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NORDIC NOIR

NORDIC NOIR

Oslo battles Stockholm for Harry Hole movie

Oslo and Stockholm have entered into a bidding war to try and get the Jo Nesbø thriller The Snowman shot in their city, with both offering funding, free parking and other services.

Oslo battles Stockholm for Harry Hole movie
Jo Nesbø at a prize-giving in December. Photo: Terje Pedersen / NTB scanpix
The Snowman is the Norwegian crime writer's seventh Harry Hole novel, but the first to be adapted for the big screen, and Oslo's municipality is determined that it should be shot in the city. 
 
So when Stockholm’s film commissioner announced last week that his city would contribute 1.5m Swedish kronor ($180,000) towards the production, as well as well as free parking and other services, in order to encourage the the producers to shoot it in the city, Oslo decided to fight back. 
 
“A week ago, Stockholm tried to steal our city's beloved child Harry Hole,” Oslo's culture commissioner Hallstein Bjercke told NRK. “They must have expected us to react.”
 
In response, Oslo has pledged to match the Swedish bid, offering almost exactly the same amount of money and the same free services if the film is shot instead on its territory.
 
On the face of it, the film should by rights be shot in Oslo. After all, Harry Hole is an Oslo-based police detective, and Jo Nesbø is the most acclaimed crime writer in Norway. 
 
But the UK's Working Title films, which is leading the production, has teamed up with the Swedish director Tomas Alfredson, who previously directed “Let the Right One In” and “Tinker Tailor Soldier Spy” 
 
Roger Mogert, Stockholm's Culture Commissioner, accused Oslo's municipal government of behaving “like amateurs”. 
 
“You can’t have film policy based on bidding. That is not what professionals in the film industry do,” he said. “I think it would be great if Oslo, instead of bidding this way, established an independent film policy.” 
 
The Swedish capital has its own film fund, specifically aimed at drawing major international film crews to the city, something the city government believes boosts tourism and improves the city’s international recognition.
 
“It creates jobs locally, both during filming and afterwards, when tourists arrive to see the locations in the film,” Mogert told Osloby. “For us it is essential that films from Stockholm reach the whole world. It is an amazingly effective way of promoting the city.” 
 
Bjercke was adamant that he was not open for any kind of co-operation between the cities on the Snowman. 
 
“I am open for co-operation with Stockholm on culture, we have done so for many years. But Harry Hole belongs in Oslo,” he said. 
 
 
 
 
 
 
 
 
 
 
 

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TELEVISION

Danish shows take TV world by storm

With original boundary-breaking content, thrilling plots and charismatic actors, Danish television series have captivated audiences worldwide in recent years.

Danish shows take TV world by storm
Danish actor Lars Mikkelsen plays the lead role in Ride Upon The Storm (Herrens Veje). Photo: Mads Joakim Rimer Rasmussen/Ritzau Scanpix

The latest show to hit the small screen is “Ride Upon the Storm” (Danish title: Herrens Veje), which is being distributed in almost 80 countries with a debut later this month in Britain, where it will be broadcast on Channel 4 by the station’s foreign language arm Walter Presents from January 28th.

The new drama was created by Adam Price, the BAFTA winner behind the acclaimed drama “Borgen”, which followed the political and personal tribulations of a Danish woman prime minister.

Danish shows, with both exoticism and gritty realism, have quickly soared in popularity beyond their initial local Scandinavian viewership, Pia Jensen, an Aarhus University communications associate professor specialising in television series, told AFP.

Long known for the Nordic noir crime genre, the big international breakthrough for Danish shows came with “The Killing”, a hard-hitting series following a Copenhagen female cop's investigations.

Then came crime thriller “The Bridge” in 2011.

The Nordic noir genre has proven so popular that its aesthetic and themes are now being replicated beyond Scandinavia's borders, with shows such as “Shetland” and “Broadchurch” made in Britain, Jensen said.

For foreign audiences, Denmark as it is shown on television is “an exotic society, something to aspire to because of the welfare state and the strong women characters”, she said, referring also to the 2010 hit “Borgen”.

She added, clearly amused, that it's “as if Denmark is the fantasy land of gender equality”.

Paradoxically, in this almost utopian world, the characters are “normal” people with whom audiences can identify, according to Jensen.

But now Danish TV series have moved beyond Nordic noir.

“Ride Upon the Storm” is a character-led drama about faith and a family of Danish priests, dominated by Johannes Krogh, a tempestuous God-like father battling numerous demons.

Actor Lars Mikkelsen, known from “The Killing” and his role as the Russian president in Netflix's “House of Cards”, plays Johannes, a role for which he won an International Emmy in November.

Mikkelsen “has set new standards for the portrayal of a main character in a TV series”, the show's creator Adam Price told AFP.

Johannes “is the 10th generation of priests, it's a huge burden that haunts him and he lets it haunt his sons too”.

His eldest son Christian is lost and at odds with the family and society, while younger son August is married and following in his father's priesthood footsteps before becoming a chaplain for troops stationed in Afghanistan.

“In the Bible, you have lots of stories of fathers and sons and brothers. That was the perfect ground to tell (a story) about masculine relationships, the competitive gene between men in a family,” Price said.

Elements from “Borgen” can be seen in Price's new venture: the efficient prime minister Birgitte Nyborg and Johannes Krogh, who is headed for the top as Bishop of Copenhagen, are both characters passionate about their work.

“But Johannes reacts differently than Birgitte (does) because his ambition is not within the world of politics, but with a more supernatural power,” Price said.

Thoughts on faith, religion and spirituality are mixed with a complex study of family.

“Religion is sometimes something imposed, as authority can be imposed on our children in a family. And both are dealt with in 'Ride Upon the Storm',” he said.

Price is currently working on “Ragnarok” for Netflix, a six-part Norwegian coming-of-age drama based on Norse mythology but set in a modern-day high school.

The second season of “Ride Upon the Storm” just wrapped up on Danish public television DR, which produced the series, and had around 500,000 viewers.

“Danish producers are mainly thinking of a Danish audience. It has to stay relevant to the Danish public and that's why DR keeps experimenting,” Jensen said.

“Some of the shows will travel and some won't.”

READ ALSO: The Bridge's Porsche 911 to be auctioned for charity