Netflix’s One Hundred Years of Solitude Breathes Life Into a Classic ‘Unfilmable’ Novel

As a seasoned movie critic who’s navigated through the labyrinth of celluloid narratives for the better part of three decades, I must say, Netflix’s adaptation of Gabriel Garcia Marquez’s “One Hundred Years of Solitude” is nothing short of a masterpiece. It’s a testament to the power of storytelling and the resilience of the human spirit, beautifully encapsulated in this grand saga of the Buendía family.

There are multiple types of books considered ‘difficult to adapt into film’. Two prominent examples are modernist works such as James Joyce’s ‘Ulysses’, which sprawls a single day across 732 pages and employs diverse stylistic approaches in each chapter, and Virginia Woolf’s ‘Mrs. Dalloway’, which focuses on the inner thoughts of its protagonist. Although film adaptations for both titles have been made, their limited popularity suggests a challenge in conveying their complexities.

Given the complexity of the project, it’s impressively accurate how Netflix’s captivating adaptation of “One Hundred Years of Solitude,” premiering in two parts beginning December 11, manages to not only embody the narrative, but also the dynamic essence of the novel. Filmed in Colombia, with a predominantly Colombian cast and the support of García Márquez’s family (who have faced criticism this year for releasing his posthumous work “Until August” against his expressed wishes), the series took over six years to complete. The time invested in production is evident in its grandeur, as well as in the fluidity and detail that directors Alex García López (“The Witcher”) and Laura Mora (“The Kings of the World”) have captured on screen. Each hour-long episode is filled with dozens, if not hundreds, of breathtaking visuals.

The novel “Solitude” chronicles the evolution and decline of a family, a home, a town, and, symbolically, a society, over the span of an entire century, starting from the early 19th century. José Arcadio Buendía (Marco Antonio González) and Úrsula Iguarán (Susana Morales), two young lovers, escape their confining village due to its elders’ disapproval of their union (as they were cousins and it was said that their children would have pigtails). José Arcadio had killed a man who made an offensive joke about their relationship. They seek a place where the ghosts of their ancestors won’t haunt them, a place where they can love freely and start a family in peace.

Over time, marked by periods of aimless roaming, even in circles, the Buendía clan eventually establish themselves on a vacant piece of land, which José Arcadio labels as Macondo, a seemingly insignificant name. This area then transforms into a frontier town, a place where individuals are free to make their own decisions. José Arcadio, a visionary who later dabbles in inventions and alchemy, shows no interest in governing Macondo. Alongside Úrsula, whose common sense, strong moral compass, and hardworking nature complement her intellectual and impractical husband perfectly, they build a humble home suitable for raising their children – José Arcadio (Thiago Padilla), Aureliano (Jerónimo Echeverría), and Amaranta (Luna Ruíz). The Buendía lineage, with names mostly derived from José Arcadio, Úrsula, Aureliano, and Amaranta, continues through numerous generations.

Over time, Ursula’s home expands and undergoes renovation, transforming from a humble thatched-roof cottage into a majestic Victorian mansion, each stage meticulously portrayed by production designer Barbara Enríquez. The town of Macondo also progresses past its primitive beginnings, yet it challenges the concept of advancement as its own first couple (or founding pair) seemingly foresee and resist much of what is considered development. A magistrate arrives in town, sent by the Colombian government to establish officialdom. This event marks the influx of the Church, political parties, elections, executions, and ultimately war into Macondo. The series masterfully portrays these interconnected advancements; cinematographers Paulo Pérez and María Sarasvati keep the camera flowing, moving through the house, town, and landscapes, capturing where the destinies of various Buendías take them. Striking images from the novel that could have appeared comical on screen maintain their profound symbolism – for instance, a river of blood flowing through the town, tracing from the home where a character dies to his family’s residence.

The series “Solitude” by Netflix does an exceptional job in weaving a complex narrative that skillfully avoids oversimplifying Garcia Marquez’s profound themes such as politics, religion, self-rule, love, civilization’s troubles, and loneliness in all its forms. Notable performances from the ensemble cast truly shine, with Claudio Cataño delivering a chilling portrayal of the mature Aureliano, a tormented soul seeking love amidst an uncomprehending youth and purpose amidst an unwinnable war. The character Rebeca (Nicole Montenegro), initially an almost feral orphan who arrives at the Buendía household with her parents’ remains in a sack, maintains her wildness even as she matures into an adult, portrayed later by Akima. Although the scripts necessitate more dialogue than the original book, strategic narration and effective pauses prevent the series from becoming overly verbose.

If Solitude may have one drawback, it’s that it appears excessively devoted to the original work. The creators commendably neither sugarcoat nor sensationalize disturbing but symbolically significant elements of the narrative, including self-harm and incest. However, this adaptation occasionally slips into the solemn formality reminiscent of a Masterpiece miniseries. Moreover, in keeping with García Márquez’s rapid pace, it dwells on elaborate wedding and battlefield scenes but not on subtle insights. Consequently, it sometimes hurries past pivotal moments, such as when Aureliano, wandering in the swamp, encounters his father’s apparition as a young man and their discussion about the cyclical nature of their journeys is brief and almost immediate.

But this is a minor complaint that shouldn’t detract from a major achievement. Emerging at the end of a big year for TV adaptations of unfilmable novels, from The Sympathizer to 3 Body Problem to Interior Chinatown, One Hundred Years of Solitude is among the best of the bunch. 

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2024-12-02 09:06