Wallander

If there’s a place that has the most capable filmmakers who can create an original piece of work (everything else) out of an unoriginal subject (crime storylines), it is the BBC. Along with Luther and Sherlock, Wallander is a criminalist who gave everything to the job, and which took it from him wholeheartedly. The weariness of life from the incomprehensibility of this world seems to have fallen out of a Shakespearean work, so it is not surprising to see Kenneth Branagh in the lead role, who played his part perfectly. The perpetual stubble, the wrinkles on his forehead, the bags under his eyes, and the look of emptiness eventually become what makes Wallander utterly unadorned, securing the show’s place in the top ranks of genre filmmaking. Not to mention that it also features excellent cinematography and fantastic music. (01/21/2012)

Season 1: Episodes Sidetracked and One Step Behind are spectacular. Here, the detective story genre is a kind of glue of a psychological drama about an internally decomposing detective, broken personal ties between police officers and the social ills of contemporary Sweden. One can easily talk about parallels with Larsson's infinitely overrated Millennium, the framework, the atmosphere and the similar approach. Philip Martin's direction brilliantly incorporates elements of Nordic dramas, depersonalized placement the characters in the landscape, jumps to moody lyrical shots, and the frequent positioning of the viewer behind glass, into isolation from the character. A cold yet thoughtful work that gives this series a completely unique atmosphere. Brannagh is breathtaking and easily plays all the different positions of sadness and waste that Wallander goes through. The middle part, Firewall, is a little out of concept, more classic, the plot is exaggerated, escalated into a slightly barren conspiracy thriller with elements of a forgettable melodrama about femme fatale. Certainly not the path Wallander should take. Overall: the series is 100% stylishly compatible with my taste. An existential crime thriller for those who like the North. Season 2: I see no weak spots here, I just have to highlight how Wallander is going against cheap political correctness, whether in The Faceless Killers (topic of immigration and racism) or in the absolutely fabulous episode The Man Who Smiled (exploitative compassion for third world countries). Wallander's psychic schism deepens to the point of complete dislocation from the world - Fifth Woman is an elegant closing of the dramatic arc and a kind of partial catharsis of the depression-torn "Job of Ystad". This needs another season - next to Sherlock, the best detective series I've ever seen. (01/21/2011)

Probably no other character from a series (or movie, for that matter) is as intense as Branagh’s Kurt Wallander (aka walking Scandi depression). It is him in combination with a powerful atmosphere and melancholic music, not to mention camera genius, make this an unforgettable crime series, even though the cases in themselves are no genre gold-dust that you wouldn’t come across elsewhere. And you can hear the paper rustling a little and they are pretty darn predictable. By which I’m not saying that they are bad or just average (apart from the rather dumb, but not bad episode Firewall). This applies for season one (4/5), during season two (5/5) the impression gained from individual episodes improves considerably thanks to their “Dürrenmatt-esque" approach. But it doesn’t matter anyhow, because the cases don’t start being important until season two. Season three (4/5) continues in the same vein as season two and is even better in details, but in the crime part is even more paper-rustling and predictable. This changes none of its qualities again, but the rather unsuccessful attempt at a change of style and genre during his trip to Riga meant a step down from the pedestal of highest quality. (02/26/2011)

Those who are interested in the detective literary genre have long known that quality European detective stories are particularly successful in Sweden, and if good books are created, it is expected that good screenplays will also be created. In the 1960s and 1970s, France and Italy dominated the European film and detective genre, but those times are long gone. Currently, Great Britain holds the banner and Sweden successfully rises to the forefront. It is thus no coincidence that the crews of both countries came together for this co-production. An above-average television miniseries was created, which, with its atmosphere, is reminiscent of the novels of Per Wahlöö. Individual criminal cases usually have a social impact and are not only about the failure of individuals but also reflect the state of morality in the country. And they usually also touch on the private life of the main character, portrayed by the top-notch actor Kenneth Branagh. This is partly because his police investigator is a sensitive person who takes his cases too close to heart. Due to his dedication, his marriage fell apart and his emotional life resembles that of a hermit in a remote cave. The British star is skillfully supported by other members of the cast and helps to overcome minor flaws in the screenplay, where the authors allow their imagination to run too wild. Tension is mainly built by the music, but the editing is also worth mentioning. A very decent accomplishment in television production that would also hold up in a movie theater. Overall impression: 80%. (09/20/2010)