Hostages/ Bei Aruba Episodes eight, nine and ten and final review.
Nb. Please note that any reference to the remake refers to the American series, Hostages.
(Hostages reviewed here on 27th January 2014)
Episodes eight, nine and ten.
Some notes and dialogue on first watching.
(Alex is the big guy)
Boy the drama is intense now.
Ella to Iyal: (Yael’s husband):
“It turns out you don’t matter..”
She continues: (to Yael)
“Let me get this straight, I could pull the trigger, and you wouldn’t care?”
Thing is-Rubin’s crew are veteran soldiers but the soldier is very well trained too.
Somehow Rubin performs a miraculous task in that he is a bad guy but appears sometimes as the good guy in his actions. He is a bit of both.
Now I am seriously worried about the Head of Security guy…
Head of Security:
“”It will be OK, first we have to take you somewhere else.”
Uh oh. His passenger:
How do you know one of them was a woman?”
Beautiful mountains and trees. A bit like Greece.
Alex crunches up his mobile at one point. with his bare hands.
So many happenings too suspenseful to relate.
Some horrific happenings too.
Yael proves to be ever more resourceful. As does her husband Iyal. Plus the children Noa and Assaf too. As predicted.
Some notes and dialogue on first watching.
There is a reveal:which is weird since the possibility of this reveal had occurred to me a little while back.
Yael to Security guy:
“Who is that?”
The Security Guy:
“He’s with the dead.”
“What do yo mean?”
“He’s Tsion, he’s with the morgue..”
Ella and Alex.
This is extremely tense.
“I’ve been running way all of my life Ella…”
The Head Of Security smokes…
Alex gets insulted about being called a psychopath by the young guy.
“Do you know what a psychopath is?”
“Someone with no God and no feeling…all my life I’ve been called a psychopath!”
“Do you know how that feels?”
“The next time you call someone a psychopath”!
Now Rubin is the good guy again. What did I say about Yael being like a Hitchcock heroine. She truly is.
Meanwhile back at the house with mainly the men and Ella, things are escalating to a crescendo in the dramatic stakes.
The action is seriously suspenseful..
A voice calls:
Me,I’m readying my baseball hat..and its peak.
(Church bells ring)
Yael goes into an old stone building. A Convent.
And Noah is getting desperate.
Now Rubin really is the good guy. Or is he.
Yael is in proper spy mode.
And Assaf is being outrageously brave.
Well done Assaf. Now Alex is looking like he will burst a blood vessel. Any minute.
Iyal is the name of Yael’s husband.
“Assaf, I’m going to count to ten..”
“ten, nine,eight, seven,six, five,four,three,two,!”….
“Alex, Adam is back…
So the Nun has a gun.
Yael to Nun:
“What’s that beeping?…
Some notes and dialogue on first watching.
Nb. The opening credits music is impressive. As is all the rest of the incidental music. It is atmospheric yet never interferes or ever takes over the drama.
The prologue sums up everything so far..
Two men discuss politics.
One says what is translated as “fool” when he says “Schmuck”.
(Back at the house)
I am reminded of the film Cape Fear.
Then Kerpow. I kind of expected that really.
“Babe,what have you done?”
“You never listen...”
Yael to Rubin:
“You must stop all this crazy madness…”
then Yael pulls a top trump card.
“Adam,I know what you’re going through…”
“I got held up., because I didn’t have any change, “
“I went upstairs..”
“I stayed several hours,,”
“Then they gave another woman her bed..”
“She had a daughter”
“I gave her my armchair”.
“Is it over?”
(That would be nice. Adam weeps.)
“Your gun is useless unless you use it”..
So things are cranking up gear upon gear. I mean the drama.
The aftermath. Or is it.
Yael to Iyal:
“Remember when Assaf was three and we drove to the Parmesin beach…”
“That was the father of my children…”!
There has got to be a twist surely.
I think I know. Nope. Not that.
