From the moment it was first announced, new tiny mini series FX Fosse / Verdon debuted on Tuesday at 10/9c; I saw eight episodes – they seemed to come with their own pre-emailed Amy campaign. It has all the attributes of the Hollywood biographical image, which usually wins awards: spot-on-celebrity, a large amount of drugs and drinks that spell time that requires heavy nutrition for the makeup of old age. But, despite the stellar performances of the two leading actors, he never came out of that established biopic environment, sufficient to tell about a fresh and compelling story. He knows all the steps, but can not find a way to bring a new life to dance.
Oscar, Sam Rockwell stars as the legendary choreographer and director of Broadway Bob Foss, and Fosse / Verdon opens with him a film version of Sweet Charity which turns out to be expensive flop However, he conquered Lisa Minelli in Cabaret and won Oscar, Tony and Emma in the same year. The Oscar nominee, Michelle Williams, played the role of not less than the legendary wife of Foss, an actress Tony, who is his secret weapon, who works as a key (and not deserved) employee of his most famous works. But even she is tired of the irresistible falsehood of Phoese: when he asks her to fly to Berlin to assist him in filming Cabaret she clearly asks: "Will I be unhappy when I get there?
Botanists of the theater will appreciate Fosse / Verdon as an extremely detailed timepiece for the show business of the 1970s, in all its kitschy glory: the bright colorful events of the classical works of Fossa – this is a wish. And sometimes it manages to capture P & This is the ultimate success of Hollywood. But the historical heart Fosse / Verdon is a violent relationship in its center, and all its jumps of time passed over a decade can not do much to disguise the basis of well-worn biographical cliche. It seems that the characters are stored in amber, speaking from a pre-written script. (Even Verdon complains in the middle of the fight with Fosse that she has heard this dialogue too many times before.)
The largest cliché of the entire Fosse itself, the prototype of the artistic genius , whose talents are dominated by his vivid drawbacks. He is a temperamental perfectionist who rages against studio beacon counters; He is a hopeless drug addict, stretched to a huge array of tops and stuffed; he is a scary little boy, in a banal memoirs, he dances a tap for his daddy sergeant. This is "Turtened artist 101", and it's too much to provide any information. In addition, Fosse's "feminine" ways are sticking out like a pain in a big toe today. (He almost forced himself to one of his dancers, and when she shuffles it, he replaces her in the music room, coldly saying, "She does not know how to take the direction.") Fosse / Verdon ] never completely does not face the consequences of his terrible behavior, and too often releases it from the hook. Daughter Nicole Fos is a producer here, and sometimes, the series plays more like a fuzzy, nostalgic reminiscence of the child about their parents than a clear portrait of two industrial giants.
Fortunately, Rockwell and Williams are so good that they will almost make you forget that all this was a thousand times before. Rockwell excellently captures the tired eyes of Fossa and the constantly prudent mind, as well as the amazing fleet. Williams is positively transformed into Verdon, with a breathless, old Hollywood voice and a quiet smile recalling Catherine Hepburn. In fact, it's interesting if Fosse / Verdon would be stronger if he focused on it. ( Verdon / Fosse apparently?) Verdon is struggling to find good roles after her Broadway glory days have disappeared, and there are shades of the previous FX Feud: Bette and Joan in her Despair
But this comparison achieves a fundamental disadvantage Fosse / Verdon : he feels like a season Feud … besides having exhausted all the signatures of Ryan Talent Murphy, who makes his show worth a look. I can not help thinking that Murphy will dip his teeth in a similar story and come with more in-depth conclusions than "show business is hard" and "infidelity is bad". , this is true, but the material they give here never rises to their level.
TV LINE: FX Fosse / Verdon is a very detailed, well-biographical Hollywood movie but never dig deep enough to offer true insight.