Streaming on Netflix and on SBS on Demand - Two takes on Irish crime - BODKIN (Jez Scharf showrunner) and BLUE LIGHTS (Series 2 - Declan

It seems a bit like the Irish crime producers are doing to the Brits  what the New Zealanders do with us more generally...make better films I mean... So is the sample too small and the fact that there's been no new series of The Line of Duty for awhile tipped the balance towards Ireland as the primary place for "Brit" TV crime. Hard to know. There was Boat  and Wolf of course but still, small though the contribution may be when you look over the the total output of Brit TV crime in 2023  the Irish seem to have a knack for the stuff. It's probably all traced back to the DNA whereby in the sinews of real Irish crime was the activity of the IRA in robbing banks to finance itself.  Maybe it dealt in drugs too. Whatever, all over Ireland, if you believe Blue Lights and to a lesser extent Bodkin, crime is rampant. In fact the Belfast of Blue Lights  is a hot bed of Loyalist gangs nowadays more interested in fighting for control of the drug trade than defending the Crown.  

All this of course just follows on from the work of Peter McKenna (Not the VFL footballer but I wont go into that again) which I breathlessly admired a year or so back when I  wrote about his series Hidden Assets and Kin. The latter especially had a sense of Shakespearean downfall about its gang leaders and their trusted offspring, their lieutenants and the powerful women who pulled their strings. It also had two of the most ferocious villains you'll ever come across - the successive heads of the Kinsella gang played by Ciaran Hinds and Francis Magee.

Blue Lights  created by Declan Lawn, Adam Patterson and Louise Gallagher, is much more a descendant of  Z Cars and The Bill. Series one tossed us into a police  station where a handful of rookie cops, all with a backstory that had to be explained, start policing the mean streets of Belfast. The lines between the old cops and the young were clear. The old cops knew much, in one case too much, and the young cops knew bugger all. Of the four young cops in series one, one has dropped out and become a lawyer with a cause that has to be the most slow burning element of series two. 

By series two, now on SBS on Demand if you can stand the ads for Chemist Warehouse, or elsewhere if you look around, the back stories are given and a couple of new cops are introduced, both of them appearing to be dodgy in ways that only get explained later. The new cops are there because drug crime and drug dealing has got out of control and two Loyalist gangs are at war with each other. Into this steps an ex-military man whose sister runs a bar which pays protection money to one of the gangs. The  veteran, who saw and did terrible things in Afghanistan, isn't going to take it anymore. ..Enough said...

Will Forte, Siobhan Cullen, Robyn Cara, Bodkin

Bodkin, screening on Netflix is a much smarter bit of film-making, much less formulaic if you dont regard the crime,  the corrupt police, mysterious disappearances and cold case investigations as part of a formula I guess. A Guardian-type journalist is under the pump for a story she has written exposing crime in high places which has led to the death of her whistleblower. Her editor decides she needs to cool off so sends her back to her homeland Ireland to investigate a cold case involving mysterious disappearances. Somehow or other an American podcaster and his enthusiastic assistant  are also investigating the case and the contrast couldn't be clearer. 

The journo is abrupt, crash through or crash and the podcaster is full of handwringing political correctness about what he should and shouldn't be doing. It has a drollery to it that's irresistible. The credits may shock you. I know nothing about the writer/showrunner Jez Scharf but I have heard of two of the many Executive Producers, Barack and Michelle Obama and the director of the first two eps Nash Edgerton. How a boy from Sydney get picked up to direct two eps of an Irish TV series is a mystery but I guess that's how the worldwide network of agents and producers works these days. 

Defending Cinephilia 2023 (3) - Janice Tong spends time On Wandering Paths

Jean Eustache

2023 has been a year of highs and lows, as with its companion 2022, marked another year of change – a decidedly sinister wink at our unsettling world. I felt quieter this year, more focused with work and on finishing my second novel; all this enterprise was nonetheless accompanied by a pilgrimage into the soul, through reverie, remembrance and dream.

 

Cinema, or rather, the moving image has provided nourishment and comfort; choosing carefully amongst the many on offer, and discarding more than what was chosen; I’ve come to realise that the few films I watched this year (170 to be exact) have come to be a summation of goodness and all that is illuminated amongst dark days.

 

On the Wandering Paths - Jean Dujardin as Tesson

 

Film Festivals – A Haunting

 

The year of film festivals always opened with the French Film Festival in March, and the harvest this year was one of its best. Saint Omer, a lyrical and haunting courtroom chamber piece by Alice Diop, and Denis Imbert’s On the Wandering Paths, based on Sylvain Tesson’s slim but poetic volume of the same name, were two films whose images and meaning stayed with me throughout the year. For all their differences, the walk that Tesson undertook (some 1,300 kms) echoed Rousseau’s interior ambling in his 1782 book Reveries Of The Solitary Walker, in that both are song-like and reverential. 

 

Anthony Perkins, Orson Welles, The Trial

A highlight in this year’s festival rounds was Cinema Reborn’s program, whilst I only saw four films, the full program offered a treasure trove of works from all around the world. Of the four I saw, it was Murnau’s Sunrise: A Song of Two Humans that took the crowd’s breath away, the theatre was silent and in awe. But for me, it was watching Orson Welles’ The Trial that I found myself holding my breath – glorious on the big screen, it’s digital restoration leant a sharpness to the images, but it’s the cinematography, the sets, the breezy jazz soundtrack from Martial Solal Trio and Anthony Perkins’ performance as Joseph K. that withstood the test of time. Also, Jean Eustache’s little seen The Mother and the Whore literally stole my heart, the three and a half hours sped by; and you leave feeling as though you’re tearing yourself away from your friends on new year’s eve.

