Tulsa King it could be if not his swan song, one of the last times we’ll see him in action. With this tv series on Paramount+conceived by the usual Taylor Sheridan and Terence Winter, Sylvester Stallone he demonstrated once again how much he knows how to resist in spite of time, profound changes in society and in the public. But for the fu Rocky Balboa And JohnRambo, unlike other stars of the past, none of this matters: he is always capable of retaining the public in a transversal, absolute way. A semantic continuity that not even its old rival Arnold Schwarzenegger he knew how to imitate. Someone will be able to say that after all in almost all the stories of him, including Tulsa King, Stallone always develops the same plot, connects continuously to the same character. But that would be a misreading, because ever since that Rocky who launched him into the Hollywood firmament, Sly has been able to interpret with great variety the values that America likes to think it always represents. Whether that’s true or not, he’s still the universal symbol of it.
Tulsa King: the plot and the cast of the tv series Paramount
Tulsa King see him in the role of Dwight “the General” Manfrediformer affiliate of the New York mafia family headed by Pete Invernizzi (A C Peterson). Released from prison after 25 years for murder, instead of the honor guard waiting for him for the silence and loyalty shown, he finds embarrassment, coldness and a humiliating reward: being sent like a postal parcel to the city of Tulsa, Oklahoma, with the aim of expanding the territory of the family. Manfredi obviously feels lost in the new century, dominated by technologies, lifestyles and new values that seem very strange to him as an old Italian-American gangster. However, it won’t take him long to find the key to the problem, trying to create his own small personal empire. He’ll have to contend with rival gangs, bungling accomplices, a glamorous ATF agent (Andrew Savage) and above all with the remorse of having lost all contact with her daughter for the past 18 years.
Tulsa King: the review
Tulsa King it’s a perfect one middle ground between crime and comedy, entertains with panache but without ever lapsing into parody, above all giving the right space to each of the many characters who move around Stallone. The cast includes first-rate character actors such as Domenick Lombardozzi, Dana Delany, Ritchie Coster, Michael Beach and Garrett Hedlund. Stallone uses every ounce of his experience to outline a seventy-year-old who predictably, despite his age, is still able to lead his hands and intimidate anyone with a simple glance. More than a veteran, Manfredi is a survivor of himself, of an era that no longer exists, but still determined not to give up. But doesn’t all this sound familiar? Tulsa King is yet another variation on a theme of something Stallone has embraced since day one: the myth of redemption for a humanity that has lost its soul, its identity, for a country that has forgotten that it is the land of free men and the homeland of courage. Manfredi has his feet firmly planted in the present, he knows he has to adapt, but his gaze, his mind, are sadly directed to the past.
Sylvester Stallone and his American man
When he came out Rockyfew realized how in addition to symbolizing America trying to restart after the tragedy of Vietnamthat boxer was the bearer of something that was rooted not in the present, but in the past. Rocky Balboa it wasn’t so much Chuck Wepner, but Rocky MarcianoGraziano, LaMotta, was white America of the 40s and 50swith his boxers trying to take revenge against the African American one, which he had in Apollo Creed the double of Muhammad Ali. The American dream theme somewhat overshadowed Rocky’s nostalgic revanche dimension. John Rambo, the desperate and feral veteran, the other half of Stallone’s identity, instead represented the impossibility of detaching oneself from one’s identity, from what one is, as if to say that many things can be changed, but not one’s nature. In Tulsa King The protagonist he is a mix between these two identities: he is direct, charismatic and never tame, but at the same time he is also full of pain, in search of authentic human relationships. Above all, he believes in loyalty, in honor and has a vision of libertarian life, similar to the one always claimed by Clint Eastwood.
Brian Douglas © 2022 viacom international inc Paramount
From Demolition Man to Jimmy Bobofrom Over the top misunderstood Samaritanin Stallion there has always been the will to give us a key to understanding existence, wielding a narrative with which to embrace happiness and make things work “nowadays”. He figured out how to make his aging age a strong point in the latest chapter of the Philadelphia boxer saga: Rocky Balboa of 2006, changing the epic-macho component of which he was a prophet. Tulska King has the same purpose, as well as was with Creed or the saga of Expendables, with its proudly retro ammazzasette, a tribute to heroic America of the cult 80s. Stallone has always recovered his themes in new guises, without appearing repetitive. The world changes so suddenly and messy that it’s easy for everyone to get lost, not being able to keep up anymore, but he, Sly, will show you what really matters. This gangster, broken soul with a heart of gold, is the epitome of what this 76-year-old boy continues to be to all of us, which is why we never get tired of seeing him.