A chronicled look at the criminal exploits of Colombian drug lord Pablo Escobar, as well as the many other drug kingpins who plagued the country through the years.
Watching “Narcos” brings to mind not only elements of “Sicario,” with its musings about hitmen and the futility of drug enforcement but also other thoughtful films such as “Layer Cake” – both putting a frame around the evolution of modern-day prohibition. During the intro to “Layer Cake,” Daniel Craig’s pre-James Bond character wryly intones, “Always remember that one day this drug monkey business will be legal. They won’t leave it to people like me – not when they finally realize how much money there is to be made. Not millions. Fucking billions.”
In “Narcos: Season One,” the series methodically canvases the history of cocaine trafficking trade between Colombia and Miami – eventually the rest of the U.S. – in an entertaining fashion. It’s a fascinating docudrama relaying a story most people understand only in generalities or piecemeal. The systematic development of the foremost cocaine production and smuggling operation engineered by Pablo Escobar is laid out in surprising detail, almost certain to keep viewers enthralled.
Wagner Moura plays Pablo Escobar, though photos and footage of the real-life drug lord intersperse periodically. Pedro Pascal plays Escobar’s faithful lieutenant Javier Peña. Boyd Holbrook serves suitably as DEA agent Steve Murphy, with Joanna Christie as Connie, his wife whom he met on a bet at a bar. Luiz Guzman provides a welcome presence as emerald smuggler Gonzalo Rodriguez Gacha. The entire cast comprises a long list of supporting actors from film and television projects across the board.
Foibles abound in the long list of individuals portrayed. Looking closely, it’s clear that while money isn’t everything, it disproportionately drives behavior of many. Borrowing a line from Hal Holbrook’s character Lou Mannheim in “Wall Street” he says, “The main thing about money is that it makes you do things you don’t want to do.” Episode Two earnestly depicts the push and pull between the base motivations regarding not only money, but also intrigue, and sex.
Insightful subtexts weave themselves into this account of events throughout. Early on, as the Mexican narcotics officers plan the arrest of a drug dealer, they consume copious amounts of alcohol and cigarettes, all the while sitting in a quiet booth at a socially sanctioned bar. Viewers can savor the irony about how where policy and lawmakers arbitrarily determine which substances may legally be consumed – or not – as the case may be. The penchant, beginning in the 1960s for example, to impose harsh sentences on marijuana distribution and possession has given way to state-by-state legalization across the U.S.
Like a lot of operations infused with large sums of money, things tend to take on a life of their own. As Escobar’s empire grows, the cash flows and well-resourced drug distribution funds automatic weaponry for protection. In turn, a deep-pocketed DEA machine appears only too happy to reciprocate, thus fueling a lethal arms race. Fast-forwarding to present day, drug enforcement agencies now wield enough influence to act as their own lobbyists, ensuring a plethora of advocates within the political systems of the U.S. and other countries to support highly weaponized, if ultimately dubious efforts to rein in drug activity.
The dysfunctions between the U.S. State Department and the U.S. Department of Justice remain on full display in Narcos. Interagency rivalries and priorities regularly intrude to undermine productive outcomes.
Boyd Holbrook’s ongoing narration clarifies the pertinent particulars during Season One, all the while oozing a gleeful cynicism. Full of idealism and purpose at first, Agent Murphy slowly comes to understand the complex political realities of the war on drugs. He offhandedly comments that what finally got the federal government’s attention regarding Escobar’s activities was not the murder rate in Miami or the ravages of drug abuse, but rather the fact that billions of U.S. dollars were going to Colombia, and that communist regimes might be involved. Outraged business leaders flocked to D.C., imploring then-President Reagan for relief, lest the illegal trade extinguish the local economy, or worse, jeopardize the American way of life.
“Narcos: Season One” offers viewers much to appreciate. The 1960s-style green décor infuses the gritty production, giving scenes a superb retro feel. Spanish-language passages with subtitles generously populate the range of South American locales, which convey a strong sense of authenticity. Hand-held camera shots that often prove distracting, here instead serve to enhance the unfolding events. Catchy music by Pedro Bromfman keeps things lively. Combined with the solid pacing that rarely lets up, each element of this Netflix original carries the storyline along nicely. Running over three years, this first installment will leave streaming, binge-watching audiences wanting for more. Expertly produced, “Narcos: Season One” does not disappoint, each scene imbued with a formidable sense of assurance.
Now available on DVD and Digital
