The Bridge (series 2) (Bron/Broen, Sweden-Denmark, 2013)

Gripping characters and plotting

Gripping characters and plotting

The autistic Saga Norén, brilliantly played by Sofia Helin (how difficult must it be for an actor to keep her face immobile?), is as compelling a character, in detective fiction, that I know. She struggles to empathise with others, which she finds harder than solving even the most difficult cases, but she keeps on trying. Her humanity is to be seen in these struggles just as it is in her desire for justice. the Bridge is more than Saga and the writers quite brilliantly weave a tapestry of dead ends and dangling possibilities that allow the ten episodes of the series to speed on with the economy of an B movie. 

Detective fictions works best with compelling characters and Kim Bodnia’s tortured Martin is a brilliant sounding board for Saga’s attempts to relate to others. The Bridge managed to integrate the character interaction with the narrative drive of the crime, particularly well in series one. In this second series the ‘hangover’ from the first continues as an arc with Martin confronting series one’s antagonist in prison. The denouement of series two, brilliantly constructed over the two final episodes, is as devastating as Se7en, and by allowing the images to carry the characters’ thoughts – rather than dialogue – The Bridge confirms television as being the space where daring and fascinating texts are being produced. I’ve avoiding spoilers here, the advice is simple: see it.

Roy Stafford bemoans the dearth of foreign language films in our cinemas, yet BBC4’s 9pm Saturday night slot of foreign language TV crime, where the series was broadcast in the UK, has proved to be a, relative, hit. Why aren’t these viewers, many of whom it’s reasonable to assume are averse to subtitles, not translating their enthusiasm to foreign language cinema? When I show subtitled films to children their negative reaction, to finding the film they’re watching isn’t in English, usually subsides quickly when they realise that they don’t notice the words at the bottom of the screen after a few minutes. Yet very few of these will use that realisation to go on and watch more subtitled films. We live a world of the ‘blockbuster’ and texts that are seen are the ones that everyone else is seeing (something of a tautology I know). So even the BBC4 niche slot becomes, for the ‘chattering classes’, a ‘must watch’ for the ‘water cooler’ discussion at work.

How do we stop the narrowing of our cultural life that is threatened by the commercial difficulty of distributing foreign language films? The BBC, as a Public Service Broadcaster, must take the lead in this. The absence from television of programmes, other than one-off Culture Shows, that deal with ‘difficult’ films is a disgrace. One of the ways I was introduced to cinema was via a season of Jean Renoir films on BBC2, introduced by Gavin Millar, in the late 1970s. The BBC may argue these films are now widely available on DVD but how can audiences get to grips with the history of cinema without guidance? 

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