It wasn’t another before. The first chapter has just finished and it seems that the arrival of Argentina, land of love and revenge 2 (at 10.15 pm, on El Trece) at early evening it felt like more than a traditional debut: the plot deals with the family tree of the two central families of the ATAV original -with winks for the fans- and, moreover, marks the return of Polka at dinnertime. And on TV, of course..
In between not only passed the four years between streaks (the first started in March 2019), o the 50 that separate one plot from anotherbut also the coronavirus pandemic. And, among the less dramatic consequences of the overwhelming passage of Covid, which claimed more than 130 thousand dead in Argentinafiguratively the absence of fiction on the traditional small screen.
Which although it wasn’t a dramatic consequence – in the context of health – it was a major blow to the industry. Polka had to suspend the recordings of separate when the quarantine was decreed in March 2020. And, from that moment on, Argentine fiction has retired from TV (but not from stream), and, over time, had solo comebacks, such as the first of usof Telephe.
So, this new polka landfall was read as something that went beyond the story to be toldalthough, like all self-respecting fiction, it also played its hook in the preview.
Different love, the same rain
Although he could not always comply with the letter, each opening chapter of a strip polkiana tried to have the first approach of the central pair and torrential rain watering those feelings. So it happened this Monday, when Toni (the Spanish Toni Gelabert) and Second (Tato Fourteen), childhood friends, took refuge in a phone booth in the late 1970s. They drenched, they attracted.
Toni is the nephew of the characters that in ATAV 1 they composed Delfina Chávez and Albert Baró. Almost all the characters of this second season they are related to Moretti and Salvat who lived in the 1930s. Now, its predecessors move in the 70s and 80sa period that is recreated, with emphasis, in all its details.
The plot written by Lily Ann Martin and Claudio Lacelli begins in 1977, in Buenos Aires, with that love scene between two friends. And after 12 minutes we were in Barcelona, 1984: with Toni exiled with his father (Raphael Iron) and secondly, following the sociocultural mandates of their parents (Gloria Carrà and Federico D’Elia).
Toni’s mother was kidnapped at ESMA and had a daughter in captivity. All of this, among many other branch data of each, quickly became known through letters read aloud and background information on the characters, almost like a cover.
This, together with a certain didactic spirit on what dictatorship was and what the arrival of democracy meant (it never hurts to remember both done, but perhaps moving a little from some clichés in which fiction generally falls), transformed the first chapter into a sort of review of the country with the clichés of the time.
It is moving to see the journalistic archives of the struggle of the Mothers of the Plaza de Mayo (lake Virginia composes one), but in the center there is a revue theater -with some characters inspired by well-known characters-, e several subplots that aim to tell very different things at the same timeemphasizing the looks, cars, decorations and characteristic elements of those years.
I hope that, as the chapters go by, the new land of love and revenge finds the balance between substance and form. The fabric to be cut has a lot.
Source: Clarin
