The crisis in UK distribution is such that a hugely enjoyable and accomplished genre film like Suburra played for just one week at HOME in Manchester and was hard to find on other screens in the North of England. It is showing, if only for two or three screenings, at various venues in July (see this website for details) and it is currently available on VOD, but it won’t generate the same buzz that might have come from a 70 screen release. Presumably small distributor Kaleidoscope has been more focused on DVD/online. It’s a long film (132 mins) but I never felt the pace flagging. It’s epic in scale, has wonderful settings, terrific performances and superb cinematography plus great editing and a stunning electronic score by French duo M83. It’s far better than most Hollywood crime films and I’m sure that subtitles wouldn’t get in the way for most audiences. See it on the biggest screen you can find – we watched it on Screen 1 at HOME, an unexpected treat.
‘Suburra’ or ‘Subura’ was the name given to a district of Rome in antiquity – a ‘red light district’, home to a criminal underworld. Stefano Sollima (director of the Romanzo Criminale and Gomorra TV series) uses the title to set up his contemporary mixture of crime and political thriller. The narrative is presented in a series of chapters based on the days leading up to the ‘apocalypse’ in 2011. Later we realise that this ‘catastrophe’ will be the end point of a complex network of conflicts and inter-relationships involving Italian politics, leading criminal families and the Vatican. The ‘inciting incident’ is the action of a senior politician with unforeseen consequences which gradually unravel the ‘stability’ created by the criminal fixer known as ‘the Samurai’ – who has previously kept warring families apart. As an early symbol of what is to follow, Sollima shows the naked politician literally pissing on the city of Rome from a balcony in the city centre during a torrential downpour. This extraordinary image is the first of several scenes which delight the eye while leading us deeper into the corruption at the heart of the city.
The narrative offers us five major characters. As well as the politician we meet the heads of two criminal families plus the pimp Sebastiano and the Samurai. This latter is a man who at first appears like a retired middle manager before we see the steel in his gaze and realise the intelligence in his strategies. By contrast, Sebastiano first appears as a weak man who might easily break and his little moustache made me think of the fascisti. The two heads of the criminal families are very different and though both are stereotypical in appearance, they are also distinctive. The interior décor of the houses occupied by the Anacleti family will stay with me I’m sure. The Anacletis appear to be Roma – the subtitles refer to gypsies but at least on one occasion they are abused as ‘Jewish’. Any help with this identification is appreciated. The second ‘family’ is represented by ‘Number 8’, who has taken over from his father, and his partner Viola, a drug addict – who turns out like many of the other characters to be not what we might have expected at first sight. The casting of the film is terrific. I often find it difficult to distinguish individual characters in crime genre films, but not in this film.
The narrative is adapted from a novel by Giancarlo De Cataldo and Carlo Bonini, who were also involved in writing the script with Sandro Petraglia and Stefano Rulli. The story appears to use elements from a major criminal investigation which was reported in 2014 in Rome involving leading politicians and organised crime and seen as part of ‘Mafia Capital’ – a longer investigation into organised crime in Rome (see this news article). The most obvious element used in the film is the ‘zoning’ application for a ‘change of use’ in the run-down seaside town of Ostia where Romans have traditionally taken holidays. Silvio Berlusconi resigned as Italy’s Prime Minister in October 2011 and Pope Benedict abdicated in February 2013 – two other events which may have been influences in constructing the fictional narrative.
Stefano Sollima is best known for his television work and it is perhaps not surprising that Netflix, looking to expand in Italy, have already commissioned a series based on the same material. (Netflix is also distributing this film in the US.) It is interesting to reflect on whether Suburra is in any way ‘televisual’ as a film. There have always been two perceived major differences between ‘cinema films’ and TV films/series – at least in the US and UK. (In smaller language film cultures such as Sweden the distinction is less clear with some projects switching easily between the two.) One difference focuses on aesthetics – cinema films have been argued to be more ‘cinematic’ because of better colour definition (and therefore more scope to create lighting and tonal effects) as well as a greater range of compositions with more long shots and shooting with depth of field etc. The second difference concerns narrative complexity, the ‘richness’ of the themes and the artistic integrity of the direction. Up until relatively recently, television drama was often criticised because of its association with ‘soap opera’ or its propensity for sensationalised ‘real-life’ social dramas – the ‘TV movie of the week’ syndrome. Both these criticisms also included the prosaic camerawork, editing, set design etc. But now the argument seems to have reversed and cable television productions in the US have now attained a new level of ‘quality’. The questions of aesthetics have gone thanks to similar digital production methods in cinema and TV (and new standards for ‘home viewing’) and the acceptance of ‘long-form narratives’ on TV has meant that narrative complexity, richness of theme and artistry now resides with TV productions. Suburra is an Italian-French co-production with independent Italian production company Cattleya and Italian PSB TV company RAI joined by French independent La Chauve Souris.
