As proof, these three series "Penny Dreadful: City of Angels",  "Perry Mason" and "Hollywood" - which revisit, each in its own way, the very “film noir” mythology of Los Angeles of the 1930s and 1940s.

&ldquo; I live in Los Angeles in 1942 &rdquo; often likes to say James Ellroy , furious author of the Black Dahlia and the Big Nowhere , and literary high priest of a city where there are no more angels but four new knights of the apocalypse: corruption, violence, sex and ambition. This year, there are three series that retrace this era. First of all &quot;Penny Dreadful: City of Angels&quot;, a distant &ldquo;spin-off&rdquo; of the excellent 2014 series with Eva Green , which shifts the decor of the Victorian era and the fogs of London for&nbsp;the California palm trees. Detectives attempt to investigate ritual sadistic murders inspired by Mexican folklore, against a backdrop of community tensions and the rise of Nazism, with as a completely anecdotal accessory the struggle of a goddess of the dead Santa Muerte and his demonic sister Magda .

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Much more convincing in the &ldquo;film noir&rdquo; register mixed with Pulp Fiction , the new Perry Mason of HBO, produced by Robert Downey Jr and played by the fantastic Matthew Rhys (multi-awarded for The Americans ). This prequel to the famous sixties series has little to do with the one that made Raymond Burr famous: this Perry Mason is still a private detective, damaged and traumatized by the 1914-18 war, an investigator who rather eyeing the side of Polanski&#39;s Chinatown.

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Finally, the luxury <a href="https://www.lofficiel.be/art-culture/hollywood-pourquoi-il-faut-voir-la-serie-de-ryan-murphy-sur-l-age-d-or-d-hollywood" target="_blank">Hollywood</a> miniseries on <a href="https://www.lofficiel.be/art-culture/netflix-10-mini-series-a-voir-en-1-journee-sur-la-plateforme" target="_blank">Netflix</a> , created by Ryan Murphy ( Glee , Pose and Feud ) takes a look behind the scenes of Hollywood in the heyday of the studios by retracing the difficult rise of a group of talented young artists aspiring to fame and to their future Oscars. Ryan Murphy has assembled a cast of promising young talent ( Darren Criss , Jeremy Pope , Samara Weaving ) and heavyweights who know how to set the mood ( Dylan McDermott , Jim Parsons and Patti LuPone ). First, he describes Hollywood&#39;s hidden sexuality. It is the reign of the perfect image, a hypocrisy conceived by the producers and publicists of the time and strictly framed by the Hays code. This part draws heavily on Scotty Bowers&#39; autobiographical book, the scandalous &quot;Full Service&quot;, on his long career as an escort-boy for All-Hollywood. He is portrayed onscreen as Dylan McDermott who plays Ernie West, a jovial pimp and philosopher running a gas station-lupanar. As for the character of Camille ( Laura Harrier ), he is inspired by the actresses Lena Horne and Dorothy Dandridge , and we find a young fictional Rock Hudson in the guise of Jack Picking . The themes of women&#39;s rights, power struggles, the patriarchal system of studios, racism on and off the screen, the rights of producers, etc. are approached with very (too much?) Technicolor enthusiasm. And all those nasty studio mechanics in 1947 are still mirrored with what Hollywood has become today: from Weinstein&#39;s #metoo to the problems of representation of minorities whether African-American, Asian or LGBT. In the final episodes, Ryan Murphy makes a 180-degree turn, straight to the insane pleasure of a candy-pink happy ending, a happy ending that never existed, where those who are excluded are finally - all - rewarded. This dreamed of alternative universe, however, leaves a slightly bitter taste. In Hollywood during those years, real fighting took place. These fights against racism (for example, Home of the Brave , great success of 1949) or against anti-Semitism ( Le Mur invisible , three Oscars in 1948) or against McCarthyism which begins that year, have been lost or won. by artists facing the same obstacles. Gays and lesbians were among the biggest losers in history: it was not until the 1990s that Hollywood tolerated coming out, then films with gay heroes (see the documentary Celluloid Closet in 1995). Murphy explained last May to The Hollywood Reporter : &ldquo; My show is a magnificent fantasy which, in these times, could be a kind of balm. &ldquo;But more than ointment to heal wounds, we have to keep changing things.

Series: Hollywood's golden age never ceases to fascinate

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