(THIS ARTICLE IS MACHINE TRANSLATED by Google from Norwegian)
Television series Killing Eve, now available on HBO, was originally produced for the BBC. That it was developed and directed by Phoebe Waller-Bridge – genius-ready for the promiscuous series Fleabag, where she plays the lead herself – creating an expectation of a liberating well-written plot, interesting characters and entertaining dark situations. The plan to watch one episode is quickly expanded to seven.
Sleepless series week
The series starts low. The main characters are priceless, the dialogue witty and sharp. Nerdy Eve Polastri (Sandra Oh) cares. She cares about too much all the time – with subsequent disastrous consequences. Eve's temperature may be reminiscent of Peter Sellers, a kind of honest blood-dog naivism, but characteristically we are back to Peter Falck's investigator, the witty Columbo, who was constantly in disarray and searching for food, while he mercilessly tightened the net of the guilty . Eve comes in coat like Columbo did and with the same brushed hair, loudly rattling into the MI5 rush meeting. She's been trying to get the last bit of croissant to her bureaucrat colleague and ends up taking a paper bag of pastries in for the intelligence meeting. That many are more looking for the croissant than the assassination of a corrupt Russian politician says his. The odd emphasis on this and other everyday details – which the character carries superbly – makes the series come to life and makes it stand out. The series manages to bake humor and lay the story in layers, while maintaining the tension. It is a captivating mix and for me extremely dangerous for the night's sleep.
Dysfunctional pleasure
Stylistically, the series has made unconventional choices. It does not try to show off or shock. We do not have to see the first murder – the incision of a head artery in a thigh. The series, on the other hand, plays self-consciously with conventions: the approach the assassin has to his victims, the occupation of the investigator and the killer to each other and the places visited. In Tuscany, killer Vilanelle (Jodie Comer) eats dripping fresh mozzarella, in Vienna she is at a renowned ice cream parlor. Here she enjoys a delicious cocktail dessert, while a child further away mirrors every movement. The maid is reserved, but suddenly breaks out in a joyous smile to a waiter who smiles impatiently. Annoyed, the assassin pushes the ice cream dessert right in the baby's lap. The aggression places her opposite the heroine and another dysfunctional female protagonist is introduced. The lack of social intelligence has also been established, along with a sense of life enjoyment and luxury.
Filmatic references
The adoption of The Vilanelle Novels by Luke Jennings is done with touch, playfulness and darkness. The well-used Cold War backdrop, with spy against spy, has been given an entertaining new version. Here are the women who hunt and hunt. Liberating as it is with smart, resourceful and life-enjoying women with a sense of replica, food and intrigue, it is obsession to those involved who drive the plot forward. The cat and mouse game between killer and investigator is about something sea, but first, the story takes time to play, build the environment and characters, and cite and comment on other cinematic works.
Here are the women who hunt and hunt.
For example, the inspiration from the classic Agatha Christie sequence, where a woman on a train catches a glimpse of a passing train murder, is clear. IN Killing Eve is the train replaced by bus: The female passenger fixes her gaze directly on the victim in an office building she passes. The man tries to panic for help, knocking against the glass pane high up in the building. The blood smeared over the glass and his panic say. The young woman looks straight at him, but then continues to talk unaffected on a cellphone as she turns away. The community commentary on what we see and do not see right in front of us, as well as what we choose to overlook – promotes a hopeful series week.
Away from the boredom
Initially, Eve and her team will only provide police protection to a murder witness. Bakful Eve knows best and makes a bet with partner Bill (David Craig) about the sex of the killer and bases a theory on why she was a woman to the high-ranking Russian head of MI6 agent Carolyn (Fiona Shaw). Eve gets blood on her tooth and involves several in her private and illegal investigation, which is revealed as she barely escapes a massacre because she is hanging around the damedo.
The series twists and turns, with crunches and twitches. Here's cynical big politics, unwritten rules for assassins, tragic double agents with Arne Treholt equality, and some lingering in family disputes when the investigative play turns to bloody seriousness.
Date with a killer
The series allows her to dwell on the villain Villanelles fascination over an expensive bedspread and her excitement over the selection in the closet at the home of a victim. She pretends to be the hopeful and ongoing young person who wants the successful entrepreneur woman as a mentor for her perfume project, while she cleverly gets the victim to breathe poison.
The main characters are priceless, the dialogue witty and sharp.
The antagonist is also allowed to unfold physically. Actor Jodie Comer does the stunts herself and like Villanelle she climbs several meters straight up a gutter. There is sensuality in a main character in such a lovely expression. At the same time, something completely different is happening. We capture the contours of a very neglected child, a ruined upbringing, a tough stay in Russian prisons. The latter described with very telling details. Suddenly Vilanelle's sore eyes, her hunger for luxury and outreach in the strangest of ways, are completely understandable.
Eve is also possessed by the woman she is hunting. It forces her to get to know new sides of herself. When Villanelle sends her expensive perfume and designer clothes, she first panics, then she becomes dangerously captivated and, among other things, wears one of the luxury dresses. Soon after, Vilanelle breaks in with her and asks for dinner. The table is set. Bon apetite!