 

Last Night of Amore (2023) at this year’s Italian Film Festival was amongst the best new crime thriller films I’ve seen in a very long while. Pierfrancesco Favino was mesmerising to watch as retiring lieutenant Franco Amore, as was its elliptically ringed storyline.

 

The inimitable Mr Dough and the Egg Princess

Lastly, I had a chance to see Mr Dough and the Egg Princess (2010), a 12 mins short by Hayao Miyazaki at the Ghibli Museum Theatre in Japan this month, in December, to round out my year; a highlight amongst all the animés that have feathered my imagination since I was a child; with Dog of Flanders (1975) being my favourite television show when I was still living in Hong Kong. Later, my love of animé led me to collect the manga series Nausicaä of the Valley of the Wind (1982 to 1994) amongst others as I sang the theme song to My Neighbour Totoro (1988) in Japanese and my heart was kept light and child-like with Spirited Away (2001) and Howl’s Moving Castle(2004). All these films seem to be so present in my mind still, but it was in fact decades ago when I last saw some of them. A project for 2024 perhaps, would be to revisit each one.

 

New Films | Old Films

 

Films traverse across time, they’ve always had that ability, to transcend the present; to capture our present moment and carry us elsewhere. When I was researching to write the Cinema Reborn notes on La maman et la putain, I came across what was Eustache’s last film; a short film called Les photos d'Alix, filmed with his son, Boris, and photographer Alix Cléo Roubaud, also known to me as the wife of one of the greatest living French writers, Jacques Roubaud. Over the years, I was able to read all of his novels that have been translated into English, my favourite being Some Thing Black (1990), a book written in poetic fragments, both to document and his way to deal with, the loss of Alix (I also loved his masterwork The Loop (1993)). In 2019, I had made a pilgrimage of sorts to visit his flat – I stood below what I believed to be his window. But the windows were shut and I did not catch a glimpse of the great man on the many occasions I wandered around his neighbourhood on the Left Bank. So this short film, a rare find in itself, is one that I will always treasure.

 

Alix and Boris in Jean Eustache's Photos of Alix

And whilst I had stopped writing film reviews for what was originally the J+N ‘home’ film festival created during the Covid lockdown in 2020; the choices of films to watch at home are limitless; and this year, I’ve been blessed with many, here are but a small selection: 

 

An Elephant Sitting Still (2010), China, dir. Bo Hu

All That Breathes (2020), doco, India | UK | US, dir. Shaunak Sen

Fists in the Pocket (1965), Italy, dir. Marco Bellocchio

Marx Can Wait (2021), doco, Italy, dir. Marco Bellocchio

Before the Revolution (1964), Italy, dir. Bernardo Bertolucci

This Summer Feeling (2015), France | Germany, dir. Mikhaël Hers

The Vice of Hope (2018), Italy, dir. Edoardo De Angelis

 

Best friends, The Makanai

 

Small Screen’s a Charm

 

I would not be content if British crime dramas were not amongst my standard repertoire; and many have been watched over the past 12 months. However, the two series that stood out for me this year are both Korean and available on Netflix: Somebody (2022) and My Name (2021); both series figure a singular and striking female heroine; in Somebody, she comes in the form of an aspergeresque coder cum app designer who plays a game of cat and mouse with a serial killer – but this is just surface tension, delve deeper and this is an onion that has no centre, with Schumann’s Vogel als Prophet (played here by none other than Maria Joao Pires) from Waldszenento accompany their wanderings – it is a must-watch. My Name, is a story of a stoic criminal protégé who attempts to infiltrate the police; and like Infernal Affairs (2002), the story is filled with twists that double in on themselves leaving you guessing every step of the way.

 

 

Han So-hee as the tough heroine in My Name

Also worth mentioning are: 

 

Blanca (2021) Italian – set in Genoa, a blind profiler gets into detective work; uncovering the hidden trauma of her sister’s death along the way.

Marnow Murders (2021) German – haunting, brilliant, raw, sad; I fell in love with all the characters from the get-go. The Germans have a way of getting into the heart of the hurt from the very beginning.

The Allegation (2021) German – from the real-life German Worms Trials, again with brilliantly-drawn characters, including my favourite Peter Kurth (here’s a little treat for you if you’re a fan).

The Makanai: Cooking for the Maiko House (2023), Japanese – beautiful and heartfelt; it was difficult to finish this series.

Irma Vep (2022), French – what’s not to love? It’s Assayas, Vincent Macaigne, Lars Eidinger and Alicia Vikander, a remake of a remake of a remake.

Alicia Vikander against the Paris night skyline in Irma Vep

As to the Brit crime dramas I mentioned before, here are a few that are hard to pass up:

 

Dalgliesh (2021) 2 seasons, available on Prime, based on the Adam Dalgliesh novels by P. D. James. Almost as good as Endeavour. Bertie Carvel is excellent!

The Chelsea Detective (2022), 2 seasons, available on Prime. My husband and I joke that all good detectives have some things in common: first they have to have a beer or a whisky at the end of the day, accompanied by their favourite music (opera for Morse, jazz for Wallander, rock ‘n roll classics for DCI Banks, new age for Hathaway –the protégé of Lewis) and second their failed love affairs. DI Max Arnold has all of these hallmarks and more.

Karen Pirie (2022), 1 season, available on Prime. Beautifully drawn character, loved her immediately; relatable, funny, human; a really gripping crime show.

Bertie Carvel is superb as Adam Dalgliesh

 

 

2024, only 2 days away…I look forward to what good tidings you bring!