Pablo Escobar: El Patrón del Mal is an ambitious and largely successful undertaking to portray the man who held the country of Colombia in his tyrannical grip (by the proverbial cojones) for more than a decade. The epic series (73 episodes on Netflix) details the damage and heartbreak this man left in his wake. The story of Pablo Escobar is nothing if not unbelievable, and this expansive production manages to explain the seemingly inexplicable, how a single person could essentially take over a country, corrupting countless individuals through the imposition of a ruthless ¨plata o plomo¨ (money or bullets) ultimatum at every stratum of his society.
The series is not perfect--the jarringly repetitive music riffs preceding every single pursuit scene, the sometimes bizarrely abrupt casting changes from one episode to another (the radical transformations of the wife, Paty, and the son, Emilio, were especially puzzling), and the excessive, overwrought sentimentality in the aftermath of some of the atrocities can all be criticized with good reason.
That said, the overall production is a success because the acting is very, very good, and the writers and director accomplished what they set out to do: to tell a story which needed to be told, and to do so convincingly, complete with historical film clips inserted where available to document that this is not a tale of fantasy. The series was so gripping that I watched six episodes a night continuously until I finished, exhausted by the ordeal.
I was especially impressed by the ability of the lead actor (Andrés Parra) to portray how it was that Escobar was both loved and feared to such an extent. His rise, fall and ultimate unraveling were very well paced, and the acting was perfect. Other standout performances were those of El Chile, El Topo, Fabio, Marino, Pedro Motoa, El Mariachi, Marcos Herbert, Gonzalo, Cain, Kiki... the list goes on and on.
I highly recommend this series to anyone with an interest in the history of Colombia, the cocaine trade, or organized crime more generally. All of the dialogue is in very clearly articulated Spanish, so it is linguistically worthwhile for anyone who speaks Spanish as a second language. (There are subtitles in various languages, too, so the production is accessible to non-Spanish speakers as well.) Anyone who is interested in the nature of corruption should not miss this series.
