Alonge Hawes returns to Screen Critix with the seventh episode in his serial drama Silver and Gold, entitled “The Valley Of Sorek”. Here is our review.
In April, we had the privilege of reviewing the initial six episodes of Alonge Hawes’ crime series “Silver & Gold,” a gritty narrative that garnered commendable praise for its compelling storyline. Now, with the latest installment titled “The Valley of Sorek,” Hawes once again invites us into the complex lives of his characters, particularly focusing on Sosa (Roberto Cruz JR), the heir to the gang throne.
Sosa, faced with the weight of his father’s desire to bury grudges and move forward, encounters a rival gang leader on a basketball court—an encounter rife with tension as Sosa’s young daughter innocently shoots hoops nearby. Threats are exchanged, prompting Sosa to delve into the movements of his adversary. A tip leads him to “The Valley of Sorek,” a location where he plans to confront and eliminate his rival. However, fate intervenes, and Sosa finds himself entangled with Susannah (Karris Morgan), inadvertently entering into a love affair that turns out to be an elaborate trap set by his rival.
“Silver & Gold” unfolds as a hybrid between a soap opera and the compelling grittiness of “The Wire,” with characters adorned in symbolism like a t-shirt featuring Avon Barksdale—a nod to the acclaimed HBO series. The narrative weaves a tale with noteworthy dialogue and commendable performances, particularly appreciating the rival leader’s theatrically delivered lines, reminiscent of iconic performances by actors like Alan Rickman.
While the storyline and dialogue showcase strength, certain production issues persist, mirroring concerns observed in the previous six episodes. The primary setback lies in the inconsistent sound levels, vacillating between spikes and near-inaudible moments, impeding the audience’s ability to comprehend crucial dialogues. Additionally, occasional synchronization issues between audio and mouth movements suggest challenges in the accuracy of ADR implementation. The framing and lighting choices in several scenes exhibit a lack of meticulous planning, and the violation of the 180-degree angle rule, without creative justification, further indicates areas for improvement in cinematographic execution.
Despite these production challenges, the seventh episode stands as an engaging addition to a serial narrative revolving around gangs, crime, and family dynamics. Evidently constrained by budget limitations, Alonge Hawes, now seven hours into his series, demonstrates unwavering determination in crafting an episodic storyline that piques viewer anticipation. It becomes increasingly apparent that Hawes, while resourcefully navigating the constraints, could greatly benefit from collaboration with fellow filmmakers in his locale. With additional expertise and support, the series stands poised for refinement, potentially securing a place on streaming platforms.
The addictive quality of “Silver & Gold” persists, a testament to Hawes’ commitment to his vision. The series, despite its current rough edges, holds the promise of growth and improvement with the infusion of fresh talent and resources. As we look forward to the unfolding chapters of this narrative, there remains a hopeful expectation that collaborative efforts and increased production support will elevate “Silver & Gold” to new heights, ensuring its place in the diverse landscape of episodic storytelling.
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