Tokyo she’s dead. We couldn’t start this review de The Paper House 5 if not with this information … and satisfaction to be honest. Perhaps it will be daring to say it, perhaps it will not be shared by many, but Tokyo is finally dead. It’s not a spoiler: the first part of the fifth and final season, the one released last September 3, ended with his death. A death, among other things, of a unique ugliness. Improbable, ridiculous, within a scene bordering on embarrassing that only traces and confirms that ancient and consolidated unwritten law of The House of Paper which says that in this series people never die. Or rather, it never gets hit by bullets and if this happens mysteriously, it hurts too little.
Because yes, Tokyo is dead, but it took about 612 bullets and although all of her limbs were more holed than a colander, she still managed to return the army fire sent inside the Bank of Spain and blowing himself up with a grenade, killing six soldiers, including Gandia, more immortal than her. Tokyo is dead. A character weak from the beginning, useless, not indispensable in the economy of history if not in the ballasting of the rhythm between redundant monologues and centuries of clichés about the love between her and the poor Rio, more useful than her, but very little. One of the most frequent questions that fans have asked themselves in recent years of the series, in fact, has always been: “Why is the voiceover that tells the story your own?”. Good question: we don’t know and we will never know. But in reality we don’t even care.
La Casa di Carta ended with this season number 5 and we broke up a few months ago with the review of the first five episodes. Today we comment on the very last five and immediately mention the first big one defect of the whole second “era” of the House of Paper. That posthumous to the great random success of when it wasn’t even a series Netflix, therefore of the narrative vein that does not concern the State Mint, but the Bank of Spain. The defect of the exaggerated time dilation, in all senses, both in the timing of the releases of the various seasons and parts, poor in absolute number of episodes and consequently badly spread in recent years, and in the narrative times. It all happens too slowly despite the story lasting a small handful of days. In addition to the fact that the characters change their appearance on sight, the problem is precisely there memory of the spectators.
By dint of flashback created to keep dead characters alive, including the most inflated Berlin, and of the various digressions on love, the spectator forget what’s going on. The actions are very slow and last several episodes, even if we were not in Dragon Ball Z. A character is about to do something and we have already forgotten why he is doing it, perhaps because a season has passed in the meantime; we forget why something happened and since when. It is clear that the House of Paper has lost content and originality over the seasons, but there is a limit to everything and above all a middle ground (for example, giving up a few euros and closing the series earlier).
La Casa di Carta 5: where did we stay?
In short, the blow to the Bank of Spain continues. This time the band of the teacher is not making banknotes from scratch to steal them (without causing damage to the population, who would not be deprived of anything), but is stealing the state gold reserves. One of the main reasons why the previous review massacred La Casa di Carta 5 part 1 was precisely the way in which the audience within the series, that is the Spaniards, reacted to this fact. The professor was robbing them of the country’s creditworthiness, purchasing power, the ability to make international agreements and give guarantees, and what were they doing? They rejoiced, they agreed. All of this makes no sense and continues to have none. Nor would it be compatible with the professor’s thought to destroy Spain and the Spaniards; we know it never would. In fact, surprise, it’s not what it seems. The professor thought about it, but we need to talk about it later.
Meanwhile, the police, the military, the aliens and everything in between, in command of Tamayo, the worst character on the show (after Arturito of course), tries to close the matter, with the Professor cornered by the best character of this season, Alicia Sierra, which we left right in the gang leader’s lair. Ok, it seems that it’s over, that the gold thieves have been defeated, that the Sierra is about to arrest the professor despite the presence of Marseille (second best character of the season) and di Benjamin, but there is no better way to escape from this sudden and unexpected narrative block than with the birth of Alicia. Yes, because after five episodes of possibility, why not give birth right in the professor’s lair? Why not make sure that a collaborative relationship should be established between the two that validates the thesis we talked about in the previous review? The redundancy of the show, of a situation that was liked in the past and therefore must be repeated in the future. It would seem just like this: that as between the professor and Raquel we have gone from enmity to love, something can change even between the same professor and Alicia, but talking about it in depth would anticipate too many elements concerning the ending.
A perfect ending
We fly over many things. The slowness, the uselessness of the flashbacks (even if finally the very long digression on the son of Berlin becomes useful in the economy of the finale), the music copied from the soundtrack of Humandroid by Hans Zimmer, the unlistenable dialogues, the economic inaccuracies regarding the true value of gold bars in the reserves of a state and various delays that spoil the events with each change of shot, and we speak only for a moment of the finale. Because yes, after 3 whole superfluous seasons, a badly successful first half of the fifth season and a practically useless robbery, the ending of this saga is simply perfect. From textbook, ideal, the only one possible. The only way to end this story is just the way it ended. There is not a comma out of place, every detail has been considered and, apart from the role of the son of Berlin (justified by the flashbacks but then not at all in depth), everything is really right. The Paper House is over, as it should have ended, albeit with too many episodes of delay. But whether it is liked or not, it does not matter, since like it or not it has already become a “precedent”. For some years now, every work involving a robbery will be seen as before or after La Casa di Carta. If it all seems too good, there’s no need to despair – one is on the way spin off on the character of Berlin.
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