In the “Franklin” series, which is shown by the “Netflix” platform, with Daniela Rahma and Mohamed al -ahmad after their previous meeting in “Death”, the dark lights intensify and interfere with its budget atmosphere, where there is no light at the end of the tunnel; Only one bottomless fund. The work is located on the outskirts of honors and criticisms, as if it refused to take sides for its residence in a gray area that is resolving.
The central idea revolves around the fraud of the coin; It is a topic that has not yet dried; The “Under The Seventh Land” series presented it in 30 episodes of Ramadan. This “consumer” approach influenced the reception of work and seemed to be removing part of the element of surprise and showing the path that is negative towards ruin and return, and almost “family”. Therefore, “Franklin” began with the loss of an important document, but maintains some documents capable of attracting attention.
The text of his writer, Sherine Khoury, ri -Reranggia elements presented in the drama of money and influence: the great prey on young people and the victims are considered the sentence. However, the flavor does not come from the police dome, but rather from the internal risks and from those tremors blocked in the eyes and echoes of an old love that in the end does not return, but does not disappear. Love here is not in itself; It is with the cracks and scars that they hesitate to hesitate as a profound resonance in the same painful.
The suspense, in turn, is designed on a family rhythm: chases, shooting and serial qualifications. But it is an excitement that is not without effectiveness, even if it lacks innovation. Director Hussein al -manbawi improves image formation: the camera fluently speaks its role in the transfer of tension and music gradually intensifies towards the peak of anxiety, while the dark colors add intensity to the scene and improve the feeling of the threat.
Here the first aspect of the work appears, with his police and the tender vocabulary. As for the other side, it is richer and tense: psychological conflicts that emerge from disappointments, betrayals and scars. The relationship between “Yulia” (Daniela Rahma) and “Adam” (Muhammad al -ahmad) appears on her confined face in the circle of false, but in its essence it is an open deep wound, which hides with the opportunity to restore the wrist to their old love, it doesn’t matter how the distance between them and excludes the possibility of the new beginning.
The work connects falsification with the disease and “Adam” is presented, as a person who takes sin with a human motivation to save a person who is dying and a daughter who is sick of the heart. In exchange for this “justification”, clarity is incorporated into the filming of the Lebanese police with a shaky body: naivety, weakness and submission to the “mafia” authority. So the “Series” flavor comes by displaying the brotherhood bond between the hero and the “Zain” officer (Tony Issa). A surprise that is presented without preliminary, as if it were quickly at the last minute. The end seemed flat, empty of the effect, as if boiled and different from the previous tension had been born. Here the text finds again, not because it is weak; Rather, because it is blocked in an average area; It does not rise to uniqueness, nor does it go to mediocrity.
Writing is not bad, but it has no splendor. Do not be surprised by his audacity or his deviation from expectations. Burn a living body or a bullet that seals the life of a “mafia” leader, not shocking events. They are ready, family and expected solutions. The really strong moments are those that highlight the worlds of the internal figures, on their fragility and contradictions, but, unfortunately, they were not at the center of the priorities of the narrative! It remained a margin that was convened when the text empties traditional excitement tools.
As for the discussion on the subject and on the flame of the organs, it was superficial, closer to the observation of its integrated path. The past, as in many series, has remained dramatic and dramatic. Family relationships, such as the thorny relationship between heroin and her father, have not been deepened. Their opinions probably seemed to show ready -made events without gradual construction. Only the relationship of the law with personalities received illuminating moments: when the officer leaves his struggle for the required motivation, an emergency brother or when the fragility and the ability of the law have proven to be penetrated, the work indicates one of the most important and honest issues.
In performance, Daniela Rahma shines with confidence. His presence holds the work and gives him his attraction. Its role is able to also when it is linked to a traditional plot. As for Muhammad al -ahmad, feelings remain silent, letting them lose more than his aspect than his said ones. Mature performance, does not exceed the expression and does not neglect the economy. Fayez Qazaq, as usual in the Syrian drama, has passed a normal passage. Offer and absent. Among the other names, Pierre Dagher, George Shalhoub, Khaled al -Sayed and Samara Nahra, presented a balanced presence worthy of the plot without grabbing the lights.
“Franklin” is not a unique series, but it is a work that collects painful moments in the human psyche. It is ruined from there in the text and synthesis, but it is not without worthy paths of appreciation.
