‘The Tourist’ or when the landscape determines the plot

‘The Tourist’ or when the landscape determines the plot

The Tourist or when the landscape determines the plot

If there’s a series in which the landscape and the plot in which it takes place are closely linked, it’s The Tourist, the series dreamed up by brothers Harry and Jack Williams and set in the deserts of South Australia, its rugged history , shows an environment that he would not make the slightest concession to any shred of happiness.

And if, as it seems, an essential formula to achieve fidelity for a series is that of a powerful first chapter, this one from HBO Max fulfills it perfectly: the long chase from a huge truck to a discreet car, until it’s from one Barranco is visually the most impressive. It goes without saying that Steven Spielberg’s first feature film, The Devil on Wheels, inevitably has to be remembered, although the Williams series doesn’t think so much of the box office with its unlikely happy endings. But the accident is also fundamental to the plot because the driver of the car and the protagonist of the series (Jamie Dornan) wakes up in a hospital with total amnesia. It’s the beginning of a long journey in search of his identity, a journey marked by violence, quirky supporting characters and an ever-present desert with its few seedy bars and motels.

Surprisingly and after an excellent and sober start, the series derails in its final chapters with an excess of hallucinations by the protagonist, a resource that, in short, is simple and too simple for some authors who previously seem to have thrown in the towel a linear evolution of the Plot. It takes Hitchcockian talent and a collaborator like Dalí to resort to delusions, time jumps, without confusing the viewer. And it’s not easy.

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