Book Review: Euro Noir by Barry Forshaw

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One of the UK’s foremost experts on crime fiction, Barry Forshaw’s knowledge of the genre is without equal. In addition to editing Crime Time and Nordic Noir magazines, he is the author of several notable books including Death in a Cold Climate: A Guide to Scandinavian Crime Fiction and British Crime Film. Regularly called upon to appear in documentaries, it was whilst working on Italian Noir for BBC Four he was struck with inspiration and came up with the idea for what eventually became Euro Noir.

A companion to last year’s Nordic Noir (also published by Pocket Essentials), this latest volume has a far broader remit. Endeavouring to survey as many contemporary authors working in the field across the continent as possible, Barry Forshaw proves that the distinction between fan and media professional is an arbitrary one. Written with an infectious enthusiasm and drawing from many years devouring the cream of what our cousins from the mainland have to offer, the author presents a near definitive guide to Europe’s take on the genre.

Long term readers of Barry Forshaw’s work will know that his hallmark is the ability to appeal to newcomers seeking a thorough overview before making their own tentative steps into the nearest book shop, public library, or DVD store and yet still offering something that will force long term enthusiasts to rethink any assumptions they may have about an author, book, film, or movement. Offering a refreshing new take on the genre and its attendant criticism, the author’s trademark thorough research is taken into an entirely different realm by the addition of interview extracts with authors, translators and editors. Personal anecdotes of meeting writers and publishing staff at festivals or institutes lift this text so that it never becomes a dry analysis. An exuberant critical celebration, subtitled The Pocket Essential Guide to European Crime Fiction, Film &TV the book covers an immense number of titles and is written so that even those who have seen a specific film or read a particular book several times will want to go back and experience the story all over again to see how whatever nugget of information the author has offered changes the viewing or reading dynamic. A key plot or character moment may be totally transformed after reading what the writer wanted to convey or perhaps a cultural cue explained by Barry Forshaw might add layers of rich texture to a scene.

A justly deserved reputation for cogent arguments and an inclusive approach to the material being scrutinized was validated when the book was selected as a university set text whilst still in the proof stages. An essential guide not only to crime fiction but also a celebration of European popular culture. The overview has a slight bias towards the west not out of any personal preference but because of the availability of translated editions. Euro Noir is encyclopedic is scope and is written to be accessible, titles cited can be ordered from any major retailer.

Traversing the continent’s rich contribution to the genre of crime fiction Barry Forshaw doesn’t discriminate, authors less known to UK readers and more famous names are given an equal amount of coverage and analysis. From Georges Simenon through to Jakob Arjouni and Marek Krajewski, the figures vital to the foundation and expansion of European noir are profiled and their most representative works given the accord they deserve.

Alongside the consideration of the literary scene is a fully comprehensive overview of essential films and TV series that includes modern cult classics Braquo, Mesrine, Salamander, and Spiral but also covers older works including Les diaboliques, and Lucky Luciano.

Crime fiction is an ever expanding genre. In the year since Nordic Noir was published fans have been treated to a number of new authors along with a succession of high quality series brought to us courtesy of BBC 4, More 4, and Arrow Video. The author revisits Scandinavia’s contribution in a chapter that brings readers bang-up-to-date with what is happening in the Nordic territories.

Entertaining, illuminating, and indispensable. This is the ultimate road map for anybody interested in European crime books, film, and TV.

Euro Noir is available from Amazon and all other booksellers

http://www.amazon.co.uk/Euro-Noir-Essential-European-Essentials/dp/1843442450/ref=sr_1_1?ie=UTF8&qid=1401557269&sr=8-1&keywords=barry+forshaw+euro+noir

Bang! An interview with Danish actor Claes Kaspar …

Nordic Noir

Claes Kaspar Bang graduated from the National Theatre School in Denmark.  He has had roles in the theatre, on film and has been in many TV shows that fans of Nordic Noir will be familiar with : Unit One, Borgen, Anna Pihl and series 2 of The Bridge where he played Claudio the gigolo. He has just returned to Denmark from Sweden where he has been working on a new film and his stage play The Evil is part of Nordic Noir Double Take in London May 12th to 18th at the Riverside Studios in Hammersmith.

How would you define Nordic Noir?

This is an interesting question for someone Nordic, as it’s probably easier for someone outside to say in which way it stands out as special or Nordic.

The writing is very good, seen from an actors point of view I must say I’m very impressed with my colleagues, I think the…

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CrimeFest 2014 / International Dagger / Petrona Award

Mrs. Peabody Investigates

I’m just back from CrimeFest in Bristol and am floating on a fluffy cloud of contentment after three days of great panels, excellent company and awards bling. Here are some highlights (more will follow).

14220603424_216ca657d0 Euro Noir panel (left to right): Barry Forshaw, Lars Kepler (Alexander Ahndoril and Alexandra Coelho Ahndoril), Jørn Lier Horst, Paul Johnston, Dominique Manotti and Ros Schwarz

The Euro Noir panel on Saturday was probably my favourite of the weekend. In a wide-ranging discussion, the authors explored the nineteenth-century origins of European crime fiction during the rise of capitalism (Dominique Manotti), the role of the translator as the voice of the foreign author (Ros Schwarz), the use of Euro Noir to probe the uses and misuses of power (Paul Johnston, Manotti, Jørn Lier Horst), crime writing and journalism (Manotti), the influence of Maj Sjöwall and Per Wahlöö (the Lars Keplers), the low status of crime writing in France…

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DVD Review: Mammon – The Complete Season One

On New Years Day viewers in Norway settled down to watch the première of a brand new conspiracy thriller series possibly unaware that it had taken creators Vegard Stenberg Eriksen and Gjermund Eriksen nine years to bring their idea to the small screen. After several abortive attempts to attract interest in the project the decision to give the go-ahead for Mammon to enter production was made in 2010. Filming occurred between autumn 2011 and the summer of 2012 with a January 2014 transmission slot pencilled in by the Norwegian equivalent of the BBC, NRK.