After a single viewing, I’m not sure I’m able to comment on the aesthetics of Suburra. I can only say that I did notice the use of close-ups (of fascinating faces) more here than I usually do in modern films (and this was in 2.35:1). Mostly, however, I noted the camerawork and direction and editing which presented not only marvellously choreographed crowd scenes but the highly stylised scenes noted above. This is a complex narrative but I think it would feel very different seen in weekly episodes. I’ve never ‘binge-watched’ more than two or three episodes of any serial and perhaps if that’s what you do with boxed sets, the narrative will be similar. The film is only 130 minutes – presumably the Netflix version will be 360 minutes or more? Personally, I prefer films in cinemas. My viewing partner was equally taken with Suburra. We both breathed out a ‘Wow!’ at the end of the film and we agreed that this is a very dark film but with a satisfying twist at the end which perhaps offers some kind of moral commentary. ‘Nuff said, I think.
UK Official trailer (it reveals some of the major incidents):
Blue Eyes is a TV serial from SVT, the Swedish public service broadcaster, made as a co-production with the regional film fund Film i Väst and various other Nordic partners including the major player Nordisk and effects house Chimney Pot. Blue Eyes is very much a high-profile property and was broadcast on the UK channel More4 as one of the ‘Walter Presents’ series of European drama productions. It’s a 10 x 58 mins serial. Made in 2014 and broadcast in Sweden in late 2014/early 2015, its UK début came during the long campaign leading up to the referendum on Britain’s membership of the EU in April/May 2016. There are certain parallels between Swedish and British political developments over the last few years and this production focuses on the rise of nationalism and a ‘disguised’ far right party – not unlike UKIP in the UK. Watching Blue Eyes on ‘catch-up’, these parallels are even more stark with the senseless and tragic murder of the British MP Jo Cox.
Blue Eyes is the creation of Robert Aschberg of Strix TV, Alex Haridi and a team of writers. Haridi was also a writer on Real Humans, the original Swedish drama remade/adapted as Humans, a UK/US series for Channel 4. The opening titles for Blue Eyes are distinctive and to me suggest a political thriller. Much of this comes from the music, which I find difficult to describe, but which seems very familiar with its incessant urge to sweep through public events. It made me think of House of Cards (the original UK series). The titles include low angle shots of official buildings with clouds racing across the sky. This sequence is cross-cut with similarly low angle views of ordinary Swedes involved in various mundane activities, but again with speeded up clouds hurtling across the screen. Finally, the third element is a montage of blown up TV sequences, seemingly related to political campaigns. The overall effect is very unsettling suggesting a coming ‘storm’ overtaking Swedish society.
(There is some spoiler material in what follows, but only enough to enable a description of the genre mix in the serial.)
The serial narrative offers a large number of characters, some introduced very briefly (and therefore making the links between characters later on quite difficult to follow). There is one clear central character, a young woman, Elin Hammer (Louise Peterhoff). She is invited in mysterious circumstances to return to her old job as ‘Office Manager’ for the Swedish Justice Minister at the start of an eight week election campaign. The Coalition Party is in power but is facing a fight against the growing Security Party – a right-wing populist party. Elin is possibly an ‘investigator’ in two ways. First, she wants to discover what happened to the previous Office Manager who is now officially on ‘sick leave’ but whose disappearance seems odd. Later, Elin will find herself questioning the motives of everyone in the Swedish political system, including herself – an ‘internal’ or ‘self’ investigation perhaps. This narrative alone would make a political thriller, but a second narrative combines politics, crime and family melodrama. Sofia (a striking portrayal by Karin Franz Körlof) is a working-class young woman in a bad relationship with an abusive man whose behaviour threatens the couple’s young child, ‘Love’. Sofia has a teenage brother Simon and her mother Annika has been selected by the Security Party as a local spokesperson. What makes Blue Eyes so powerful – and disturbing – is that this family group becomes the locus for a discourse about working-class life in Sweden. When a tragic incident occurs, Sofia is pushed into joining a violent right-wing group with terrible consequences. But despite her fierce looks and aggressive stance as well as her extreme political views, Sofia remains a figure that many audiences will find sympathy for. In addition, there is at least one Security Party politician who also evokes some sympathy. At the same time, the Coalition Party is not all ‘above board’ and Elin will find various rotten apples in the barrel.
