The hero of Netflix’s first Indian drama is Sartaj Singh (played by Saif Ali Khan) who cuts a rather lonely figure. He’s a honest and honorable detective who refuses to be intimidated by his corrupt colleagues in Mumbai’s police force. Probably because he refuses to tow the line he’s never landed a big case. He’s trapped in a corrupt system with no way out. In good cop show style, he’s unhappily divorced, scarred, gaining weight and taking medication for anxiety. No wonder as he’s under immense pressure from his station chief to lie under oath about a unarmed teenager shot down right in front of him.
This seems like more than enough to be dealing with, but no. Right from the outset Sacred Games is a game to be played by two. His opponent is Ganesh Gaitonde (Nawazuddin Siddiqui), a notorious gangster and a fugitive in hiding for 15 years. He makes contact with Sartaj out of the blue seemingly to spill his guts about his extraordinary life. He also has a cryptic warning. Mubai’s time is numbered – there’s 25 days until the whole city is destroyed. Is he threatening the city both men say they love or is he tipping Sartaj off in the hope of saving them all? His personal god complex is clear; his first words to Sartaj are “Do you believe in God?”, but after all he’s been through he thinks he might really be immortal. And the way the show sets him up, he really could be.
Continue reading “‘Sacred Games’ – Netflix”
This is a full review of The Bridge: Series 4, Episode 3. Catch up with episode 1 and episode 2. Don’t read on unless you’re completely up-to-date on the BBC2 schedule!
Episode 3 was a classic where not very much happens. Characters willfully impede the investigation and every plot point feels like a dead end, until a frantic final three minutes which leaves you shaking your head and softly repeating the word “What?” to yourself over and over.
“I’m not well” says Saga in typical matter-of-fact style. If only it was always so easy to acknowledge your own mental health problems and ask for help. She then lists a devastating catalogue of personal disasters. “We’ve got a bit to work with” says the unflappable therapist, surely in the running for Understatement of the Year 2018. We hope with help Saga will turn the corner and apply her logical, analytical brain to her own situation, but Mummy is messing with her delicate mental state from beyond the grave – having her lawyer send childhood mementos to Saga’s workplace. Don’t open the box Saga! It’ll be about as much fun as Brad Pitt’s surprise gift in Seven.
The Danish sister from episode two, christened by the internet Öliver and Dødger, were such a perfect fit for a hole we’re desperate to be filled. Like a Choir of (Young) Believers the internet sang out in one voice “They could be Henrik’s daughters!” And he gets them home a lot faster than I’d have ever imagined, but now in context of their old bedroom he would recognise them, right? He seems to be the only person not swept up in the idea that they’re his long lost children. But one night at Henrik’s Hotel turns into two as these resourceful Tracy Beakers refuse to be sent off to any dumping ground.
Continue reading “‘The Bridge’ – Series 4, Episode 3”
As you may have noticed I’m still waiting on the next big Euro drama to cross my path. All the Scandi stuff recently has me feeling a bit flat, with fairly promising starts leading to confused middles and ‘meh’ endings. It’s fine to have a beautiful backdrop of lakes and mountains, but you need to populate it with original characters leading interesting lives. The story needs to be multi-layered, but not too complicated; zoning out and playing with your phone is the absolute death knell for a subtitled drama. Both the good guys and the bad guys need to have clear motivations that we can relate to.
So with a Gallic shrug it might well be time to bid au revoir to the northernmost corners of Europe and see what France might have to offer; after all, the daddy of the noir resurgence in the past decade has been the Emmy award-winning and much loved Spiral. The most memorable dramas I’ve watched recently have been French, or part French; the balls-out action heros in Braquo, stylish super spies in The Bureau and the best character in Midnight Sun was the deeply troubled French detective.
Continue reading “‘Witnesses’ – Series 2”
Guys, there’s been a murder! But fear not; it’s mid-afternoon on BBC1 so there’s no blood, no swearing and no one speaking Danish. Armchair Detectives is 100% safe for the squeamish. It’s a very unusual format, a quiz show Cluedo with Susan Calman as presenter and lead investigator. 15 members of the public sit jury-style as the studio audience from which three are picked each day to have their turn as the titular detectives. They are invited up to the drawing-room style stage to sit in fancy leather armchairs and work out whodunnit. The only person who doesn’t get to sit is Susan, despite having a chair placed behind her, which seems unfair given her legs must have taken a battering in the run-up to Strictly Come Dancing.
The contestants are all chatty and intelligent, and are probably the last people you want to watch Prime Suspect with as they’ll have smugly figured it all out at least 20 minutes before the credits roll. And they’ll smile and say “aha!” and make you feel like a berk. Our first team of three include a librarian who loves the Lord Peter Wimsey books, a crime writer, and one is actually called Wisdom. I expect great things.
Continue reading “‘Armchair Detectives’ – BBC1”
The Cuckoo’s Calling is a new drama series that the BBC must be very happy to have. It’s based on the novel of the same name by Robert Galbraith. Old Robbie here was discovered to be a pseudonym for JK Rowling in 2013. Now, that’s a name to conjure with. It’s an odd way to broadcast the series – two episodes in one Bank Holiday weekend and the last of this trilogy in a week’s time. Let’s see what it’s all about.
The plot seems to be a list of unlikely names designed by the Cluedo board game characters playing Mad Libs with a murder mystery running through it. It’s also a warning to office workers everywhere – be careful what temp jobs you sign up for. There’s a whole world of shit you have to put up with for just above the minimum wage and all the tea you can drink, as long as you remember to fetch the milk.
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I have finally relented and let Mr H submit a review for his favorite show. He spent 20 years living in Wales for his sins so consider him our foreign correspondent.
“It’s beautiful, I’m so glad you bought a big new telly” – Sarah Hamstera (1847 – Present)
It’s not often I hear justification for a purchase but there is power in beauty and Hinterland knows that all too well…
Hinterland (Y Gwyll) is an oddity in British television in that it is created and produced primarily for the Welsh audience but filmed once in Welsh and again in English. This means that there are 2 versions available to the tv audience (3 if you include the much rarer and heavily abridged all English version), the all Welsh version (Y Gwyll) appears on BBC owned S4C followed a short while later by the ‘International’ version which is predominantly in English but with key sequences in Welsh with English subtitles. This is the version put out on Saturday nights on BBC4 fitting nicely into their standard Scandi-Noir slot where we get to see just how well we have come to understand and love the genre. In some ways it feels odd that we aren’t watching the Welsh version with intermittent English scenes but, given the core audience, it’s understandable.
For those that haven’t yet sampled the ethereal delights of Hinterland, it is ostensibly a police procedural drama set in the beautiful scenery of the rural Welsh countryside surrounding Aberystwyth. This, for the most part would be enough but there is much darker fayre to be had below the verdant and bucolic surface.
Continue reading “‘Hinterland: Series 3’”
This is a super-short Icelandic drama series a friend pointed out to me, and wondered why I hadn’t watched it yet. Fortunately it’s on UK Netflix, and so short you could watch the lot in an afternoon.
Welcome to The Lava Field (the original Icelandic title is Hraunið. In suitable Scandi-noir fashion it grabs the attention straight away with swift shotgun action. This version of the mysterious island is filled with extremely neat well-lit houses, beautiful boxes, like candles against the black bubbly lava field backdrop. The vast majority of the shots are bright and wide; you need to watch it wearing sunglasses. The brightness is throughout – both interiors and exteriors. I suppose Iceland has a complicated relationship with daylight and the sun, in a country where it doesn’t set for four weeks in the summer.
Continue reading “‘The Lava Field’”