The tenaciousness of the pair of creative siblings who birthed the show’s concept and then nursed it throughout every bumpy stage of the production process was suitably recompensed when the network gave it a prestigious slot at the dawn of a new broadcast season.

Long before the series aired a buzz about it had been building within the industry suggesting that here was what generations of a creative professionals had been trying to create, a hit which would cross borders and possibly crack into the all important English speaking market. Several months ahead of the première news broke that format rights had been sold to 20th Century Fox and Chernin Entertainment. Momentum accelerated in the coming months following the announcement of the American remake as broadcasters across the globe expressed an interest in buying this dark and intense suspense filled programme. By the second week of transmission sales had been confirmed for Austria, Belgium, Germany, Luxembourg, Netherlands and Switzerland. That a UK network would buy Mammon was with hindsight inevitable but in a development which may have surprised some fans, the show found a home not with the traditional place for Scandinavian drama in Britain, BBC Four, but a new berth was offered by Channel 4 who immediately recognised the series’ high quality and wanted to bestow upon it the notable distinction of being the first ever foreign language series to air on its sister network More 4.

Published figures show that an average forty eight per cent of the Norwegian viewing population sat down each week to watch Mammon giving the network NRK its highest share of the audience in over a decade. This data was further bolstered with the addition of over a hundred thousand people who viewed it using catch up services, a not inconsiderable sum in the context of such a relatively sparsely populated country. An undeniable success in its homeland, Mammon arrived in the UK as fans were still mourning for the loss of Borgen and The Killing whilst at the same time feeling frustrated at having to wait for a third season on The Bridge. In short, the British audience has never before been more ravenous for fresh Nordic Noir and with Mammon fans have got the show they deserved.

Save for the American co-production Lilyhammer, Norway’s contribution to the blossoming of Norse TV was until recently scandalously under-represented leaving fans to construct an incomplete picture of the movement’s evolution. Barry Forshaw’s Pocket Essentials: Nordic Noir and Eva Novrup Redvall’s recently published Writing and Producing Television Drama in Denmark: From the Kingdom to The Killing validates claims that whilst our attentions were focused elsewhere Scandinavians were tearing up the rulebook and finding new ways to craft well written popular drama which would revolutionise the industry. Trailblazing at a frantic speed, their international competitors have been caught unawares and are left behind scrabbling around in the dust looking for series to remake or in the case of Broadchurch applying lessons learnt from studiously analysing The Killing and The Bridge. The much anticipated DVD release of Mammon affords fans the opportunity to finally recognize that Norway is capable of creating a sophisticated and adventurous bleak thriller that is equal to anything currently being made by its neighbours.

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Inspired by All the Presidents Men, Three Days of the Condor, and the BBC series State of Play, Mammon is a tale of sibling rivalry told over the course of six days (with the exception of introductory and concluding sequences) which riffs on the turmoil wrought upon Norway by the global banking crisis. Fearless journalist Peter Verås (Jon Øigarden) works in an evening newspaper. An idealist, he clings to a form of press ethics that has become largely outmoded in an age where the industry faces the ever present threat of irrelevancy due to social media and charges of moral bankruptcy as a consequence of the practices of a red top papers.

Haunted by guilt after writing a story about financial misdeeds that triggers his brother’s suicide Verås sifts through his records trying to discover the identity of the anonymous source who gave him the initial tip off. The mystery takes an unexpected turn when it is revealed that the informant was his now deceased brother. Aided by a former member of the Financial Crimes division, Vibeke Haglund (Lena Kristin Ellingsen), Peter uncovers a murky conspiracy with tendrils infecting his own paper, political figures, the financial elite, and a business school.

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Genre aware, Mammon is simultaneously familiar and strikingly original. Unashamedly brandishing its influences, the programme meshes high and popular culture. Not many mainstream drama series get to reference, Baudrillard, Kierkegaard, the Old Testament, and 1976 horror film The Omen. Over six episodes the screenplay plays mischievous games with viewers expectations and this spirit was present throughout the production as evidenced in a decision taken by the key creative team of writer, director and producer not to tell the cast who was playing the villain until the final days of shooting. The absence of key information about characters motivations until very close to the end of principal photography created a palpable tension on set and ensured the actors were on the same voyage of discovery as the audience at home.

A Kane and Abel for an age that fetishizes wealth. Mammon casts a critical eye over capitalism and places Norway at the centre of a Greek tragedy in which the entire nation is enslaved by dark forces that operate without checks or balances. Intelligently directed, packed with breathtaking moments, this is a high quality example of Nordic Noir so tense it will have fans chewing their fingers to the bone.

Mammon can be ordered from Amazon:

http://www.amazon.co.uk/Mammon-DVD-Jon-%C3%98igarden/dp/B00IZFU35O/ref=sr_1_1?ie=UTF8&qid=1399348698&sr=8-1&keywords=mammon

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