“The blue of the ocean”: birds of prey and raptors on the Basque coast


En 2003, TF1 is determined to continue its success red summer, his summer saga from the previous year, a gentle thriller morning, uses more or less the same ingredients, and this time sends its heroes, as romantic as you could wish, to stuff themselves with pork on the Basque coast. The credits include a very “TF1 compatible” cast: Alexandra Vandernoux, Philippe Carois, Jean-Michel Tinivelli, Bruno Madigne, Natacha Amal, Mireille Darque and new girl Claire Borotra, daughter of Frank Borotra and niece of Didier Borotra, then Senator – Mayor of Biarritz. Accident? History does not tell.

Superstition or not, but Channel One is once again betting on color and replacing summer red with “Ocean Blue” (albeit, it always sells better than “Red piperade” or “Green Izarra”). The name, redolent of sea spray, is perfect for that unforgettable summer heat that cost the minister his seat after an intervention against the backdrop of a blue pool.

The blue color here is quite blurred, because the recipe for this saga, even garnished with a handful of Espelette pepper, is already served: a fearless and flawless heroine, several family secrets, blue-eyed lovers (and lively as the sea). bream in the oven) and, of course, explosive processing.

The only pleasant novelty: a frantic rhythm in which the turns follow one after another, from the first series. Main chrono: Talia (Claire Borotra), taming falcons in the mountains, learns from her dying mother that she is not her daughter, that her parents died mysteriously shortly after her birth, and that her uncle is none other than Charles Delcourt ( Bernard Verley). ), the guardian and formidable postcard figure of Saint-Jean-de-Luz, who presides over the region’s fisheries.

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Just enough time to howl your grief, quickly bury the fake mother, go to the notary, still find out what her rights are and, whoops, here she is hired incognito, a fiance to the most terrible Delcourt. , hence her uncle, who was also her mother’s husband (you have two minutes to reconstruct the family tree), after managing to calm her fiery stallion down on his knees. Ole! All this, ladies and gentlemen, in just 20 minutes of a soap opera! Who can say better? The sense of rhythm is commendable, but which obviously does not interfere with realism. That’s fine, that’s not what we’re here for.

War of blondes

Well, as you can imagine, it will not be easy to integrate into this haughty and wealth-suffocated family. Surrounded by her pesky best friend (Natacha Amal, as reliable as a cap-and-trousers-wearing artist as Loana in Marie Curie), this Yellow Vest Thalia will learn to fight back. And even have to contact his half-sister, psychic Matilda (Alexandra Vandernut, the main squatter of the summer sagas). We knew from their meeting, the rifle option, that these two were never going to be very “next”.

AND Blue ocean to gradually turn into a blonde war even more merciless than the one being waged by JT icons Lawrence Ferrari and Claire Chazal on the front pages of the tabloids at the same time. Because, yes, everything is against Talia and Matilda. Short cut in the battle symbol of all freedoms, casual jeans and tees for the premiere; Frank Provost combing and Hitchcock pose for second. Basic but effective. A trash-talking rivalry that will culminate in the finale of episode three. During an amazing scene… if not convincing.

“I’ll Kill You”

End of Episode 3 Mathilde has just confessed to her brother (a dapper Bruno Madigne) and father (Bernardo Wehrle, who likes to act on the show) that she was the one who caused the deaths of her mother and her lover at the age of 12 by sabotaging their boat with screwdrivers (oh, how ugly!). We might have hoped that the story would end there, or at least we would give everyone time to digest the news, but no. From the next scene, not content with confessing her terrible guilt, the audacious assassin decides to go and kill Talia, whom she considers the source of all her misfortunes.

The story does not tell how long she had to wander to find her victim, for the latter took refuge in Petaushnock, in the very heart of the mountain, to train a falcon, which she soberly named Romeo. So here’s Fury in black pants, a cream-colored sweater, and pointed heels for a walk on the red carpet.

“I’ll kill you,” threatens the shrew, aiming a cute gun at its victim. “And I’m not going to miss you this time.” All that’s missing is that she’s straight. And to enumerate the list of his motives, it is just a fleeting desire to revive the audience, who would not have woken up from a microsleep after the last pub break. “Everything that happened is your fault: you stole my husband, you stole my mother, and above all, you made me understand that I killed her, and that this is intolerable, you will pay for it,” he whines. she. in front of his victim, who, however, is inclined to forgive her everything. A zoomed-in image of a barrel rotating in slow motion. Then a wide shot of a silent mountain suddenly awakened by the sound of a gunshot. horror! Misfortune! End of episode.

Not stupid, falcon

It’s okay: Thalia has seen others! The writers who stuffed their little guide to the summer saga have already done it twice with the “heroine caught between life and death.” At the end of the first episode, a man in a hood tried to drown her in a five-centimeter layer on the beach of Saint-Jean-de-Luz. At the end of episode 2, the same poor girl took off in the background driving her shiny red Peugeot 205 and suffered a spectacular fall from several meters before disappearing into the… blue ocean. As of the next episode, she is back among the “soap dead”, who are essentially never considered dead until their bodies are found. So how can you say that this shabby little shooter in the mountain smelled nice warmed up!

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Episode 4. Then back to the mountain. We find Yellow Vest, her falcon and a moaning hysterical Matilda. Cornered—this time at the edge of a ravine—Thalia has no choice but to turn to the only creature capable of coming to her aid in this difficult moment: her falcon. of course What could be more reliable than a raptor to knock out another raptor? a thin script seems to be undermining us.

A falcon, not so stupid, who at a single signal of distress from his mistress (“Tai! Tai!”, which could be translated as: “Quick, help, knock out this harpy for me”) melts like a modern … day Rintintin, at Matilda, and begins to tear at her piercing blue gaze with his claws. Yelling, gesticulating… Talia takes the opportunity to rush full height (!) at her opponent to disarm her. A shot rings out… After a few seconds of tension, the courageous heroine gets up unharmed, Matilda lies at her feet. The result: a bullet to the stomach, one less eye… and a completely failed scene.

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An absurd scene, the low quality of special effects of which would almost make the series skip the 80s animal – remember the anthropologist diligently transforming himself into a wild animal to help a widow and an orphan – for Spielberg. The malfunction may and must be associated with an insufficient budget. But no matter what, the special effects did not take anyone’s breath away. Except, perhaps, the editor, who had to suffocate night and day, so that at the end of this crucial scene there were only three pitiful fragmentary shots, covered with Alexandra Vandernoot’s screams, edited in a loop.

The final episode of the saga will give those in charge of the special effects a chance to catch up with the grand Guillaume finale, in which Matilda, at the height of madness, is seared – lomo style on a plancha – in the family boat, trying to pull in poor Talia, exhausted by counting the number of times she has escaped death in the in eight episodes, to his disastrous fate. TF1 will quickly sum up: 9 million subscribers per week is well worth the poorly filmed falcon.

Next episode: “The eyes of Hélène”

Ocean Blue which can be found on MyTF1.


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