Netflix miniseries from Shawn Levy (‘Stranger Things’) tells the tale of a blind girl in Nazi-occupied France who instills hope through the radio.
. With no visuals to present to their audience, radio series had to conjure up entire worlds out of carefully scripted narration, homespun special effects, and the sheer vibrance of their actors’ voices. Done right, whether back then or in modern podcast fiction, the effect can be magical, with the soundscape creating an experience that can be just as immersive as, if not more than, a story you watch on a screen.
The intimacy of audio storytelling, and the way it invites your imaginations to fill in the gaps, is something that’s generally been difficult for filmed entertainment to capture. There are great films and shows that use the radio business as a setting, like the original, that conveys just how important the right voice on the radio can feel to the people who need to hear it.
This is the first screen role for the legally blind Aria Mia Loberti, and she’s by far the best thing in a project with several much more experienced and acclaimed actors. Her physicality works wonders to convey how Marie navigates a world she can experience through only four senses. And there’s a sincerity and openness in her performance that allows her to deliver various lines — “In life, you must never hide who you are. But in war, being unseen can keep you alive.” — without seeming corny.
Laurie just plays things British, while the German characters all speak with German accents. It is, in other words, a World War II drama. The show also deploys a fractured timeline, bouncing between events in 1944 and the childhoods of both Marie and Werner. I’m told the book uses a similar intercut structure, but the TV version of it keeps getting in its own way. Each time we jump back, it makes the present-day action feel sparse when it should be tense. And then present-day scenes can undermine drama in the past.
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