The Bridge-Series Two
Some excerpts on watching:
The usual silly and nonsensical lyrics for the opening song.
So we have brief re-cap of the last episode of Series 1. Martin’s tragedy.
Sigh. We are back to the simply stunning visuals of The Bridge.
Some incredibly good sailing done by a small dingy sailing boat less than 14 feet I would say. To get out of the way.
In a sync in with Wallander (his daughter sailed too) we see a young girl, who was doing the sailing come to shore and meet her Dad.
Saga goes to Copenhagen to see Martin to research two Danish citizens. Martin is all grey now..He breaks into a smile,:
“Hey it’s great to see you!”
“You could have emailed them” says Martin
“I wanted to see you ” says Saga.
The completely fabulous building that Martin works in is painted in a wash of sea pale green. He stands amidst
gigantic pillars like an old Temple to have a fag/ cigarette.
Martin’s beautiful Boss lady comes to see him:
“I think it’s a good idea to go” she says.
In the car Saga tells Martin he has gone grey.
“No, silver” he replies..
Nb. Saga’s pea green Porsche matches the lighting.
The English words are mixed up with Swedish and Danish I realise.
I am so familiar now with some Swedish it needs no translations any more. Like “Bro” (Bra) for good.
(and “Ah” or what sounds like Ah for yes)
Martin and Saga hit the infamous bridge. It is simply gigantic and stunning. Martin starts brokenly weeping.
Everything is a symphony of pea green: the beautiful Boss’s feather boa scarf is pea green. The pool tiles where Martin swims furiously are pea green. Everybody’s jackets are pea green. Thy mysterious daughter has a pea green cardigan.
Even the jail is green. And Saga’s T-shirts. And the Police Station office.
end of excerpts
So The Bridge is deeply down with the colour of mushy peas. Someone must have been to England and sampled this delicacy in a polystyrene cup. Usually to be found in fish and chip shop or possibly pie and mash. Still, i digress.
Yes, all dreadful memories of the paper thin over typed carbon copy of The Tunnel recently on in the UK are thankfully blown away and replaced by something with some real colour in the paint palette and emotion to boot.
Me, I could happily, as I did in Bridge Series 1, just sit and silently sigh and drink in the wonderful scenes. Each one nearly like a giant still painting of elaborate creation.
Pea green, sea green, is it a visual pun or link to the sea? The jaunty collared stylish sea captain, the mysterious sailing girl, the ship itself, all linked to the sea.
Martin swims furiously every night in a basement pool with art Deco green tiles. Water again.
Martin is strangely greeted at the reception desk of his apartment block by the concierge saying:
a phrase normally reserved for women. I found myself pondering over this and decided that the concierge was being extra specially nice to Martin and must therefore know of his past.
Either that or the concierge didn’t really know Italian.
So again we have one ongoing and unpredictable threat that is near impossible to keep track of for the Police. With connected story lines indirectly related to the main story.
With other seemingly secondary characters and story lines that appear unrelated to the main case. However slowly but surely I suspect these characters will come up against the main story like Venn diagrams bumping in the night We all know what happens then: secondary characters come off worse.
Martin as a character movingly portrays the grief he is suffering, we can see it in his face. We see it wash over him in waves It is after all, only a year since the tragedy, barely a breath away, in grieving. A year being more like a day. Martin sees visions too, but not the usual ones of the dead person, but the murderer.
This seems entirely reasonable to me and perfectly explains Martin’s need to visit said murderer in prison to make sure he is really there. But also why Martin is experiencing fitful outbursts of protective aggression against real life threats from random people.
Martin is high wired, or wired, part of him is in perpetual fight mode against the unseen demon, the murderer. Because Martin couldn’t save his son. How long this will last is hard to tell. Possibly forever for a Father.
I did like how Martin described therapy as lies you are told and lies I tell myself. Of course it maybe that this case will be his saving grace. A mite too pat for The Bridge and far too neat.
However it is a delight to see Martin cracking up in amusement over Saga’s stone-face quirks and fake grimaced laughter when she observes that she has been told a joke.
Saga is Martin’s touchstone and understandably so.
Martin and Saga are indeed a team. They compliment each other and cold be said to being out the best in each other. Since we see Saga stretching out her one sided self towards Martin in a semblance of empathy.
However Saga’s very coldness of character is Martin’s stalwart. Saga’s calmness provides clarity and strength. Martin needs a friend he can trust and Saga is predicable and unchanged towards him.
This allows Martin to relax, breathe and even experiment as we saw. With his intermittent and altered persona who does wild things with handcuffs and guns. Plus who jaggedly and fitfully cries in the car.
A small alarm bell rang for me when Saga’s now live in boyfriend questioned her as to why she answered Martin’s call.
Never a good sign this. Mind you I was already considering whether mysterious boyfriend could be the evil king-pin plotter behind the murders.
This remonstration by him led Saga to ignore Martins’ further phone call in the his hour of need when seeing his demon vision. Rather sad in all. It seemed out of character for Saga to obey her boyfriend in this.
But Saga was busy reading a table full of books on how to make a relationship work. So that came under this definition for her.
A little bit worrying all in all, or perhaps I am worrying for nothing. Yet it seems Saga is a little bit at risk from love and or live in boyfriends she barely knows.