It’s Lijana’s first big-ticket stunt since a serious accident a few years ago. They will start at opposite ends and meet in the middle, pass each other and continue to the end opposite from where they started. Highly recommended.Īlso airing this weekend – Highwire Live in Times Square With Nik Wallenda (Sunday, 8 p.m., ABC, City TV) is Nik Wallenda and his sister Lijana attempting to perform a 400-metre-long highwire walk across Times Square. Some scenes are blunt in their depiction of violence – there’s sex and nudity too – and throughout there’s a livid tension.
Each character has layers beneath what we first see. At sea, frightened angry men come to loathe each other. On land, there is a seething tension beneath what the Germans think is a strong grip on things.
#DASBOOT VS TAISA SERIES#
The drama is a series of thrillers inside thrillers. Her brother has linked her to Carla Monroe (Lizzy Caplan, from Masters of Sex), a Resistance fighter whose anti-fascist leanings previously had her fighting in the Spanish Civil War. What unfolds then, in a finely made thriller mode, is Simone’s introduction to the French resistance. Ongoing, of course, is the multiseason adaptation of The Handmaid’s Tale, another novel that was first turned into a film. Recently we’ve seen a new adaptation of Catch-22 from Hulu, and a miniseries based on The Name of The Rose aired on Sundance TV. That is, multipart series based on books that were made into good movies. co-production.ĭas Boot (all episodes available to stream on CBC Gem) is also part of an odd little trend. It expands beautifully outward and inward. That was set almost entirely among the crew of a German U-boat in the first years of the Second World War.
#DASBOOT VS TAISA MOVIE#
A sterling example is a new series derived from the very male and classic German movie Das Boot, from 1981. The British make Nordic-style thrillers, Netflix is everywhere and standards are so high that nothing gets an easy pass for being a nice Euro co-operation.
#DASBOOT VS TAISA TV#
This current age of great TV has allowed all manner of storytelling to be elastic and excellent. Maybe a French star, a German writer and an English director, and what you got was something nobody could digest. It was applied to movies and TV series made with money and artistic input from various European countries. There was a time when the term “Europudding” was the kiss of death. Parents need to know that Das Boot is an intense, but superb, Oscar nominated German war movie - based on a 1973 novel - with intense scenes, violence, and strong language.Please log in to bookmark this story. Various versions of the movie have been released (as well as a TV series) - this review is of the subtitled 208-minute Director's Cut. The movie tells the story of a German u-boat (submarine) mission in 1941 during World War II. Sea battles and the subsequent peril focus on the human issues, with strong emotions including panic, fear, and sadness. Some battles result in bloody injury and during one battle, enemy soldiers on fire jump into the sea.
The crew are shown as highly competent and display good teamwork. But the commanding Nazi officers setting their orders are shown to be out of touch. Infrequent strong language includes "f-k" and "s-t." Before the crew leave on their mission, they spend a raucous night at a nightclub, which features lots of smoking, drinking to excess, and disrespectful behavior. This includes men grabbing a scantily clad cabaret dancer and urinating on Captain Lehmann-Willenbrock's ( Jürgen Prochnow) car. There are two instances of male characters displaying their naked buttocks - one during an emergency when a man runs out of the bathroom, and the other when a medic inspects a man's genitals for pubic lice. More a horror movie than a gung-ho war film, this excellent WWII drama's focus is very much on the human element of war. baddies, Das Boot excels at creating three-dimensional characters, who each have their "normal" lives wrenched from them by the outbreak of war.
Now these 50, mostly, very young men who are crammed into a cramped, smelly submarine, have to keep their nerve amid great danger. As the boat's captain, Jürgen Prochnow strikes the perfect balance between a commander following orders and a man sympathetic to the plight of his young crew and, in one heartbreaking scene, even enemy soldiers. Heartbreak and horror are what to expect in this masterful movie that ratchets up the tension continually for its three-and-a-half-hour runtime.
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