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This series embodies a group of people who founded a jazz club in Paris where the series focuses on the owner, the band and the city. This club exemplifies many difficulties, as it has been seized today and deals in great measure with the relationship between the American and French Arab owners of the club, ideally.
More than "La La Land," which talked about a love for jazz, "The Eddy" at its best feels like jazz, harking back to Chazelle's first film, the swooning "Guy and Madeline on a Park Bench."
The Eddy can be a wonderful show at certain points, and stifling and withholding the next. The exhilarating points definitely outweigh the more frustrating pieces, and there are strong moments from the entire cast.
The more "The Eddy" wants to advance the central plot, the less effective it becomes; whenever it soaks in the world, or homes in on small details, it comes alive.
Holland's internalized ability to communicate makes his climactic confrontations all the more powerful, but it also perfectly suits "The Eddy's" less-is-more approach to storytelling.
The sessions are brilliant. But they don't serve the slow, slight plot and for anyone whose interests lie more in the drama than the music, these extended interludes may well tip the balance into outright tedium.