A glimpse from the series "Aviram Katz" (here 11)
In order to talk about "Aviram Katz" which ended last night on Khan 11, one must first understand what it was not: it was not a detective series in the conventional sense of the word.
It didn't really have clues and an investigation full of twists and turns, and actually there wasn't really a mystery here, and the detectives don't solve it anyway.
If anything, the journey of the hero at its center, a writer with questionable ethics who barely functions and doesn't really like people, is a story of escaping the mystery and the suspicions towards him, not of deciphering and connecting one piece of information to another.
We will look at the series even more from above, and we will discover something important: its charm is not at all related to the plot, which is almost accidental, but to many other things.
For example, the amazing acting of Yehezkel Lazarov in the main role, who captures with his looks and voice every nuance in the shaky personality of the main hero;
to the huge comic roles of Dana Moden and Viniv Beaton as the pair of detectives, every moment with them bursts with laughter;
And above all, above all, for what was hidden under the plot and the witty jokes: a truly brilliant script, loving people, that looks at a very fundamental question: does honesty even exist in a world full of fakery, pretense and interests?
Warning: From here on there may be spoilers for the end of the series.
A huge role.
Lazarov as writer Aviram Katz (photo: from "Aviram Katz", courtesy of Kaan 11)
"Aviram Katz" flourished especially in the dialogues, perhaps the best written in an Israeli series since "Rehearsals" - and this is not the only point of similarity between two of the broadcasting corporation's hits, which share a similar ironic tone, guest appearances by the same actors, and above all the intelligent discussion about the gap between life and The way we present them to the world.
During the viewing it sometimes seemed that the whole story was just an excuse for these great dialogues, some of which did not advance the plot at all - but they are also the ones that made the series a pleasure.
In those dialogues, Moden, who wrote the series, was able to show exactly how every conversation - literally every conversation between any two characters - consists of both a direct layer and, perhaps mainly, a false layer.
All the characters recite pre-prepared sentences, try to outwit each other, pretend innocence to explain non-innocent behavior, or just put on a performance for the world.
Katz the writer is in no way authentic, not only because he steals a story and presents it as his own, but because time and time again he makes plays for his interlocutors - whether it's the identical consolation speech he gives to the dog Atlas and Elisheva Romano;
the way he talks to people about the stories they ask him to read;
at the hospital for the medical staff he is trying to recruit to help him;
and even in the way it was investigated.
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But he is really not the only one: such are also the meeting full of lies between Victor Guetta and Roy Carmon;
The pompous speeches at the meeting are read - among the funniest scenes in the entire series - and also the scenes of the policemen, of course, which are full of mutual exercises, flattery, pretense or simply empty small talk, which in essence is a performance of a conversation and not valuable communication.
This bluff is exposed to us viewers, and these clumsy attempts at impersonation sometimes become almost slapstick.
In other words, the funniest, most striking, smart and witty thing about "Aviram Katz" is how she most authentically captured the inauthentic way in which her heroes (and people in general) communicate with each other.
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Dana Moden as police officer Linda (Photo: Here 11)
This idea is of course specifically thrown at the characters who write, and as it turns out - there is almost no character in "Aviram Katz" who does not write for some kind of contingency.
While in life everything is fake, in literature it is allowed to tell a different story, as long as it is original.
All those characters dream of being an original voice, but stop at the publishing stage, either because of anxieties or life itself.
Even Katz, the writer who "did it", himself describes writing as a Sisyphean act of almost self-hatred, jealous of his rivals and unable to find an idea for an original story - which creates the story.
Is the agony of writing what creates literature, as Aviram claims?
And who can even determine what is "real" literature and what is not?
The professional writer and his literature are revealed to be inauthentic again and again and again, and ironically, "the most beautiful story ever written" turns out to be the truth, and therefore not original fiction in the romantic sense.
Therefore, while the end of the mystery turns out to be casual - and as said it doesn't really matter - the last picture of the series offers real redemption.
In this whip, next to Aviram Katz, many of the characters they met along the way and confessed that they themselves write on an amateur level, fulfill their dreams and try to sell their new books (alongside them, it seems to me, also Asher Kravitz, who wrote the real book on which the series is based).
All of them overcame the barriers and became writers.
Finally, what they really wanted to say came out the way they intended, without the molds that life had forced upon them.
All these voices, emphasize Dana Moden and Eitan Tzur in every scene, have the right to be heard in the world.
If we listen to them, we will find that sometimes they are really funny.