Viola come il mare 2: Review of the First 3 Episodes of the Series with Can Yaman and Francesca Chillemi

Viola come il mare 2: Review of the First 3 Episodes of the Series with Can Yaman and Francesca Chillemi

Viola come il mare 2: Review of the First 3 Episodes of the Series with Can Yaman and Francesca Chillemi

Over a year and a half later, during which other shows have aired on Mediaset, Viola come il mare 2 arrives, highly anticipated and loudly demanded by the audience after the success of the first season. 

Produced by Luca Bernabei and Lux Vide, the new season is helmed by director Alexis Sweet, taking over from Francesco Vicario. We're back in Palermo, the setting for the police and romantic events involving Violata Vitale (Francesca Chillemi), a crime journalist with a keen sensitivity and intuition thanks to synesthesia, and Francesco Demir (Can Yaman), a Chief Inspector driven by instinct and enigma.

The first three episodes (thus the first 6 episodes) were premiered on Mediaset Infinity, a commercial strategy also followed by competitor Rai, and will have their official broadcast in prime time on Canale 5 starting from May 3rd. 

The atmospheres in which Viola Come il mare 2 immerses its viewers this year are much more intricate and sizzling, particularly due to the cliffhanger with which the first season finale bid us farewell, immediately hooking onto the new episodes available on the platform eager to tell us how the lives of those characters we've grown to love have continued. And how some discoveries might disrupt their existence, putting them in crisis.

Viola come il mare 2, the plot of the 3 episodes

Let's reconnect to the end of the first season, which left us with a doubt: are Viola and Francesco siblings? Both, as it was hinted, seem to share the same father, but neither of them knows. We pick up from here. Sonia, Francesco's mother, who had previously warned Viola that her father is another man, has arrived in Palermo to talk to her son. 

However, an accident leaves her in a coma from which she cannot wake up. Meanwhile, at Sicilia Web News, there's a new editor-in-chief from Milan, Vita Stabili, a strong-willed woman who tries to be as affable as possible with her journalists despite harboring some prejudices, especially towards Viola, whom she considers favored due to her good looks.

Meanwhile, the crime journalist is assigned a new task: a podcast where she, in her own way, can narrate her investigations and the stories behind the murders committed in the city. A solution that fits well with the narrative structure, transforming Viola's voice-over, to which we were accustomed, into a real element of the diegesis, as her words, which introduced and accompanied the entire episode, translate into the radio podcast, becoming an integral part of it.

Each episode, aside from the main plot regarding the complicated relationship between Viola and Francesco and the search for the truth about their respective parents, tries to address different themes: from the meaning of love to the relationship between siblings, to what it means to be ill, to being oneself and dropping the masks.

The second season confirms itself as a comforting treat

The format of Viola come il mare, found in the new season, remains similar - in terms of narrative pattern - to other police-romantic television series produced by Lux Vide, such as "Che Dio Ci Aiuti," "Un passo dal cielo," "Don Matteo," and "Blanca," to name a few. It's a sort of distinctive trait that immediately identifies its production identity, effective and immediate, as a television series ultimately requires. The stylistic hallmark is also common to other products based on this genre: there's the photography with lively and bright colors that enhances the direction and images, there are panoramic shots of the city where events take place, and there's the promotion of the postcard-like territory where the story unfolds.

A classic and precise approach, which however does not detract from the fiction's identity: as in other cases, to differentiate the fiction, the choice is made to focus more on the protagonists than on the storyline, which are the true heart of the narration, giving them defined facets and good characterization. 

Can Yaman and Francesca Chillemi confirm themselves as capable in this regard, attentive to providing more facial expressions to serve the scene and allow for greater emotional depth, and their well-practiced chemistry is evident, allowing for naturalness in their interactions, even in the more "spicy" ones. However, the two actors are even more integrated into the narrative's interlocking, which works well for the target audience of mainstream television and ensures comfort above all

At times naive in the choice of some cliché situations and dialogues where there's a bit of forcedness that doesn't always make it fluid, but still manages to contain both moments of fun, where it manages to elicit a laugh, and more serious moments, which stimulate and encourage deeper reflection. 

The fiction, therefore, reaffirms its role as a comforting indulgence to be enjoyed on the couch at home and ensures that the viewer is carried away partly by curiosity linked to the investigations, which maintain the police/crime tone by offering action moments where the Turkish actor shows off his physicality, and partly by the visual pleasure set in motion by the romantic side, with funny gags, love misunderstandings, and knowing looks that Francesco and Viola continue to exchange.

Can Yaman and Francesca Chillemi: Overcoming Prejudices

At this point, it's pointless to deny it: the winning card of "Viola come il mare " remains its main characters, Viola and Francesco, behind whom Francesca Chillemi and Can Yaman show that they understand and grasp the needs and peculiarities of their respective characters. Chillemi is now a mature actress, always ready for new challenges. 

She enjoys herself on set, and it shows. She manages to find the key and the right channel to communicate first with her character and then with the audience, resulting in authenticity. In the Italian television landscape, she is one of the most appreciated faces, and it's no surprise. Just like her Viola, Francesca Chillemi has managed to break the stereotype and common notion of "beautiful but not talented," demonstrating skill, talent, and commitment with excellent results.

A clear sign that one truly becomes someone not because of their physical appearance (which contributes, yes, but is only a small part), but because of the study and dedication to what they do, which are the first ingredients that allow their career path to be dotted with successes. And above all, to continue with dignity.

This applies to her on-screen partner, Can Yaman, as well, who, thanks to the fame gained with the Turkish series acquired by Mediaset in which he was the protagonist, such as "Bitter Sweet," "Mr. Wrong," "Daydreamer," has earned a prominent place in Italian productions. This is demonstrated by his presence in "Viola come il mare " but also by becoming the protagonist of "Sandokan," an international event series by Lux Vide whose shooting is currently taking place in the studios of Formello. 

Yet, even Yaman - despite being armored by the love of his fans - has dragged along the label of "lucky" and "privileged" for his physical appearance, for his beauty is seen almost as a fault, as if beyond the aesthetic component there was nothing else. Instead, in defiance of those who did not believe in his training, the actor has shown his worth, and his ability to embrace and overcome the challenges that came his way. 

Let's remember, for example, that Yaman took Italian lessons to improve his pronunciation and not to misuse the terms of our Italian language, in respect of both the product and his audience. In this season, his improvements and his greater ease and familiarity compared to the first season are noticeable, even though it's actually his Francesco Demir who acquires more truths, precisely because he's different even in voice tone and accents.

In conclusion, anyone looking for a moment of lightness, to unwind from their commitments, and perhaps dream of summer, cannot miss the second season of "Viola Come il Mare." A series that doesn't want to build itself on any pretenses, but positions itself as a comfort show to envelop its audience in a bubble of relaxation, for a couple of hours. And that's just fine.

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