Suburra, the review of the third and final season

I begin this Suburra review with a premise: the first two seasons, net of a fascinating imagery and a couple of captivating and well-interpreted characters, had not convinced me completely, thanks to the inevitable comparison with the homonymous film directed by Stefano Sollima in two thousand and fifteen .

Yet the Netflix show managed, in just eighteen episodes (ten of the first season to which eight of the second are added) to create a conspicuous following, in Italy but also beyond national borders, a symptom of a genre, the criminal crime all Italian, which does not seem to be experiencing a crisis.

Il 30 October the adventures of Aureliano Adami and Spadino Anacleti will inevitably come to a conclusion. This third season will in fact be the last, consisting of only six episodes called to close the circle.

Priests, politicians and criminals

The main plot of this new season does not particularly emancipate itself from the themes faced in the past, while focusing more on the closure of the narrative lines opened with the previous seasons.

Aureliano and Spadino are in open challenge with Samurai for the control of Rome and its dealing squares, Cinaglia continues his rise to power and Manfredi Anacleti, awakened from a coma, ponders his revenge against Spadino and the return to the throne of Anacleti.

the reduction in the number of episodes is the first great merit of this season

In all this, a new extraordinary jubilee, announced by the Pope and strongly desired by Cardinal Nascari (Alberto Cracco), attracts the attention of all the criminal Rome, eager to get their hands on the huge induced resulting from the arrival in the city of hundreds of thousands of faithful.

A somewhat feeble and not too original idea that of the jubilee, which nevertheless always remains in the background and represents little more than a frame with respect to the narrative heart of these new six episodes.

Suburra, the review of the third and final season

Few but good

The reduction in the number of episodes to six, again lasting about fifty minutes, is the first great merit of this season. To benefit is the overall rhythm which, apart from perhaps the first two episodes a little more dispersed (as in the past), allows a better focus of the story.

There are almost never scenes perceived as fillers, something recurring in past seasons, and in this sense the overall reduction in the number of storylines and the choice to focus on a few protagonists is also perfect. The presence on the screen of central characters in past seasons, such as the one played by Claudia Gerini, which here disappears entirely after a couple of fleeting appearances in the first two episodes.

The absolute protagonists of this second season are Aureliano and Spadino, who are contrasted by the two main antagonists Manfredi Anacleti and Amedeo Cinaglia, together with the ever-present and sprawling Samurai played by Francesco Acquaroli.

Perfect choice, since the characters just mentioned are also the best written and certainly best interpreted. Alessandro Borghi e Adam Dionisi they are the absolute protagonists who stand out from the rest of the cast for stage presence and interpretative skills.

The last few episodes are a constant escalation of tension and the dramatic construction works much more than in the past.

A step below the excellent Filippo Niger as the corrupt politician Amedeo Cinaglia e Giacomo Ferrara in the always eccentric (but fragile) role of Spadino.

On the other hand, a sore point for a whole series of secondary characters who, while finding much less space than in the past, would certainly have deserved more far-sighted interpretations. There are some exceptions, such as the splendid character played by Marzia Ubaldi, almost comics-style but perfect to act as a glue between the protagonists with his study as a confessional for the Roman underworld.

Federica Sabatini was also good in the role of Nadia Gravone, Aureliano's affective and “working” partner, certainly more deserving than the not always convincing Carlotta Antonelli, decidedly more monotonous in the role of Angelica.

Suburra, the review of the third and final season

How beautiful you are in Rome when it is evening

We cannot exempt ourselves, in the review of Suburra 3, in expressing a general appreciation for the staging.

Here, too, probably, the shorter overall length of time has contributed to raising the general production value, with action scenes generally more credible than in the past and a photograph that is usually rather well-finished and that does not look bad, all in all, compared to the international productions present in the catalog. Netflix.

Alessandro Borghi and Adamo Dionisi are the absolute protagonists who stand out from the rest of the cast for stage presence and interpretative skills.

Too bad only for some choices of revisable color grading, such as the intrusive yellow-green dominant of the scenes dedicated to the Anacleti clan, which end up being a foreign body, undermining the visual continuity of the episodes on several occasions.

La directed by Arnaldo Catinari, former director of photography of previous seasons, is solid, albeit a bit scholastic, but capable of some interesting flickers especially in the composition of the frame and in some significant and well thought out camera movements.

Even the editing, especially in the last episodes, works extremely well in the construction of the tension, with several moments of parallel editing particularly effective in increasing the dramatic weight of the events.

Suburra, the review of the third and final season

The last bullet

In short, this third season of Suburra succeeds very well in the task of closing the television adventures of Aureliano and Co. more than worthily.

The last few episodes are a constant escalation of tension and the dramatic construction works much more than in the past, until the satisfying epilogue. The moments with Aureliano and Spadino together are perfect in outlining the complex relationship of friendship and respect that binds the two, thanks also to some well-chosen and never excessive comic curtains, useful for increasing empathy towards their characters.

And finally, this is exactly what this season does best, making us love its protagonists even more than in the past, leaving us with the bitter knowledge that we will never see them again (but never say never, of course).

This review of Suburra 3 can only end with a promotion, for a product certainly not without defects but definitely honest and well packaged, certainly among the best of the certainly not excellent Italian production experience of Netflix (see the recent Curon)

Aurelià, Spadi, if we catch.

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