Netflix’s new limited series Transatlantic is the reversal of the recent comedy starring Elvis as Agent Elvis. Transatlantic came to Netflix with a guarantee that all viewers who tuned in would be instantly tuned in and learn more about the story of Varian Fry, Mary Jayne Gold, and Villa Air-Bel. From unorthodox co-creators Anna Winger and Daniel Handler, the series is a bubbly adventure strand that leans more towards its classic Hollywood-style romance than Holocaust-bordering obscurity.
It’s lighter and generally more entertaining than any summary of the topic would suggest. But since all you get from Transatlantic is a cursory understanding of the subject (the tip of the iceberg and maybe not even), it’s easy to feel like that’s something, but hard to believe that it is enough
The series begins in Marseille in 1940. Former journalist Varian Fry (Cory Michael Smith) works as part of the Emergency Rescue Committee, an organization dedicated to getting a small selection of European writers, authors, and thinkers out of France before they can die. fall completely. to the Nazis. For the most part, Fry works within the bureaucratic system, attempting to obtain fully legal visas and transportation without upsetting the delicate balance of American neutrality, represented here by Corey Stoll as Consul Graham Patterson. (Hollywood reporter)
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In seven episodes, most of which run under 50 minutes and don’t cover a clear timeframe that he can explain, Fry and Gold learn they need to expand their ideas of what’s possible and necessary.
Transatlantic uses Jacob’s inevitably modern effect to reinforce a thesis about gold as a modern woman trying to find her voice in a historical setting. Jacobs is instrumental in delivering some of the humor that would have only been hinted at on the page, particularly in regard to the instantly loveable, Scrooge.
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There are some crazy moments with the various surrealists (André Breton, Max Ernst, and Hans Bellmer) getting the most attention walking around the villa and saying strange things and celebrating the holidays in strange ways.
Although the influence of Surrealism is rarely felt in the actual text of the series, the credits, shot in grainy black and white, capture an intersection of Surrealism and German Weimar Expressionism in a brief but delightfully playful way. The series could have used more of that eccentricity and more of the black-and-white opening scene, an acknowledgment and evocation of the art of the time rather than a commitment to modern accessibility.