Grace and Frankie

Grace and Frankie
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Grace and Frankie

La serie comedy “Grace and Frankie”, distribuita dalla rete Netflix, racconta le vicende di due donne, Grace e Frankie (la prima interpretata da Jane Fonda, due volte premiata con l’Oscar, e la seconda dall’icona lesbo Lily Tomlin, premiata con sette Emmy, insieme dopo 34 anni da “Dalle 9 alle 5”), che, dopo essere state quasi nemiche per lungo tempo, scoprono di avere molto in comune quando i due rispettivi mariti si dichiarano ufficialmente gay, innamorati l’uno dell’altro (segretamente da 20 anni) e, adesso che è possibile, decisi a sposarsi. I mariti Sol e Robert, sono interpretati rispettivamente da Sam Waterston, quello di Frankie, e da Martin Sheen, quello di Grace.
La serie, creata da Marta Kauffman (Friends) e Howard J. Morris (Sullivan & Son) e prodotta da Paula Weinstein per Skydance Prods, è composta da una stagione di 13 episodi di mezz’ora ciascuno, subito rinnovata per una seconda stagione. La serie ha i tempi di una sit-com, mezz’ora per episodio, ma non ci sono (fortunatamente) le risatine di un pubblico fittizio. Anche se i toni sono quelli una commedia, le tematiche sono affrontate con inusuale profondità per il genere, ed alla fine ci troviamo davanti ad un intrigante affresco di moderne relazioni sentimentali, famigliari ed amicali. Il merito principale, oltre a quello di un’ottima sceneggiatura (Marta Kauffman e Howard J. Morris sono dei maestri riconosciuti dopo aver scritto centinaia di episodi per la tv) è senz’altro dei quattro grandissimi interpreti, tutte stelle affermate sia del piccolo che del grande schermo, che all’inizio della serie sembrano faticare un po’ ad integrarsi nello strano quartetto, ma poi tutti i ruoli si affinano e tutte le complicate relazioni diventano credibili, sia quella dei due maturi amanti che quella delle due donne tradite. Fonda, solitamente impiegata in ruoli drammatici, è qui una donna malata di perfezionismo ma con un debole per la vodka, uno stereotipo femminile che pian piano si scioglie in molte altre sfumature. La Tomlin, attrice lesbica dichiarata, parte anche lei dallo stereotipo della donna hippy, scanzonata e dedita ad ogni tipo di sostanza, che davanti ad una verità così inattesa e brutale, dovrà ampliare i suoi orizzonti. Martin Sheen, nel ruolo di Robert, che all’inizio sembra un solido ma mite puritano (ci sembra quasi incredibile la sua storia decennale con Sol) davanti alla rabbia di Grace deve iniziare a dare nuove significati e conseguenze a quanto sta accadendo. La figura più caratterizzata positivamente sin dall’inizio è forse quella di Sol, interpretato da un ottimo Sam Waterston, che manifesta dei punti di vista originali ed interessanti, capaci di attirare da subito l’interesse del pubblico. Di fronte a tante star veterane, riescono a cavarsela assai bene anche le nuove generazioni, quelle dei figli, che a volte rubano la scena ai genitori. La serie è ricca di battute taglienti che spesso centrano il problema e arrivano a svelare il nucleo della situazione, equamente distribuite tra i vari personaggi.

Ruoli LGBT

Robert - Martin Sheen

ruolo: Robert
inteprete: Martin Sheen

 Robert è l’altra metà della coppia gay nella commedia di successo di Netflix. Mentre era ancora  sposato con Grace (Jane Fonda), Robert portava avanti da decenni una relazione con il  suo socio in affari Sol. Robert e Sol sono ora felicemente in una relazione stabile. Robert si identifica come gay, e non come bisex, anche se è stato sposato con una donna  per anni.

Sol Bergstein - Sam Waterston

ruolo: Sol Bergstein
inteprete: Sam Waterston

Sol ha lasciato Frankie, il personaggio interpretato da Lily Tomlin, per il suo socio in affari Robert, dopo decenni di matrimonio. Sol riconosce che lui e Robert hanno avuto una relazione per quasi tutto il tempo. Pur essendo stato sposato con una donna, Sol si identifica come gay e non come bisex.

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trailer: Grace and Frankie

Varie

12/12/2015 – la serie è stata rinnovata per una terza stagione.

Episodi stagione 1

1 – The End
Grace & Frankie are stunned when their husbands inform them that they want divorces. They’re even more stunned when they find out why.

2 – The Credit Cards
The messy realities of divorce start to sink in for Grace, Frankie, Robert, Sol and their equally frazzled adult children.

3 – The Dinner
Grace and Frankie decide to go back to work. Robert and Sol have an awkward dinner party for their children.

4 – The Funeral
Emotions run high When a funeral throws Grace, Frankie, Robert and Sol together in public for the first time since the split.

5 – The Fall
Grace has an eye-opening experience when she goes out for frozen yogurt with Frankie and Brianna on a Saturday night.

6 – The Earthquake
Sol takes care of Frankie after she has an earthquake freak-out, while Grace goes on her first date. Coyote pays Mallory a surprise visit.

7 – The Spelling Bee
Frankie, Grace and Brianna have unexpected encounters when they try new ways to deal with being single.

8 – The Sex
Frankie takes a new look at her Yam Man Jacob, while Grace and Guy get closer. Bud and Coyote have a brotherly talk. Sol is terrified of Brianna.

9 – The Invitation
Brianna tries Frankie’s homemade organic beauty product. Robert finds out about Guy and Grace. Frankie tries to set boundaries with Sol.

10 – The Elevator
After they sign the divorce papers, Frankie, Grace, Sol, Robert and Bud remember a pivotal weekend from five years before.

