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Cop Quality in Wallander Series 3
by
Kristin Battestella
In
2012 Kenneth Branagh returned to UK television as Hennin Mankell's
Swedish detective Wallander
for another trio of 90 minute cases mixing personal angst and gritty
crimes.
New
house, new gal pal – things should be looking up for our eponymous
copper in this first episode “An Event in Autumn.” Unfortunately,
a labyrinthine Baltic ferry, brisk waves, and a traumatized young
stowaway gone overboard bring the wayward Wallander back into the
police fold alongside gruesome propeller damage, dockside bleak, and
a teddy bear charm bracelet. And did I mention there are few
unpleasantries buried right in Kurt's own backyard? A lot has been
dumped in Wallander's lap, and some plot ties or closed circuit
footage may seem slightly convenient. However escalating
circumstances, new victims, pregnancy twists, prowlers at home, and
suspicious real estate keep the intrigue moving. Shady families,
creepy old men, and prostitution have our detectives breaking the
rules yet again – leading to some very upsetting canine scenes,
surprising injuries, and bittersweet hospital moments. Questionably
obtained evidence, unsure witnesses, and doubtful facts add to the
tension while violent car interiors, congested filming, unseen killer
perspectives, shadowed photography, and contrasting lighting reflect
the sinister at work. Fishy phone calls don't help as the dead bodies
mount, but the mix of gray amid this case both criminal and personal
layers the well built suspense. Wallander
narrows the locations
and suspects, creating a history will out and superb, yell at the
television drama.
Telemovie
two “The Dogs of Riga” picks up where the previous episode leaves
off and adds more seagulls, clouded dark skies, and bodies adrift.
Wallander still isn't to grips with the ongoing officer recoveries
and everything that has happened, but mysterious prison tattoos,
Latvian connections, and unforthcoming foreign detectives certainly
contribute to his professional and private angst. The nonchalant
English mixed with other languages, lingering revolutionary feelings,
and more international intrigue may not seem as heavy or as close to
home as the previous events. Time transitions from one scene to the
next also feel super fast – in less than a week people can travel
to the continent and be killed and buried. Thankfully, the pains in
Ystad and abroad parallel prior angst as the mystery deepens via
sulfuric acid, cocaine heists, dead informants, and solemn funerary.
Undercover drug details and suspicious superiors interfere with all
the back and forth phone calls, missing faxes, and notes slipped
under the door. This loose police work has even Wallander side eyeing
his Latvian comrades over rules and regulations! Gangs, journalists,
and remnants of KGB espionage simmer as affairs and corruption
unravel amid abductions and missing files. The straightforward police
stand offs are well filmed, yet hidden in plain sight clues, tender
moments, and clever deductions raise the bar.
“Before
the Frost” begins with beautiful nature and things looking up until
disturbing violence, animal abuses, and former friends unable to deal
with past traumas shatter all positive strides. Yes, it is again
convenient that a childhood friend of Kurt's daughter shows up at his
new house out of the blue but with a seemingly related piece of case.
However, this familiarity layers more history and clues on the crime
while a missing grandmother, maze like trails, and scorched, shallow
bodies belie that nuclear safety and the lakeside lovely. Danish
suggestions, Biblical evidence, fundamental churches, painful animal
traps, and aliases add to the confusion as a shootout siege goes
wrong and scarred suspects watch the police mistakes from within the
trees. More family surprises and previous relationships elevate the
high speed chase through the countryside, and the pursuit is well
edited to parallel the dangerous trains and hate crimes. Abortion
talk, changing Christian ideologies, and Creationism in schools are
big background topics, but the personal struggles and deep
conversations anchor the investigation at hand as people are burned
alive over differing spiritual thoughts. Tense one on one scenes work
well with smartly used video clips, audio calls, and secret bank
accounts as cults and following in the family footsteps go to
extremes. Amid all the fires, multiple attacks, and warped dangers,
Wallander keeps the
individual reflections and bittersweet memories at the
forefront for a layered finale that is both sweeping with hostage
toppers and an intimate denouement.
