RUSSIAN DOLL SERIES: HAPPY DEATH AND SAD LIFE
Nadja (Natasa Lion )'s 36th birthday ends with a party in an apartment full of people and a tragic death. But, like in a bad movie or an unbearably difficult video game, life or death brings her back to the beginning. Nadja's life restarts every time she gets hurt and starts in the same place and at the same time - in the bathroom, before she infiltrates among a bunch of acquaintances and friends at a birthday party. Each new beginning is followed by Harry Nilsson's song "Gotta Get Up" in which the following verses: "You have to get up, you have to go out, you have to get home before morning dawns", which will get into your skin. And no matter how many times the song is repeated, each time it will have a different meaning, through the serenity of a new beginning, to the insidious game that reminds of Dante's hell.
Nadja is a cynic, a verbal bitch of a person, a serious addict of nicotine, narcotics and alcohol, but she justifies her selfish existence with the serenity of life. Our protagonist is seemingly a person who looks at life lightly, but the way she sees it, so he reciprocates - he kills her and brings her back to the beginning every time. The irony is that Nadja is employed in the video game industry as a programmer, and as she torments gamers with the unrealistic weight of the level, so life punishes her again.
Every life cycle in which Nadja finds herself is the same, but the series does not allow monotony or repetition. In the first round, Nadja is convinced that the victim is a hallucination of a bad drug, then she interferes in the whole story with a Jewish proverb written on the building where the birthday takes place, convinced that she has become an instrument of some ancient curse. From the rush of a dealer who sold bad drugs, to the encounter with a character who is in the same sauce as Nadja, the series never ceases to delight with humor and ideas. Instead of a linear narrative trajectory, “Russian Doll” takes the story to the most unreal corners after the third episode and hides serious aces up their sleeves that are nailed to the screen in a quest to find out - is there a happy ending for a woman you love to hate so much
The comic beginning of the series, a masterful script that never failed, and the role of life for Natasha Lyon "Russian Doll" turns into a tragic story that will take the smile off the viewer's face. Elements of science fiction, fantasy and psychological game mic by mic lead to the final realization - what is really happening? "Russian Doll" is the best example of how to make a masterpiece out of a well-known idea. The characterization of the characters, the acting, the fantastically ironed tempo of the series that does not stifle or stretch, and the provocative theme and narration, as well as the subtle characters along the way should serve other series that plan to appear after this one.
One of the few series in the last 10 years that is not a cliché and that paves the way for a different way of access to modern television, because it has become overcrowded with content and hyperproduction from which it is difficult to separate anything.
SERIJA “RUSSIAN DOLL”: SREĆNA SMRT I TUŽAN ŽIVOT
Nađin (Nataša Lion) 36. rođendan završava se žurkom u stanu prepunom ljudi i tragičnom smrću. Ali, kao u nekom lošem filmu ili nesnosno teškoj video-igri, život ili smrt je vraća na početak. Nađin život se restartuje svaki put kad nastrada i počinje na istom mestu i usto vreme – u kupatilu, pre nego što se infiltrira među gomilom poznanika i prijatelja na rođendanskoj žurki. Svaki novi početak prati numera Harija Nilsona “Gotta Get Up” u kojoj niže stihove: “Moraš da ustaneš, moraš da izađeš, moraš da stigneš kući pre nego što jutro svane“, koja će se uvući u kožu. I ma koliko puta da se pesma ponovila, svaki put će imati drugačije značenje, preko vedrine zbog novog početka, pa do podmukle igre koja podseća na Danteov pakao.
Nađa je cinik, verbalna kučka od osobe, ozbiljna zavisnica od nikotina, narkotika i alkohola, ali svoje sebično postojanje opravdava životnom vedrinom. Naša protagonistkinja je naizgled osoba koja život gleda olako, ali tako kako ga ona vidi, tako joj i on uzvraća – ubija je i vraća je svaki put na početak. Ironija je da je Nađa zaposlena u industriji video-igara kao programer i kako ona muči gejmere nerealnom težinom nivoa, tako i nju život iznovno kažnjava.
Svaki životni ciklus u kojem se nađe Nađa je isti, ali serija ne dozvoljava monotoniju, niti ponavljanje. U prvom krugu Nađa je ubeđena da je žrtva halucinacija loše droge, potom je u čitavu priču umešala jevrejsku poslovicu koja je ispisana na zgradi u kojoj se odigrava rođendan, ubeđena da je postala instrument neke drevne kletve. Od jurnjave dilera koji je prodao lošu drogu, pa do susreta sa likom koji se nalazi u istom sosu kao i Nađa serija ne prestaje da oduševljava humorom i idejama.
Umesto linearne narativne putanje, “Russian Doll” priču vodi u najneralnije kutke posle treće epizode i krije ozbiljne kečeve u rukavu koje drže prikovane uz ekran u želji za saznanjem – da li postoji srećan kraj za ženu koju toliko voliš da mrziš?
Komičan početak serije, maestralan scenario koji nijednog trena nije podbacio i uloga života za Natašu Lion “Russian Doll” pretvara u tragičnu priču koja će skinuti osmeh sa lica gledaoca. Elementi naučne-fantastike, fantazije i psihološke igre mic po mic vode do finalne spoznaje – šta se zaista događa?
“Russian Doll” je najbolji primer kako od poznate ideje napraviti remek-delo. Karakterizacija likova, gluma, fantastično upeglan tempo serije koji ne davi i ne razvlači, i provokativna tema i naracija, kao i suptilni znakovi pored puta treba da posluže drugim serijama koje planiraju da se pojave posle.
Jedna od retkih serija u poslednjih 10 godina koja nije kliše i koja utabava put za drugačiji način pristup modernoj televiziji, jer je postala pretrpana sadržajem i hiperprodukcijom iz koje je teško bilo šta izdvojiti.
