Aniol Kirberg as Steuermann Harry Weidner (s3 U-949).Alessandro Schuster as Funkgast Pauli Müller (s3 U-949).In season three, war continues to exert its forces on Europe in unexpected territories, namely neutral Portugal, and Kiel, Germany, home of the U-boats while at sea, Robert Ehrenberg attempts to form a family and redemption with the crew of U-949 on a secret mission while Royal Navy Commander Swinburne pursues them towards the Southern Hemisphere. The second season takes place in 1943, following captain von Reinhartz of U-822 as he attempts to defect to America, while deposed captain Hoffmann of U-612 attempts to return to Germany. The sea-land dual storyline continues in subsequent seasons, providing multiple points of view towards World War II. In season one, the narrative is split into two strands: one at sea, on board U-612, and the other, on land, in La Rochelle, France, with the French resistance. The series picks up in late 1942, nine months after the events of the film. Based on Lothar-Günther Buchheim's book with additions from his sequel, Die Festung, the series focuses on events at sea in the Battle of the Atlantic on various U-boats, and on the resistance to German occupation on land, in France and Europe during World War II. Using a lot of recently discovered 70 mm footage and more than 11,000 hours of audio recordings, Miller worked with NASA to locate, digitize and restore all sources of material related to the Apollo 11 mission.Das Boot is a German television series produced by Bavaria Fiction for Sky One and a sequel to the film of the same name. Shown with limited commercial interruption, it’s director/producer Todd Douglas Miller‘s epic feature documentary capturing the tense, exhilarating period of the first landing on the moon. These live highwire specials have been a ratings gold mine for ABC in the past.Īpollo 11 (Sunday, CNN, 9 p.m.) is not one of those quickie-specials that CNN sometimes airs on weekends. 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. 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. 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. 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.
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