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Has the rain sprung from its mediocre roots or crushed the weight of its own poor quality?
The last time Cultured Vultures talked about the Danish Netflix series Original The Rain, we had combined reviews about it: an attractive premise with an average performance, complete with messy characters offering decent performances, superbly filmed but formulated in the story’s progression.
It’s been two years since the series showed up on the small screen (and it’s a bit fun to leave Season 3 in the middle of a global pandemic). With the latest bankruptcy here, have you had time to expand? their mediocre beginnings? Did the rain collide under the weight of its painful mediocrity?
The season opens 3 months after the occasions of the season. Rasmus fights for his new powers at Apollo, while Simone and his partner organization move beyond the quarantine zone to locate the rest of the virus-decimated world. With its plan to escape safely through the smoke, the organization resorts to its original step: locating a cure.
The third season of The Rain consists of six episodes lasting forty-five to fifty minutes according to the episode, possibly appearing to be going on much longer. As discussed in the first season, skip dubbing and watch the series subtitled. This will make the fun a little less painful.
This series of The Rain is notable for the fact that it can take an attractive concept and make it so boring. Clearly, the writers didn’t know exactly what they intended to do with the series. All the suffering, all the sacrifices, everything Simone and her organization of friends went through and worked on the second season is wrapped in the first part of episode one, to return to the original purpose of the first season.
In fact, not knowing where to go turns out to be an unusual topic in the series: turning the virus from a persistent environmental hazard into a cloud of killer black smoke turns the series of a decent dystopian human drama into a reasonable sci-fi mystery (doesn’t remind anyone Lost?). More surprisingly, the characters find a cure, and this is one of the most attractive parts of the series. Even though it seemed a bit Deus Ex Machina in its advent to the plot, a flowering plant that feeds on the virus was really somewhat intriguing, yet this attractive detail is not smart enough for the screen to stand out creatively when the rest of the Season is an arduous task to see.
Developed characters like John and Patrick (who are main characters, I must add) have to give way to other supporting characters that aren’t so fun to watch. In the review of the first season, the comparison was made between The Rain and The Walking Dead. However, it now turns out that they’re not even sophisticated with their inspiration: the children’s band leader turns out to be a diluted edition of Ezekiel’s TWD Season 7. At least with the characters in seasons one and two, they had attractive facets for them. The audience sought to celebrate their satisfied moments and feel pain their dissatisfied moments. Here, the new additions look like cardboard cutouts that don’t deserve attention and give the impression that the cast is messy.
Some of the characters’ motivations were simply strange. There’s a specific moment that marked me: Rasmus sees his sister jump into her “death” and she feels unhappy for a few seconds until her friend, who thought she died in the second season, returns to him. The next time the audience sees those two, fortunately they sleep together, smiling and laughing as if nothing bad had happened to them. What? In addition, Rasmus, who goes from being a naive child with bright, hopeful eyes to an angry dictator, feels a lot to Anakin Skywalker, and this gives the character’s progression many more credits than he deserves.
Even cinematography isn’t loosen from the trash. The first season was pleasing to the eye in maximum shots: vast empty streets where danger lurked in each and every one of the misty alleys or forests that seemed threatening. In the third season, on the other hand, there are the long clinical corridors of Apollo, as well as the desert that looks more like a background of a scene than a genuine presence to charge drama and tension. He’s so unattractive. Even the black veins and strands of smoke of the virus, anything that is intended to motivate terror, age after a while.
What sucks is that there are smart times buried under all this. There are pieces here and where acting, music and cinematography combine to create enchanting scenes: when the characters reacted to Simone’s intended death, it was touching. Unfortunately, however, those are affected by the rest of this season. It was a boring project to perform and the characters you’re meant to temporarily root become so dry. I hope some of those actors will continue to do a bigger job because they provide decent performances, but the rest of The Rain was so bitterly disappointing that it’s not even worth surfing those moments.
The biggest crime of the first season is that everything is fine: an attractive concept that may have gone in any direction. The biggest crime of the third season is to give the exhibition such a soft note to finish.
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