Criticism of Parot, season 1. Directed by Pilar Nadal, Rafa Montesinos and Gustavo Ron. The new Amazon Prime thriller and drama series produced in Spain has artists such as Adriana Ugarte, Javier Albalá, Iván Massagué, Blanca Portillo, Patricia Vico and Michel Brown, among others. The premiere of Parot on Amazon Prime Video Spain is on May 28, 2021.
The viewing platform of Amazon Prime Video welcomes in its arms a new production: Parot, the Spanish thriller series created by Pilar Nadal (Red Eagle) and with Adriana ugarte (Ax, During the storm), Ivan Massagué (The hole), Javier Albala (Area, SMS – Without fear of dreaming) and Blanca Portillo (Broken hugs, 7 lives) as heads of the main cast.
As you can imagine with the title, the new amazon series comes with controversy under his arm: his argument is based on the repeal of the Parot doctrine in 2013, 77 prisoners were released before serving their sentences as stipulated by current regulations in Spain.
Parot tries to reflect on the moral and ethical implications of the decision and its impact on society, from the state security forces to the victims for whom the criminals had been imprisoned. How? With an assumption: what would have happened if society had taken the law into their own hands after releasing the prisoners?
One by one, the released prisoners appear dead in situations similar to those of the cases for which they were convicted, accompanied by a note: “Sentence carried out.” The police officers Isabel Mora (Adriana ugarte) and Jorge Nieto (Javier Albala) will direct the investigation facing their own principles and the revenge of Julián López de Haro (Ivan Massagué); one of those released who raped agent Mora and for which he served a 16-year sentence until his premature release from prison.
Thus, we are faced with a story with a multitude of open fronts: a police investigation that will question the ethics of the people behind the uniforms before their professional obligation, a revenge concocted by slow fire, a love story cut short by past traumas. and a tortuous reflection on the consequences of such a polarized measure.
What a priori points out ways like a police thriller that joins the successes of competing platforms such as The innocent, ends up becoming a story that fades throughout its ten chapters.
During the first chapters they manage to more than reflect the painful and unpleasant reality that the victims faced, and they manage to escape trivializing the acts of criminals by reflecting on the capacity for forgiveness of society and its merit. From here, the decisions of its characters become chaotic, incoherent in its development and give rise to a story that evolves at the mercy of its need to have an ending.
In this journey from point A to point B, one being the beginning and the other the end, the script of the series violates its own verisimilitude in each chapter. There is an approach and an outcome; what happens in between leaves the characters at the mercy of the script, so their actions will be exclusively destined to reach that place breaking the police and social logic of a story that seeks to reflect a possible reality.
The strong point of this story based on the highly questioned decision of the European Court of Strasbourg is in what it states in its pilot: Justice, the limits of forgiveness, reintegration … In short, as we said, of the morality and principles of those who must defend those who were once enemies of society and justice, and even the limits of some kind of journalism. Ideas that, beyond their approach, you will hardly have a couple of tail flicks in the series.
Where does the weight of history go? In the unbearable descent into hell of Isabel Mora, a victim of a violation on which Haro’s revenge is built and which aims to end her reputation and her mental stability.
The interest in discovering the author of the murders will disappear as the chapters go by until it becomes an anecdote. This way of tiptoeing through its own plot is almost a leitmotif that sprinkles the tricky themes on which the story is built. And in the indeterminacy … little is left to scratch.
The interpretations do not leave a better taste in the mouth either, despite the fact that, for the most part, they manage to defend as their characters are allowed. The artificiality of the dialogues is saved by Patricia Vico, Iván Massagué, Adriana Ugarte and, above all, Blanca Portillo, who in her role as mother she manages to give volume to each scene in which she is in charge… as long as the acting direction allows it.
Parot he plays a dangerous game of gray in which he does not finish convincing with any of his facets. It raises various fronts of attention, but none of them manages to hit the key to take our interest and the chapters will go by without being able to fly back.
In his role as thriller Y drama, the investigation does not have a development in which they manage to surprise us in any way and the characters, beyond that of the tortured Isabel Mora by Adriana Ugarte, barely have charisma to make us empathize with them. The result, even more in the case of such a delicate subject, is a shame of indifference.
Parot is a series that raises an interesting and cloistered moral dilemma in reality that ends up dissolving with the passage of the chapters at the mercy of an indefiniteness that takes its toll.
The idea and its approach to the morality of society and forgiveness had possibilities.
Script decisions lead his characters through artificial dialogues and actions that stray from their narrative coherence.