Morda & Corruption Review: Krobot & Šoposká Investigation

The pair of the quietest investigators returns that domestic television crime knows. Also in the second row of the series Oktopus, which this Monday evening will begin to broadcast Czech Television, is most attention to the captain of the child and captain Faberová.

The first Miroslav Krobot re -portrayed as a silent gloomy man with a scuffed appearance, who likes to eat cheap mayonnaise salad. And Marika Šoposká plays Faber so inconspicuously that it is difficult to define it with something. In addition to being a high -ranking woman in the police choir.

Director and co -screenwriter Jan Pachl has formally significant detective projects. His series Circus Bukowsky and Rapl stood on the opulent visual style and tough charism Hynek Cermak in the title role.

In the first place of the Oktopus – an abbreviation for the separation of control of the terms endangered cases of the S -formation – it was clear from the beginning that this time the creators are trying to make a much more civilian speech. Captain Child can not even shoot out of the pistol, the investigative performs best when he quietly sits in the pub to the logs with beer.

The new line continues in the tone. Creative producer Josef Viewegh and his team apparently inspired the Nordic detective stories by writer Jussi Adler-Olsen about the cases of Q. Whether the couple or their colleague performed by Kryštof Hádek.

The first two episodes take place in the weathered environments, and, as in the first place, banal dozen cases have been dusty over years. On the one hand, it is good that the creators do not try to imitate the scandinavian plot, which in local locations and context usually looks unhappy or comical.

On the other hand, those neighborhood mords or unreliable corruption in the police corps evoke little excitement – both on the side of investigators and spectators. He almost wants to sigh: Why has no one managed to investigate this once?

Each episode of the few that journalists could see in advance offers a different case, and so far, the creators are in vain looking for how to elevate their ordinary or locality with something. There is no pleasure in realistic, detailed procedural police work or fascination with brilliant procedures of exceptional detective, or social overlap or anything that the series would stand out.

Oktopus balances this by trying to civilianity. If it is definitely below average, fortunately only in the amount of clichés that are associated with the series from the police environment. But it also does not pull much of it above the average.

The Krobot and the chick continues to circle around as two lonely stakes in the fence, still a secret for what the child was degraded from Major to the captain, although it is obviously related to his hobby of the cards. “Maybe I’ll tell you at wine,” he mutters in one scene.

It feels that both characters are a little closer to each other than in the first place. Although a child almost sleeps in familiar or cottages as a homeless man, while Faber lives in a stylish house of her movable father. But watching these millimeter changes brings only a momentary pleasure in the series, whose main advantage remains that it is a quite ordinary working team. Maybe too ordinary. No big interpersonal tension, criminalists simply devote themselves to their job and are quite believable.

This time, director Pachl is a little more visually discarded compared to the first place, sometimes the image is divided into so -called splitscreens, watching two or three parallel events. When looking into the past, the creator uses even wilder color filters. At least in the first episodes, however, it tears. Especially when we move with the heroes in peeling houses, cottages and cottages, where there is an ovary on the plate and people mix concrete, or dive into the darkness of their old wells.

As if the author of the pair of heavily stylized film criminals gangsters Ka – inspired by the fate of Radovan Krejčíř – did not know when to save with similar formal procedures.

Otherwise, the second series of the Oktopus series begins similar to the first. As a slightly above -average Czech crime, but instead of precisely written characters and complicated cases, it still relies on acting and charisma of protagonists, solidly selected environment or spectacular mood elements, including Michal Pavlíček’s widely used music.

This time the authors promise a larger number of locations – including a number of outside Prague, from Posázaví to Františkovy Lázně – and a more varied visual style. Instead of unconventional angles of shots or splitscreens, however, they would probably need to not create screenplays by television routines like Petr Hudský, signed under many Czech crime series and mostly Christmas fairy tales.