Todo un hombre

Not sure what this show is it's like a setup for the ending which is just dumb.

Everyone is good in this show the writing is ok directing ok the plot starts out interesting and it builds up and the climax is an anticlimax it's odd way to end the show thought .

The struggles of the rich and the not so rich and the people in between .

Racism and corruption and power and greed and jealousy and weak men and strong men .

The women they love and leave and the relationships they have now .

Robotic knees and loss of control getting old but wanting to remain strong and powerful .

How could any of this end well ? It doesn't ,

I read the novel when it came out in the mid '90s and enjoyed it very much. This series took a 700something page book and tried to shoehorn it into six 45minute episodes. The result seems disjointed and basically just incomplete. The first episode opens as if it assumes no character development is needed; that all of the viewers are already aqcuainted with the players and how they came to be who we now see. The novel has several sub-plots that intertwine well throughout, but this Netflix series offers us only two which really seem to have little connection with the other, other than some characters moving back and forth between them. My take is the series was budgeted much to small to spend the time and money to do Tom Wolfe's novel the justice it deserves.

It was interesting to note the script for this new limited series was written by David E. Kelley, the guy responsible or who'd participated in so many series over the years. A lot were vanilla but all very watchable.

This one was very watchable, and thankfully no messing around with incremental releasing of episodes, so we're able to binge the whole thing now if we wish. My style for sure.

It's not as representative of the "underbelly" of political goings on in Atlanta as I'd had hoped, or America for that matter. It sort of forgot about itself on the way and ended up too vanilla. And it then has an ending. Which is good. Most series don't.

Most importantly, I did appreciate some of the unmistakable nods to the current political situation in the USA in very small ways which hit the mark and made me smile each time. When you watch, or if you've seen it, you'll know what I mean. Funny. I hope there's more of this type of thing coming on films soon. We need more humour.

A director, a script, and decent actors. There you go.

I see some people in here whining about how it isn't factually accurate. ? This isn't a documentary, it's entertainment. Clearly it departed from the book too and that's ok.

Entertain me.

Some might find the use of interweaved storylines confusing. Personally, I appreciated that approach.

Were the court scenes far from what would have happened? Sure. So were the banker's meetings, but the barbs thrown in those banker's meetings were effing hilarious.

Jeff Daniels does his usual work. I'm not a fan of Lucy Lui, but I liked her in this movie. Diane Lane was ok, not terrific.

Direction just pushed the story along, fine. Script was tight. Lots of laughs. The "serious stuff" was a little off but made for an interesting counterpoint.

The only thing I'd complain about was the easy-way-out ending, but that's fine.

Looking for entertainment? This fits the bill. Want to relive your life's experiences in Atlanta, or watch a documentary about real estate development, this isn't for you.

To see what you're being offered. Put the accents aside. Somewhere in the middle of this series - we're not looking at the problems of One Southern Man from the Past. We are being invited to look deeper - into the lives of real people in today's Atlanta, today's America.

The fluidity with which black and white characters interact - some color blind, others finely tuned, exquisitely conscious of every nuance. This is quietly striking - a surprise that lifts this story beyond standard television fare.

And finally - you have a stellar cast all embedded in their roles - inhabiting them - but gradually transcending them as the series proceeds. Without this ensemble - stunningly directed - this story would be perfect Tom Wolfe fiction: effective, compelling but odd-angled, perspectives altered for dramatic effect.

Luckily, we're treated to something more important: a mirror on our lives today. David Kelly has never been more present, less humorous, textured.

And whatever minor qualms we might have about accents, Jeff Daniels grounds the whole story by making a larger than life, borderline ridiculous anachronism the medium for telling this enticing series. Just sit back and enjoy it. It's a gift.