CRITICS Bosé

May 26, 2023 | Series Reviews

It was the first national series to appear in SkyShowtime's promotional catalog. The story of the actor, singer and dancer, son of Luis Miguel Dominguín and Lucía Bosé, had almost all the dramatic components that surround the lives of great artists: fame, talent, decadence, addictions, narcissism, affective comings and goings, morbidity... This is how the series was presented in a rather misleading promotion. Those who thought they would find an Euphoria-like version of one of the most important singers in Latin America will be disappointed. There are scenes of bacchanalian parties, but much less present than what was advertised in the trailers and publicity campaigns.

The creator of the series is Nacho Faerna, a veteran scriptwriter who until now had not stood out for the subtlety and creativity in his work in series such as Amar es para siempre, La fuga, Antivicio. Among the series' screenwriters are former Minister of Culture Ángeles González-Sinde(Mentiras y gordas, La buena estrella, El comensal) and TV presenter Boris Izaguirre. The series has a remarkable production design, showing a life of international success, multitudinous concerts, television performances, and some luxurious stages and unleashed parties.

The singer's life is told in three distinct periods that alternate quite clearly showing his adolescence, early youth and maturity-fatherhood. The imbalance begins in the casting, because José Pastor is a twenty-something Miguel Bosé very recognizable in his physical composition, while Iván Sánchez has much more distance with the character, both physically and in terms of breaking with the vital joy of his youthful version. On the other hand, Nacho Fresneda is a great actor specialized in impulsive characters(El reino, Antidisturbios), but his interpretation of Luis Miguel Dominguín is too imbued with coarse dialogues that define a psychology too primary. And Miguel Ángel Muñoz imitating (rather than playing) Julio Iglesias has given rise to very acid comments on social networks.

Although the series does not fall as low as Mediaset's celebrity biopics, there is an artificial and implausible tone in the dialogues that reminds us of those fictions. The constant voice-over in the series defines a self-indulgent and false product, in which it is very difficult to get into the characters in search of truth and nuances. Considering the singer's career (more than 40 years on stage), the series is very small both in reflecting the charisma of the protagonist and the era he lived in and the influence he had on society.

Claudio Sanchez

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