Wallander
producer and star Sir
Kenneth Branagh returns as our titular but crusty copper who just
can't get his life together. It's so pleasing to see Kurt cleaned up
and happy to start this third season. He's well adjusted and centered
at home in the beautiful country complete with a family dog. But of
course, that immediately recognizable mobile ringtone just won't
quit, and if his family couldn't handle the detective life before,
why is there reason to think a new one would now? When your cases are
so sickening, it's no easier for Wallander to go home at the end of
the day even to a happy place – not that he can catch a break when
there are literal skeletons buried on his new idyllic property. He
may have left drowning himself in the bottle behind, but his work
will always find him, causing him to miss his daughter's nuptials and
fall asleep in his favorite chair as usual. Kurt has several cute and
endearing moments with his dog, for whom he can leave his work at the
door and not have to talk about his day. However, this companionship
isn't peace enough for him when his recklessness gets a fellow
officer hurt and resolving a case will always be more important than
calling home. Wallander yells at the perpetrator instead of shouting
at himself over his own mistakes, but strives on with his own
breaking the rules kind of righteous. Kurt needs the validation of
finding himself at the end of the investigation and refuses to
believe in coincidence when crime is in play.
Saskia
Reeves (Luther) is a little under utilized as Kurt's new
girlfriend Vanja Andersson, but she provides the right too good to be
true balance against Wallander's prior despairing. Vanja and her
blink and you miss him son seem too sweet and innocent – they will
not be able to handle Wallander's personal heavy nor the work burdens
he places upon himself and thus them. Ironic counseling symmetry
accents Wallander's ongoing
tug and pull between work steeped in life and death daily. We
viewers see the writing on the wall as soon as Kurt thinks something
bad is happening to him which Vanja corrects as “us.” She says
what we are thinking, whether it's what she wants to hear or not.
Lithuanian actress Ingeborga Dapkunaite (Hannibal Rising) as
Baiba Liepa adds a new and interesting dynamic for Kurt as well. Here
is a former freedom fighter from a rebuilt country who understands
how to take the simple day to day moments when you can get them
rather than making domestic demands. Will that hopeful stick for
Wallander? We shall see. On her game as always, Sarah Smart continues
to tread carefully alongside Wallander as the level headed inspector
Anne-Britt Hoglund. She's both sensitive to Kurt's new life but has
been promoted and is ready to move on herself. Of course, Wallander
won't actually say he doesn't want her to transfer, but he makes
things right when she sticks with him even at extreme risk to
herself. We don't see her as much in this Wallander, but
Anne-Britt remains a superb catalyst over these three episodes.
Likewise,
Jeany Spark as daughter Linda remains on terse terms with Wallander
in Episode Three. There's bitterness over her wedding fallout and she
is also trying to move up in the world, but their love for each other
ebbs and flows alongside investigations that push them apart
or bring them together for some very beautiful moments. Perhaps
Wallander is missing Tom
Hiddleston this season, but Rebekah Stanton (Raised by
Wolves) isn't as dynamic or
given enough to do as new paper pushing detective Kristina
Albinsson compared to the ornery Magnus Martinsson. However, in a
season of strong female characters, she oddly doesn't seem to mind
her backseat role and accepts being relatively ignored by Kurt. This
season, Wallander is
definitely about the man himself rather than any squad room interplay
or ensemble uplift. Was Kristina even necessary? Maybe not,
but Barnaby Kay (New Tricks) as new boss Lennart Mattson is
also lacking compared to prior team leader Sadie Shimmin. He's a yes
man in a suit who doesn't appear often much less have time for any
good repartee with Wallander and ultimately feels more like a rookie
than the authority figure meant to reign in Kurt's wayward. It's
horrible to say but Mark Hadfied (Into the Woods) as Stefan
Lindeman and the returning Richard McCabe as Sven Nyberg are also
treated as interchangeable this season. Both are good with procedure,
know how to work the case the right way, and provide steady detective
exposition when needed yet I had to double take each time one of them
came or went.
Fortunately,
the look and feel of Wallander is
once again on point with unique Swedish scenery and on
location Latvian filming. Assorted European accents and Scandinavian
names may be confusing at first, but the vocals add flavor alongside
well placed foghorns, phone rings, and gunshots contributing to the
sharp editing and suspense. While its not in your face, Wallander
provides some surprising
violence and shootouts to fit the plot. Harsh outdoors, cold winds,
and bitter landscapes provide realism while dark, grimy interiors
sell the shady. Older technology, dated cameras, flip phones, and fax
machines, help keep the investigations somewhat more downtrodden
despite the lovely photography and cinematic design. Compared to the
same old downhill Law and Order: Special Victims Unit or
the always up intensity of the 24 styled,
action oriented detective dramas stateside, I'll take Wallander
win win for its intelligent
manner and angsty casework. Audiences have to pay attention here,
almost becoming interactive as we spot clues alongside the
cast, deduce, and gasp over the twists, turns, and outcomes. Rather
than dumb down its entertainment, Wallander is
a well woven tapestry remaining sophisticated for viewers
seeking a more meaty detective drama.
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