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’ – On the Box”
If you trust my recommendations dear reader, stop reading right now and just watch this. If you need a little more convincing, read on. It’s only March and Midnight Sun has quite possibly staked the claim for most gripping episode 1 of a drama series this year. It’s an hour of tv that’s up there with The Killing and The Bridge. All the praise to Sky Atlantic for serving up this slice of stunning high-end noir. My only criticism is they’re portioning it out into weekly helpings, and I can’t bosh the lot in a weekend. Because I very definitely would.
This is a French-Swedish coproduction (yes, it has the Canal+ mark of quality) which follows Kahina Zadi (Leila Bekhti), a French police officer, as she heads to a small mining community in remote northern Sweden to lead an investigation into the spectacularly grisly murder of a French citizen. Her Swedish sidekick is local DA Anders Harnesk (Gustaf Hammarsten) and his rather more jaded boss Rutgar (Peter Stormare). Even with just a few minutes under the belt we can see that all of these characters are fully fledged with their own particular quirks and histories just beginning to be hinted at.
Continue reading “Midnight Sun – On the Box”
Another tv treat from the Birmingham Literature Festival this year was Hans Rosenfeldt and Ed Thomas in conversation. The men may not have household names, but you’ll certainly know their work. Hans is the leader writer and creator of international mega-hit The Bridge and Ed writes the sparse and beautiful Hinterland set in Wales. Both shows are available for a cosy night in on Netflix. The guys were on the programme as a duo because they both write about murders and cops in a distinctly unusual bilingual fashion. The interviewer from the Writers’ Guild of Great Britain skillfully weaved their experiences together, but for ease of reading I’ve pulled them apart again, with a bit of chat about similarities and differences to act as *ahem* a bridge between the two…
The Bridge – Hans Rosenfeldt
Hans is a big lumberjack type who looks super comfortable in front of the audience. I’m sure he’s well versed in talking about Saga, Martin and The Bridge. He starts by telling us a little about the writing process – 70% of the episodes he writes alone in Swedish. The scripts are translated after the third draft by a ‘proper’ translator and then one writer makes it sound “less translated” and turns it into ‘improper’ spoken Danish. He says despite Swedish and Danish sounding pretty close to our English ears “we made up the fact that we understand each other”. He says not understanding would have given them big problems with tense scenes like interrogations. So, despite appearances, it’s all false and Swedes especially have trouble with Danish. He says he’s not massively happy with the subtitles on Netflix as they are not always correct and English-speaking audiences are losing a little in translation.
Continue reading “Dead Pixel Test Live! – The Bridge to Hinterland”