Atlantic Crossing': a solid historical drama in Movistar + that does not finish reaching its full potential

 With the statuette of the best dramatic series in the past International Emmy, Movistar + 'Atlantic Crossing' arrives , a miniseries that narrates over eight episodes the friendship (or something more) between Marta of Norway and Franklin Roosevelt and the role of this one in the participation of the United States in World War II.


Sofia Helin as the princess, wife of Prince Olaf of Norway (Tobias Santelmann) and Kyle MacLachlan (' Twin Peaks ') as the American president lead the production that has, precisely at this point, what is least interesting. Or at least not enough to waste time on repetitive conversations .


In a sense, when it crosses the pond, 'Atlantic Crossing' loses integers, being the most interesting and solid in the war in Scandinavia. Perhaps because it is refreshing to see a history of World War II that takes the focus away from the old countries. This is where we find the best moments of the miniseries.


Thus, we move between a Norway (full of steel) that loses its neutrality when invaded by Germany and a Sweden that, although neutral, winks at Hitler. And, in the middle, a royal family that has to make painful decisions in which to weigh the crown, the country, the town, the family and see which is the least bad scenario.


Between the period drama and the historical one?


Of course, let's not expect a thoroughly documented historical drama - and in fact Norwegian media have protested about it - since the scriptwriters approach this war episode with a clear idealization and obviously indulgent with the protagonists of the fiction (especially Roosevelt).


Of course, that does not mean that we are not facing a good drama. The first two hours of the miniseries give a good account of it (with those first moments of exile) and provide good scenes of tension and some other emotional point (it is difficult not to get excited at the end of the second episode) but, in general, it is something remains on the surface.

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The problem of 'Atlantic Crossing' comes from the indecision of Alexander Eik and Janik Heen about what to promote since in none of the subgenres that go hand in hand (historical, war, period, romantic?) Are they especially inspired. Even his desire to get emotional — that headboard with the Statue of Liberty crying is quite a declaration of intent — falls short.

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