Some of the most revealing moments come when they are talking, with the benefit of mature hindsight, about the early years, when their younger selves became almost instant gods to an entire generation. What you get here is a well-arranged selection of Stones footage - live concerts, interviews, the mayhem of Altamont - combined with material from (sound-only) contemporary interviews with the boys. For most of us, they have always been there (and the fact they are mostly still there is extraordinary in itself). This year is the band's 50th anniversary. HOW do you make an adequate film about one of the greatest monoliths of popular culture? How do you get enough distance to bring the Rolling Stones into focus? It's a tall order that Crossfire Hurricane pulls off, at least in part.
One of the many joys of Homeland is the way tiny clues planted episodes earlier can become hugely significant, or the way one climactic wave distracts us from noticing an even bigger wave just behind it. Cast your mind back to when the aggressive and prickly Quinn first joined the team and the reaction he provoked. If the conspiracy around Abu Nazir's imminent attack on the US and the possible discovery of Brody working both sides of the plot aren't enough, another front opens tonight when questions are raised about intelligence analyst Peter Quinn (Rupert Friend). THERE'S been no shortage of twists, turns, jaw-dropping revelations and completely unexpected climaxes during this season of Homeland, but tonight's white-knuckle episode sets a new high-water mark. Stylish Nordic noir is so hot right now ( The Killing, The Girl with the Dragon Tattoo) to think it wasn't that long ago that Scandinavian pop-cultural touchstones were Abba, saunas and Ikea. That's right, existential soul-searching about fatherhood and self-immolation. The long, long shots of solitary trees in frosted fields, lingering shots of wind turbines, even Wallander's Volvo car chase (seriously), are beautiful.Īs well as the cult's criminal elements, Before the Frost explores familial themes - skeletons in Anna's background and tensions around Wallander and his daughter's relationship. None of which would have worked in the British countryside.
The sparse Swedish landscape is an integral part of the narrative - particularly this one, set in autumn before the frost - and the cinematic camera work, editing, and muted colour palette capture the encroaching winter, the impending doom of the cult, and Wallander's perpetual air of resignation.
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While even the most ardent fan will surely concede it can be jarring watching British actors with varying regional accents playing Swedish characters with Swedish names - it's not quite like watching a dubbed film but is occasionally odd, particularly when British characters casually read Swedish newspapers and criminal files - we must be thankful the series hasn't been transplanted to Britain. The beautifully shot opening scene of a man setting fire to swans on the shore of a postcard-worthy lake (not quite as graphic as it might sound) sets the tone - violent but somehow poetic. And this is no run-of-the-mill cult - these religious fundamentalists condemn immigration, abortion and homosexuality, and like to burn churches (particularly relevant in Scandinavia), and encourage their members to self-immolate for their sins. The bones of the story are the same: Linda's childhood friend, Anna, goes missing, and it transpires she's linked to a murder Wallander and his team are already investigating, which leads them to a Danish cult. In the BBC version, Linda (played by Jeany Spark) is featured, but Branagh's tortured Wallander is, as ever, the main focus of the story.
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This is a reworked version of the novel written with Wallander's daughter, Linda, as the central character, when she begins working as a policewoman alongside her father (and marked the beginning of the Swedish TV series).
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