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.
This is a full review of The Bridge: Series 4, Episode 2. Catch up with my episode 1 review here. Don’t read on unless you’re completely up-to-date on the BBC2 schedule.
It’s business as usual for episode 2 of The Bridge which after the hardship and the outright panic of episode 1 is a blessing for viewers.
This week we learn more about suspect number one Taariq and his amazing fluffy yet angular hairdo. Turns out he’s a hero; saving two girls from violence and giving them a hot meal. These young thieves won’t win any acting prizes but they seem to make a living from scamming people and pickpocketing wallets and passports. But this is The Bridge, so no good deed goes unpunished. Taariq’s desperate situation is getting worse – he’s grassed up to the cops by his horrible boss, and worse still it seems he’s been set up with a phone that tracked the victim’s whereabouts. Poor Taariq has got to be the unluckiest man in all of Scandinavia, and despite my still being convinced he’s not the killer he is not out of the woods yet.
Taariq’s relationship with Margarethe sounds unlikely. He tells us that he met her secretly in the gay club because she wanted to make amends for the cruel decisions of the state. By day she’s the immigration department’s Bruce Wayne; all above-board, all business, but by night she’s Batman; out to right the wrongs and offer help to the helpless. Was she really this strange split personality, riddled with guilt? At the moment we know so little about her. Her husband Niels looks dodgier than ever “They have nothing” he says in a secret phone call, “stick to the plan”.
People have been getting very excited about this new euro drama, picked up by MHz Choice in America, Walter Presents of Channel 4 and out now on DVD in the UK. It’s designed very much with the new and surprisingly ravenous appetite for Euro drama in mind, bringing us together like happy clappy Eurovision. It’s supported by about 9 production companies and the ‘with thanks’ list is in big letters at the very start, and is very long. It’s an entire European industrial zone.
The Team of the title is the Europol network, bringing detectives together from Denmark, Belgium, Germany. The lead is Harald Bjorn, played by Lars Mikkelsen who is familiar to viewers as mayoral candidate Troels Hartmann in The Killing, and a sinister villain in a pretty poor Sherlock episode.
Right-wing losers the UK Independence Party don’t like it, which is reason enough for me to give it a try. Also, who knew UKIP had a culture spokesman? You would have thought they were very anti-culture, what with so many foreigners mixed up in it. Wasn’t culture invented in ancient Greece? It’s enough to make a racist shudder.
Well The Team ought to suit those who distrust foreigners; when it comes to language skills it’s not exactly taxing. It’s entry-level subtitles with plenty of spoken English to break up all that reading. Everyone we come across, from brothels to board rooms, speaks an enviable variety of European languages.
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.
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.
Sky Atlantic are really stepping up when it comes to interesting Euro imports, and really competing with the big boys Walter Presents on Channel 4 and good old BBC4. Midnight Sun from Sweden was seriously amazing. Their latest offering is a dark drama that was hugely successful in its home territory of Belgium, and it soon becomes clear why. When a convicted child killer Guy Beranger (Angelo Bison) is released from prison on probation, the monks of Vielsart Abbey offer him sanctuary in a small village in Belgium’s Ardennes Forest. Creepy Guy is placed under the protection of a young Federal Police inspector, Chloé Muller (Stéphanie Blanchoud), who is herself haunted by nightmares of childhood trauma. Despite clearly not being mentally fit enough for this duty young Chloé is to be his babysitter.
Creepy Guy was convicted of five murders in 1990s. These were extremely high profile killings, mainly it seems of children, and he’s not been forgotten. On the way into the up into the forest we’re greeted with angry protests from Vielsart villagers and quite a few of the abbey monks. Father Abbot is on side, all about the Christian charity and forgiveness. Even among his own brothers he’s not made a popular decision. Will he be ousted because of this or will he teach his brothers that forgiveness isn’t easy but is always necessary?
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.