The first thing that catches the attention of the entertaining Italian series Imma Tataranni (La 1 and RTVE Play) is the context in which the investigations of the substitute prosecutor take place: the Basilicata region, and mainly Matera, one of the most important cities of the area, a context that once again demonstrates respect for the conservation of architectural heritage. It is probable that the traditional isolation of the area conditioned this respect in part, but the traveler who visits the very touristy city of Rome will verify, surprised, that same respect. If the traveler also comes from Spain, the surprise is added to the astonishment to see that it is possible to survive in the cities without wild real estate speculation.
Prosecutor Tataranni is a curious mixture of Italian clichés —passionate, loud, familiar…— with a rough character and a predilection for colorful clothing, without any of this modifying her tenacity in solving the murders that take place in the region. . She has a very different personality from that of the calm commissioner Montalbano, although the two demonstrate excellent professional efficiency.
The series of the prosecutor of Matera aspires to greater sociological information than that of the commissioner of the Sicilian, and imaginary, Vigata. Tataranni’s husband, mother-in-law, mother and teenage daughter all have significant development in the series, as does his assistant, the shy policeman Ipazzio Calogiuri, and they fit some traditional profiles: rebellious daughter, enemy mother-in-law, mother with Alzheimer’s and a faithful husband, either out of love or fear, without despising corrupt politicians, controlling superiors or secretaries who suffer from lovesickness. Imma Tataranni, in addition to entertaining, yearns to show a mosaic of the times we live in.
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