The Gryphon – Review Season One
“The Gryphon” is the German adaption of Wolfgang Hohlbein’s young adult fantasy novel. Instead of being captivated by the wonders of magic, the unknown, and thrilling escapades, the show’s stereotypes and weak storytelling disappointed me.
In German fantasy literature, Wolfgang Hohlbein is arguably the foremost figure in the genre. Alongside Michael Ende's “The Neverending Story”, Hohlbein and his wife Heike captivated an entire generation in the 1980s. Their collective imagination birthed approximately two hundred titles spanning horror, adventure, and children's literature. As such, it’s surprising it took so long for Amazon’s “The Gryphon” to be the first foray into film for his fantastical universe.
Recommended article
One Piece — Review Season One
With its blend of action, humor, and heart, Netflix's live-action adaptation of the anime “One Piece” promises an extraordinary voyage filled with friendship, loyalty, and unexpected twists.
The unveiling
The series starts in 1984 in Krefelden, when Karl Zimmermann (Golo Euler) spirits away his sons Mark and Thomas in the middle of the night, clutching an old book, leaving his wife Petra (Sabine Timoteo) behind. As they flee from an unseen threat, Karl reveals a family secret: the existence of the Black Tower, a mystical gateway to an ancient parallel world.
Fast forward to 1994, Mark Zimmermann (Jeremias Meyer), now sixteen, lives with his mother following his father's suicide and his brother Thomas's (Theo Krebs) disappearance. Mark's peculiar behavior, rooted in his belief in The Gryphon, a malevolent entity ruling the parallel world, earns him a reputation for mental instability, ostracizing him from the community.
Mark is only close to his girlfriend Becky (Lea Drinda) and his best friend Memo (Zoran Pingel), yet even they dismiss his fantastical claims—until they stumble upon the family's Black Tower Chronicle. Turns out Mark might not be so crazy after all—he's the chosen one, able to jump between different dimensions at will.
Recommended article
The Lord of the Rings: The Rings of Power - Review Season One
“The Lord of the Rings: The Rings of Power” offers another journey into Middle-earth, boasting unparalleled scale and scope for television. Unfortunately, the series tries too hard and ends up being pompous and boring.
Commendable effects but narrative shortcomings
Spearheaded by the production company Wiedemann & Berg, led by Erol Yesilkaya and Sebastian Marka, the series plunges three unsuspecting teenagers into the depths of a sinister parallel world, where they confront not only the tyrannical rule of The Gryphon but also a myriad of sinister creatures. While the premise promises an exhilarating adventure, the execution leaves much to be desired.
Despite the infusion of fantastical elements, the narrative predominantly fixates on adolescent dramas, relegating the overarching plot to the sidelines. The story was all over the place and left me confused with unanswered questions. Worse, moments that are meant to be suspenseful often end up diminishing the tension and disrupting the overall pace of the story.
The visual effects and cinematography in the series are generally sufficient. Practical effects like authentic masks and backdrops enhance the crafted set designs. However, there are moments when these effects appear low-budget, leaving me questioning the production choices. Still, opting for practical effects over CGI is commendable. Despite the effort put into the craftsmanship, it does not leave a lasting positive impression.
Character stereotypes
The presentation of characters in “The Gryphon” is disappointing, as the performances lack depth and the delivery of dialogue feels unnatural, resembling the awkwardness often found in amateur theater productions. Moreover, the supporting cast is rife with clichés and stereotypes, from the neglected rich girl to the lovelorn best friend, offering no meaningful contributions to the overarching narrative.
Jeremias Meyer struggles to bring life to Mark's character in the wooden script. It doesn't have that emotional depth and complexity that pulls you in and makes you care. Memo loses his disability—a stiff leg—in the Black Tower, prompting a desire to remain there indefinitely. For him, living in solitude, free from disability, becomes preferable to living among friends with a disability.
The show squanders its potential to develop compelling characters. Instead, it offers tired tropes and missed opportunities. As a result, I didn’t establish a strong emotional connection with them, and as a result, I didn’t care about their fate.
Recommended article
House of the Dragon – Review Season One
“Game of Thrones” revolutionized long-form entertainment, setting new standards with its grandeur and scale. While comparing "House of the Dragon" to its predecessor is inevitable, I strive to assess the series on its own merits.
A disappointing missed opportunity
“The Gryphon” is a well-intentioned but ultimately lackluster series. It is marred by its frugality across all aspects of production. From inadequate research to amateurish performances reminiscent of school theater, the series fails to deliver interesting dialogue or engaging action sequences. Even the sporadic fantasy elements lack the spark needed to captivate me.
Overall, it's a disheartening realization for what could have been a promising fantasy adaptation. With its myriad shortcomings, I find it difficult to muster any enthusiasm for a potential second season.
2 Stars
