Tobias Lindholm must be currently one of the hottest screenwriting talents in Europe after his work on Borgen and The Hunt. Here he adds directing to his talents in a taut and utterly gripping account of the hijacking of a Danish freighter in the Indian Ocean. Lindholm’s script is an exercise in paring down the drama to just two locations – the shipping offices in Copenhagen and the ship itself. In Copenhagen two of the Borgen actors known to UK audiences, Søren Malling and Dar Salim, are in contact with the ship’s cook (Borgen‘s Johan Philip Asbæk), who the Somali pirates have chosen as a negotiating tool as part of a deliberate strategy. The pirates have their own negotiator, Omar, who speaks good English. He remains a mysterious figure throughout – what is his situation, is he being used against his will, or is it all an act? To counteract this the shipping CEO (the Malling character) recruits an expert negotiator played by a real Copenhagen-based security consultant. All the direct negotiation is in English.
The production was based in Mombasa and the ship itself was once hi-jacked so there is a basis of authenticity which is built on in terms of the script. These hi-jacking negotiations can drag out for weeks and months as time is always on the side of the pirates. The brilliance of the script is to emphasise the waiting but also to provide sufficient moments of increased tension and then release without resorting to the kinds of Hollywood conventions in a film like Argo. Lindholm opts to keep the emotional pressure built up in the families back home in the background, placing it instead on the CEO Peter and the decisions he makes. Malling plays the role very effectively. The whole negotiation process raises the obvious questions about the ‘uncaring capitalist ethic’ – how much is the shipping company prepared to pay, how long will they allow the suffering on the boat to continue? On the other hand, would paying too much too soon encourage the pirates to raise the takes? I don’t know the Danish government policy on hi-jackings but Lindholm keeps external agencies completely out of the narrative and that’s probably a good idea. I’ve seen some questions about the representation of the Somali pirates and it’s also worth noting that there are other crew members on the ship who are not given any real screen time. They too will have friends and family back home somewhere in India or South-East Asia. Someone needs to write a script about them as well. It’s probably asking too much of Lindholm to do that on this project, but it is something that Danish writers need to consider as they make more forays into global stories (not that other film industries are necessarily better at doing this, but Danish film and TV is on something of a roll at the moment).
This is a terrific thriller with not a wasted second. Johan Philip Asbæk is particularly good – I noticed that he had a personal coach to help him put on the pounds and a beard to make a convincing ship’s cook. With its Borgen stars to the fore this should do very well in the UK if Arrow can manage to promote it (and the Susanne Bier film) effectively.