The second narrative involves Sofia and Simon with a neo-Nazi group intent on terror aimed at breaking Swedes’ trust in their democracy. The terror is created by extremely violent actions (a reference to the activities of the Norwegian extreme right-wing terrorist Anders Behring Breivik in 2011?) and simply by the two central characters responsible for these actions – one, older and seemingly ‘respectable’, one younger and highly-focused as a killer. There is a connection between the two narratives – involving problems at the heart of the Coalition Party. The key to this is briefly introduced in the first few minutes of Episode 1. Many viewers (me included) will struggle to remember these few minutes when the link becomes more obvious later on. Along with the resolution of the overall narrative (which leaves the possibility for a second series) and the large cast of characters, I think this makes the series a difficult (but still absorbing) watch for viewers outside Scandinavia. Reading subtitles is always a trade-off against missing visual cues and is also subject to the difficulties of translation. I’m not sure that the Swedish secret service organisation Säpo is ever properly explained. Also confusing for overseas viewers is the geography of the action. The Swedish government offices are in Stockholm, but much of the action takes place around Uddevalla, a small coastal town in Västra Götaland County on the other side of the country. This is where Simon, Sofia and their mother live – again a parallel for the run-down industrial towns of North-East England which have suffered from austerity and voted for UKIP and Brexit. Presumably this plot detail was necessary to justify funding from Film i Väst by filming in the region. The genre mix in this serial is unusual and that too might work against it. It was a massive hit in Sweden and perhaps the DVD box set may allow a more leisurely ‘reading’ environment. Kudos to Channel4/More4 for showing this but I do find the long advertising breaks tedious – I wish it had been on BBC4. But if this has crept under your radar, I recommend tracking it down
This classic television series dramatising a left-wing Labour Prime Minister (who makes Tony Benn look wet) has turned up three times in the last few days. Chris Mullin took the opportunity of an article in the Guardian (11-08-15) on the Labour Party Leader Election to plug his original 1982 novel (Corgi Books). He re-appeared on Sunday on Radio 4 (16-08-15) suggesting how the novel’s premise might work out if Jeremy Corbyn actually won. Then again in the Guardian (14-08-15) David Stubbs proposed that ‘Your Next Box Set’ should be this drama. Picking up, like Mullin, on the zeitgeist, he suggested that the drama was probably more relevant now than in 1988. The television drama was scripted by Alan Plater and directed by Mick Jackson over three episodes. For me the series improved on the novel both in terms of drama and in terms of its political representations. The stand-out feature of the television drama is the portrayal of the protagonist Harry Perkins by Ray McAnally: who is both believable and charismatic. Among my favourite scenes were a series of Press Conferences presented by Perkins at Downing Street: in each Perkins is more outrageous than in the last. Then there is a meeting between Perkins and his Cabinet colleagues and the US Secretary of State and his henchman. But it is the resolution of drama that offers the greatest improvement: Plater’s seems to me certainly more dramatic but also more likely. This would seem to be partly explained by Mullin’s own politics: he considers Corbyn ‘unelectable’. So I would support Stubbs’ suggestion. However, Channel 4 might take the opportunity to retransmit the series. That they have not done so yet suggests they think that the series would be better saved for 2020. Note, Wikipedia lists a more recent version of the novel, Secret State (2012), which I have not seen.
The current intensification of the war by Israel against Palestinians makes this film timely viewing. The basic story concerns a young Palestinian militant who is forced to become an informant for the Israeli security in the occupied West Bank. The film also follows a triangular relationship amongst the Palestinians. What makes it so effective is the representation of the life of Palestinians under occupation. In particular the film makes good use of the ‘separation walls’ constructed by the Israelis to control the Palestinians. The film was shot predominately in Nablus and Nazareth and locations are often recognisable from newsreel and documentary films.
Omar has been written and directed by Hany Abu-Assad. His earlier Paradise Now (2005) was a critical and festival success. This film is more conventional, especially in the personal drama. But like the earlier film it has a sense of raw reality and an often-powerful mise en scène.
Predictably the film has only a limited distribution in the UK and some institutions have had problems with attribution. However it is screening at the Hebden Bridge Picture House on the 29th and 30th of August. Definitely a film to be seen.