost always puerile subjects, and not even we experience empathy for them, something essential in a story like this. Nor, the verisimilitude, which suffers in the sentimental evolution of certain characters. Or an eloquence even similar to that found in the Spanish robbery scripts.
Their routine development is rushed, with Kim Hong-seon not very attentive to the details or to the fact that they have staged the episodes of The paper house: Korea with an inopportunely wild rhythm at times. And, although they give us staging and planning with some vigor, some excessive in accelerated transitions from one approach to the next, they do not come close to the very powerful staging of the work primalmuch more detailed and far from functional.
The latter is the fruit of a feverish imagination and a very evident talent for audiovisual composition, and every detail of it has been considered by Álex Pina and his team to originate and maintain the hypnosis of the spectators. But the Korean filmmaker, who was already owed multiple chapters of other series such as Black (2017), Voice (2017-2019), Son: The Guest (2018) or Luca (from 2021), It doesn’t even reach the height of bitumen on his own, by the looks of it.
A cast known throughout the world to miss
On the other hand, composer Kim Tae-seong would like to have delivered a sheet music with the overwhelming energy that resonates in our ears courtesy of Iván Martínez Lacamara and Manel Santisteban, which even has echoes of that of Hans Zimmer pera interstellar (2014) or Tom Holkenborg’s for Mad Max: Fury Road (2015). There is nothing, friends. While that of the oriental musician for The paper house: Korea complies but does not cause ecstasy some.
Sad is the recognition that Kim Hong-seon have tried to gather in the soulless remake from Netflix to a handful of interpreters that the international public remembers of successful productions. Jeon Jong-seo, her Tokyo, plays Shin Hae-mi in burning (2018); Yoo Ji-Tae, the Professor, we identify by the Woo-jin Lee of old-boy (2003); and Kim Yoon-jin, a copy of Raquel Murillo as Seon Woojin, for her Sun-Hwa Kwon from the famous lost (2004-2010).
But are not the only ones. The Berlin of The paper house: Korea possesses the face of Park Hae-soo, whose Cho Sang-woo the squid game (from 2021) you will not have forgotten; and Park Myeong-hoon, in the role of his particular Arturito as Cho Youngmin, is none other than Geun Se, of the Oscar-winning parasites (2019). And his involvement is not enough for the first six chapters to take flight from this rampant mediocrity that reaches us in streaming from the east.
