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When he started his relationship with Isabel Preysler, Mario Vargas Llosa didn’t know who Jimmy Choo was. Nothing happens. Also, it’s very possible that Jimmy Choo doesn’t know who Mario Vargas Llosa is. This confidence is one of those that Tamara Falcó reveals in her new docality, Tamara Falcó: The Marquisepremiered on Netflix this Thursday and is produced by Komodo Studios.

Common sense dictates that the charisma of the protagonist of such a program and their way of facing the circumstances are responsible for its success. This is a necessary condition, but not a sufficient one. The perfect proof that a docality is much more than its protagonist We love Tamara (Cosmopolitan), which she starred in in 2013, was a flop and Tamara Falcó: The Marquise Touch all buttons to become an achievement.

Tamara Falcó, at a point in the documentary series ‘La marquesa’.

From this year 2013 to the present, Tamara’s circumstances have taken a turn that anyone ignorant of geometry would say 360 degrees. He discovered his culinary vocation thanks to his victorious passage celebrity of the master chef in 2019; he lost his father Carlos Falcó, who died of Covid in March 2020; began her romantic relationship with Íñigo Onieva, her current boyfriend, and graduated from Le Cordon Bleu in 2021. But no credit should be taken from her work at Komodo Studios (the producer who also spawned Netflix’s other big hit) Gender, i am georgina) with the starting material. His experience goes back a long way: Juan Pablo Cofré, director of The Marquise and also director of i am georgine has executive produced some of the genre’s best exponents such as who wants to marry my son either rich women. From the past and today: His screenwriter Nerea Crespo just went through LOL: If you laugh, you loseYes indeed drag racing. A team that has accomplished something very difficult: to look into the eyes of a character despised for it intelligence that he would brag about not knowing who Jimmy Choo is and that he is flattered to the point of corniness by a certain press used to living handing out soap.

When we talk about fairy tales, everyone thinks of a happy ending with partridges at the table, but the classic narrative structure that so many scholars have worked on, from Aristotle to Lévi-Strauss, via Propp, Campbell or Barthes, hides a hero’s journey. That’s how it happens in The Marquise, who not only does not hide his intentions, but uses them to strengthen his protagonist. It begins with Tamara’s 40th birthday and her call to action – to open a restaurant. pop up in the El Rincón palace, which he inherited from his father along with his title of nobility, he continues with his obstacles – the state of the palace, the low initial faith of his mother, Isabel Preysler – and at the same time he feeds on his helpers – including her boyfriend and his friend, the designer Juan Avellaneda.

Tamara Falcó, in the kitchen with Martín Berasategui (left).
Tamara Falcó, in the kitchen with Martín Berasategui (left).

Characters as diverse as Carolina Herrera, Martín Berasategui or Pope Francis appear naturally, thanks to the plot engine that links to his vocation and personal history, all peppered with home videos of his childhood and demonstrations of power – not necessarily luxurious – by reality of that kind. And so, without realizing it, one smiles when one presents Vargas Llosa with a first edition of the English translation Salambo and she calls: “My goodness, Flaubert, your darling!”; to identify with the mother-child relationship between the overprotective mother Isabel Preysler and her and to hold back the laughter at descriptions like “Fernando Verdasco, tennis player and brother-in-law” or at Tamara’s grimaces in front of the camera, which controlled every scene as much as possible Treat yourself to the luxury of spontaneity. “At home we called her ‘the actress.’ He told everything he wasn’t supposed to tell,” explains Preysler.

Tamara Falcó with her boyfriend Íñigo Onieva.
Tamara Falcó with her boyfriend Íñigo Onieva.

And so much, Vargas Llosa and Jimmy Choo know it well. The Marquise leaves the door open to season two – the weird thing would be if that didn’t exist. Tamara seems to lead a very boring life, but there is nothing better than to entrust her to a good TV crew to make a new story out of her. With her it is only clear that if there are partridges, she will cook them.

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