Ahah. So the epilogue (well I am calling it that) is coming along very nicely indeed…
Well. The operation. They have the iodine out…
So Hostages/Bei Aruba almost stands alone and resists any further description or review. since the drama is so very nearly complete within and unto itself.
A fairly spectacular creation as a piece of work I felt. As a hard hitting, intense, believable and sympathetic drama.
Sympathetic as in all the characters, well nearly all were humanly believable. Rounded. fully fleshed out. Even behind masks for most of the time for some. Quite a feat of acting for those actors and actresses to achieve really.
Plus as predicted: much of the action and increasingly suspenseful and claustrophobic feel to the drama is because a great part of it takes place inside a house. From room to room.
Intense and escalating dramas play out with different scenarios and characters. Randomly although sometimes and originally planned. Originally as in this was the plan at the beginning.
When the hostage takers were in control. Before the situation began to implode. Or explode- take your pick.
We see how each character in the family and the hostage takers reacts to the situations they find themself in played out in tandem. From both sides.
However the appearance and then increase of randomly rather than planned situation for the people in the house creates yet more satellite-like creations. Of yet more and new unpredictable situations increasingly soaked, nay fuelled by emotion. Hatred, fear, jealousy. Imploding egos and broken selfs. Yet there is love.
There is stress slimy with sweat by the end. When things went all Cape Fear on us for a while there.
Certainly in the house it was like the film Cape Fear. As the tension ratcheted up another nth degree and the house somehow became smaller(and smaller) until its inhabitants were reduced to escape tactics from action movies and prison life.
That life and escalating claustrophobia and dread is now constrained seemingly to one small room. Within which a shadow lit and extra pallid character is issuing orders to put a chair under a door as the forces of evil outside finally seem to threaten to burst in. In a culmination of everything unplanned and a deeply unpredictable man.
Meanwhile Yael and Rubin are the out-runners from the house. They are the party starters. The twisted fire-starters possibly, as The Prodigy sang.
Rubin and Yale are also the proactive and protective ones. They are the calm-ers, the resolvers. Both of them. Ultimately Yael and Adam Rubin are perfectly matched as contenders. Each of them can certainly think on their feet. Yael is fleet on hers. She is more than resourceful.
(and a worthy adversary to Rubin)
All the characters of the family and Rubin’s crew played their part in the final outcome and all the various random unpredicted permutations of their interactions with each other.
There may be a mathematical formula for this randomly spiralling cumulative course of events. Perhaps that would be the Chaos theory of the universe. But apparently there are mathematical patterns in the world.
I realise that in the notes and dialogue I said that Bei Aruba/Hostages had diverged on the plot. however this is the wrong way round of course. Since I was judging from the point of the remake. (Hostages) which is daft.
I was the remake that did some things differently. Not Bei Aruba. I do think that there was a seemingly cruelly short feel of Bei Aruba compared to the remake ( the remake which admittedly did start to drag)
Yet on consideration this length of ten episode seemed right and made the original more intense and powerful as drama. A presentation of or performance of some very excellent acting all round. some good time of that in balaclavas as discussed.
Hostages/Bei Aruba seemed short like it just flew by. Yet the drama was a good ten episodes. Plus we were spoilt with three episodes a go in the last few showings. (unless I never noticed before)
This fleeting feeling must because Hostage/ BeiAruba was just so darn damn good. You see it makes me write in two or three adjectives. Sharp, sassy cool an collected. An excellent and classic thriller. with a Hitchcock heroine and a Hitchcock feel. Timeless in fact.
Hey, Hostages/Beiaruba even had a (classic) epilogue ending. Without having to name it so. That is how cool Bei Aruba is.
An epilogue with a twist: a reveal and then a cliffhanger of its own. That in old classic thrillers all this will cause the characters to freeze momentarily, right at the end. As they realise but too late.
Alternatively, this doomed realisation is not experienced by the characters on film. Who are allowed to carry on happily. Unaware.
Instead the final reveal and cliff-hanger is for the viewer instead. As if we might turn to one another with shocked and stunned faces. We were the ones that were hoodwinked. Like some of the others were too.