A conclusion after the first two seasons.
The Plot: That’s the point in “House of Money”
A young man with the alias “Professor” (Álvaro Morte) hires a jumbled group of criminals to make the biggest coup in human history: a raid on a central bank print shop. But no money should be stolen. Instead, the morally conscious professor plans to print his own euros in the “House of Money”. However, a lengthy hostage-taking is necessary for this.
The professor is cautious: So the group members know each other only under their aliases. Everyone has the name of a big city. The story is told from the perspective of “Tokyo” (Úrsula Corberó), a spirited bank robber who has a secret affair with the young hacker “Rio” (Miguel Herrán). The professor strictly forbids love stories. Rightly, as it turns out later, as the clever plan threatens to fail Tokyo’s heart for Rio.
While the hostage-takers are entrenched in the banknote printing works, the professor coordinates the crime from a safe hiding place and at the same time lends a hand to the field-leading police inspector Raquel (Itziar Ituño). A brilliant move or a fatal mistake?
Two Season – 22 episodes of hostage drama
The Spanish TV series has been presented in two parts for Netflix so far. The second part with the last nine episodes is available since April 12th. 22 episodes are far too much for the thin plot. Instead of telling the hostage drama in half the time, the script is stretched out and punched with greasy romances. The culprit is, of course, the Stockholm Syndrome. Instead, one could call the many love stories also “Titanic Syndrome”, because the characters fall in love so quickly in a few days that first marriage proposals between hostage and hostage-takers not long in coming. Naive storytelling or Spanish temperament?
modern Fairy tale with stale stylistic devices
In the first two seasons, “Haus des Geldes” mixes cheeky Heist-Movie clichés with a legendary narrative. The gang of criminals is presented with mugshots and off-comments. Each later episode begins with a ticking clock that sums up the past hours of hostage taking. Surprise: As old as these clichés are, they are fun.
The euphoria is quickly clouded, however, because the off-comments of protagonist Tokyo just do not stop. Anything the script can not show is simply declared off-screen – a cheap stylistic device that nevertheless enjoys great popularity, as the viewer gets all the important information pre-chewed.
But the problem lies elsewhere: a hostage-taking creates tension from the moment, from an uncertain situation that could explode any time. Due to the constant retelling of Tokyo this voltage is canceled.
El amor dominates – four romances at the same time!
Love may even play the biggest role in “House of Money”. Almost every plan fails because of the impulsive emotional fluctuations of the characters, both on the part of the hostage-takers and the police.
The hostage (melo) drama juggles with four romances simultaneously. The almost fairytale love story between the “Professor” and the “Inspectora” works through the lack of chemistry like unpleasant petting of two teenagers who confess their feelings for each other in a shaky voice. Of course, the affair is highly dramatic: The Inspectora does not know that she is personally the chief hostage-taker. The hide and seek game is reminiscent of the friendship between drug boss Walter White and DEA agent Hank Schrader from “Breaking Bad”. It looks “house of the money” one or the other turn too much, making the series looks very often constructed.
The true star of the series is …
The characters are as flat as cardboard cutouts. Meaningful pregnant monologues can not hide it. Nevertheless, there is a performance that makes “House of Money” worth seeing. Chief hostage-taker “Berlin” (Pedro Alonso), who is in charge of banknote printing, not only delivers the most charismatic performance in the series, but also his obscure character drawing gives the gangster group the necessary dynamism. The eloquent narcissist with a code of honor would have made a much better protagonist than the one-dimensional Tokyo. Berlin’s off-comments would certainly have been a lot more exciting.
Conclusion: “House of Money” is naive entertainment
It is understandable why the series meets with enthusiasm: the theme is thrilling, the production casual and peppy and the simple script overwhelmed to no second. “House of Money” is made for relaxed “bingo watching”.
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In times of countless quality formats from television, Netflix and Co., the Spanish series, however, looks very good. A few years ago, that would have been something special, but the many clichés and bold storytelling can not cope with the standard of modern series, such as. ” Narcos “Compete.
“House of Money” is Netflix Fast Food: eaten fast, quickly forgotten.