Image: Netflix / Molnar
When the refugees set up their makeshift camps on the sandy beach, you recognize them: the parallels to the images of the Mediterranean that have reached us for years. But that’s it with the special creative achievements of the new Netflix series “Transatlantic”.
It leads to Marseille, where in 1940/41 the Emergency Rescue Committee (ERC) in occupied France wanted to save intellectuals from the Nazi regime. The ERC really existed. And as commendable as it is to tell about people who risked their lives for others, the form one has chosen is just as inappropriate: it takes into account the fear of death and traumatization, but one does not do justice to the extent, since one is in soap operas Losing motives: helper Mary Jayne falls in love with the Jew Albert and kisses Hollywood-worthy, the US attaché is the “very bad” enemy of the ERC.
Intellectuals like Moritz Bleibtreu as Walter Benjamin remain marginalized in the history ham, which is too much in love with its décor. The need pales against the beauty of France. It should be different.
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I am an author and journalist who has worked in the entertainment industry for over a decade. I currently work as a news editor at a major news website, and my focus is on covering the latest trends in entertainment. I also write occasional pieces for other outlets, and have authored two books about the entertainment industry.