11 – The Secrets
Grace tells Frankie a secret that Frankie shares with Sol, setting off multiple arguments in both houses. Brianna gets closer with a co-worker.

12 – The Bachelor Party
Bud and Coyote ask Brianna and Mallory to help them throw Sol and Robert’s bachelor party. Grace offers to do ANYTHING to cheer up Frankie.

13 – The Vows
As the wedding day approaches, Grace and Robert have problems expressing themselves, while Sol and Frankie finally clear out their old house.

CRITICA:

It’s hard to classify “Grace and Frankie” except to say it’s splendid television.
The cast alone makes it clear, if anyone still needed convincing, that Netflix is playing in the big leagues.
Jane Fonda and Lily Tomlin star as, respectively, Grace and Frankie, women in their 70s whose husbands leave them to marry each other.
Grace’s husband, Robert, is played by Martin Sheen, Frankie’s Saul by Sam Waterston.
All four are superb. Fonda may have the trickiest role, finding humor in a proper-and-prim character who is essentially humorless. Frankie, conversely, is a refugee from the ’60s and traffics effortlessly in droll wisecracks.
The show is nominally billed as a half-hour sitcom, though in the world of Netflix that doesn’t mean it either has to run a half hour or be sitcom-funny.
True to how a situation like this would play out in real life, a lot of pain courses through the show. Grace and Frankie take the most direct hit, though Saul also does his share of suffering.
Only Robert, a divorce lawyer who matter-of-factly admits he and Grace never really liked each other very much anyhow, seems to feel guilt-free joy.
The show’s comic infusion comes from the unlikeliest place: the title characters.
As it happens, they never liked each other, either. Now they are the only ones who grasp the other’s pain, locking them into an uneasy bond.
They have kids and friends who try to help, and occasionally do, but Grace and Frankie seem to understand that they need each other, even if sometimes they still don’t like each other.
If this isn’t the next “House of Cards” or “Orange Is the New Black,” so what? It’s the first “Grace and Frankie.” (David Hinckley, nydailynews.com)
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Thirty-five years after Jane Fonda recruited Lily Tomlin as a co-star in “Nine to Five,” the two have teamed together again, this time for a TV series, “Grace and Frankie.” Created by Marta Kauffman, who co-created “Friends,” and Howard J. Morris, who wrote for “Home Improvement,”
Fonda plays Grace; Tomlin is Frankie. We meet them meeting at a fancy restaurant, and it is made clear from the get-go that all they have in common are their husbands, business partners Robert (Martin Sheen) and Sol (Sam Waterston), who arrive presently to announce that they are in love with one another and want to get married because, says Grace’s Robert, “you can do that now.” And we’re off.
(The series is a reunion in more ways than one: Tomlin spent time on “The West Wing” with Sheen, as Fonda did with Waterston on “The Newsroom” — both Aaron Sorkin series, interestingly.)
In that it deals with a late-life announcement about sexual identity, “Grace and Frankie” has a superficial kinship to another recent Internet series, Jill Soloway’s “Transparent” on Amazon. But the husbands’ story line, while certainly tended to and nicely played, is not really the point — it’s the device, rather, that launches the women into close mutual orbit, that gives them a reason to commiserate and collaborate despite their heavily limned antipathies and differences.
Grace, who founded a makeup line, is put together from the outside in: She lives in a state of glacial perfection; in more ways than one, including her marriage, she’s invested in appearances. Frankie, an amateur painter who teaches art to ex-cons, is squishy and spiritual and all over the place. But they wind up living together, more or less, in a co-owned beach house. That is to say, a mansion on the water: We are, again, in the company of the well-heeled.
More fundamentally, it resembles the kind of mature, upscale romantic comedies that Diane Keaton (and Keaton almost alone among American actresses) makes nowadays — the sort of film described in a recent Amy Schumer sketch on the sexual bankability of older actresses as having “very vague yet uplifting titles like ‘Whatever It Takes’ or ‘She Means Well.’” And it’s also a kind of female version of the antagonistic buddy films Jack Lemmon and Walter Matthau made together toward the end of their careers — “Grumpy Old Women,” if you will.
It’s a (mostly) polite entertainment that bad language and a peyote trip make no less (mostly) polite. Some of it feels stagy. A few too many gags advertise their subjects: Here is a joke about hearing loss, here is a joke about bad vision, about the invisibility of the aged, about sex after 70. Here is a joke about old people and technology. (Frankie slamming a smartphone down on a table as if it were an old-fashioned receiver is a good one.)
Still, they wear their age more or less proudly — we are told that Grace is 70 (Fonda is actually a supple 77), though her daughter advises to call herself 64 for online dating, and Frankie needles her cryptically about plastic surgery. (All four principals are in their 70s, which does feel a little revolutionary.)
The leads each fare better when her character is a little off base — Fonda’s when she defrosts a little, Tomlin’s when she toughens up — and the show is more fun when they’re in a mood to cooperate than when they’re trading barbs. Though they have their own special quirks and burdens, their children — Brooklyn Decker and June Diane Raphael play Grace’s, Ethan Embry and Baron Vaughn are Frankie’s — are largely there for the stars to bounce off. (Raphael, the wiseacre among them, and the deliverer of some of the series’ more striking lines, does stand out, especially in some later scenes with Tomlin.)
Still, more often than not, I found myself caring more about the actresses than the characters they played — finding their show a little wan but wanting it to work, both out of a lifetime of respect and because there could stand to be more series in which the main characters are not designed to appeal to TV’s hallowed 18-34 demographic. (This is Netflix; their metrics may vary.) The series does get better as it goes on — six of 13 episodes were made available to review — and grows less concerned with telling you who these people are and more interested in watching them. (Robert Lloyd, Latimes.com)

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