Amenábar has also made the leap into the world of series, irremediably. His first bet is inspired by a comic by Paco Roca, ‘El tesoro del Cisne Negro’
Any resemblance to the original work is pure coincidence, it could be applied to ‘La Fortuna’, the audiovisual adaptation of ‘El tesoro del Cisne Negro’, the comic by Paco Roca and Guillermo Corral published by Astiberri that has given rise to the first incursion by Alejandro Amenábar in serialized format. The real image version already has three chapters available in Movistar +, adjusting the story chronologically, closer in time (names are changed and there are obvious licenses). At the recent San Sebastián International Film Festival, the six episodes that are part of a single autoconclusive season could be seen at once. The marathon of about five hours made it clear that the latest from the head of ‘Thesis’ and ‘The others’ is an entertaining and light proposal that is lost at times with the tone. He lets himself be seen with enthusiasm, thanks to some endearing interpretations and the adventurous touch of walking around the house, but he does not enthrall as he should, perhaps because he refers directly to the Tintin comics without being impregnated with his soul and allows the risk of betting with ambition on a cross between Spielberg’s cinema, in the visual section, and the Berlanguian touch in the relationship between the characters. A fusion as attractive as it is interesting, extremely difficult, which the director himself has corroborated in an interview.
The original comic by Paco Roca, with the support of Guillermo Corral in the script -who lived the events in the first person-, placed 20,000 copies in its first edition, the first day of its release, a milestone in our market that confirmed the pull of an author who has managed to connect with the general public. This time the person in charge of ‘Wrinkles’ was betting on intrigue and adventure, referring precisely to the famous reporter created by Hergé, based on real events, the discovery of a heritage of incalculable value -about 600,000 gold and silver coins-, fruit of a shipwreck in the Atlantic Ocean. Accepting, as a restless spectator, that the graphic novel goes on one side and the flesh and blood version runs on the other, being two different media, Amenábar’s miniseries begins boasting of technical power, with formal decisions that refer to commercial cinema, bordering the show, with the participation of an international cast. The underwater treasure is found on the high seas by a multimillion dollar American company that is dedicated to hunting fortunes underwater. When the ship loses prominence and the action lands, we enter the realm of politics in Spain, with a grotesque X-ray of the bureaucracy and the civil service. Álvaro Mel, seen in ‘The other look’, model and influencer, tenaciously embodies a young diplomat who runs into a small-scale mission that gets bigger and bigger. The Spanish government claims the wrecks, the precious find, as it is allegedly a sunken ship after the attack by the English navy. The conflict ends in the courts, accelerating an investigation process that involves a struggle of interests between various fronts.
The inexperienced protagonist, driven by his naivety and youthful energy, does not cease in his efforts to prove what he believes right in the center of an international judicial conflict. He is not yet contaminated by the vices of politics and he faces the situation with a clear look, making a unique emotional journey. In his quest between offices he runs into an exceptional ally, a female civil servant wanting to mess it up and set up her little revolution, who is played by Ana Polvorosa. The chemistry between these two ideologically opposed poles inevitably leads to sexual tension. They are an unlikely couple who professionally join forces to accomplish their goal. Karra Elejalde plays the Minister of Culture, a pro cinephile who is not willing to accept defeat, on principle, although his party colleagues prefer to negotiate with the millionaire treasure hunter and get rid of the brown by accepting a small percentage of the treasure. The real commitment to what one believes is the central theme of a story that also talks about the friendship that arises around a common cause, companionship and affective ties, in addition to portraying, with a grace at times imposed -Berlanga is much Berlanga-, which means defending the truth, and the cultural heritage, in a scenario that connects with our current reality.
‘La Fortuna’ is an adventure between offices, more colorful when it comes out to breathe -attention to the beginning of the second chapter, which recreates the historical fact from which it starts-, which may at times recall ‘The Ministry of Time’, with dialogues who seek the smile while portraying the seedy inherent to our political class and the wonderful world of the bureaucracy and its dark side. It is presented as a thriller, but it is revealed as an easily digestible adventure comedy and healthy fun, classic in its conception. Eternal Spain in crisis, seen under the prism of understanding between sides, as Amenábar already advanced in ‘While the war lasts’. His business card in the field of series is effective, although it does not attract powerfully attention, as one would expect from a creator of his height.
‘La Fortuna’ is broadcast on Movistar +.