THE KILLING (Forbrydelsen) review
The Killing (Forbrydelsen) is an innovative thriller; 20 episodes over the course of 20 gripping days. It follows leads and observes the consequences of a heinous crime; the murder of a young woman and as the investigation unfolds, Copenhagen opens up like a Chinese box, full of secrets and power struggles, particularly during a mayoral re-election.
The Killing is a
Danish radio drama, following the success of Swedish production Wallander, it is the first in the genre
that has broken international ground and garnered critical acclaim and it is
understandable why. The mystery of who killed Nanna Birk Larsen plays like a
buttoned down Twin Peaks, focusing on
the intricacies of the Danish political system, the victim's family coping and
the complex partner dynamic of detective Sarah Lund (Sofie Gråbøl) and Jan
Meyer (Søren Malling) her replacement. Sarah is in the process of moving with
her partner and son to Sweden and intuition and gut-feel leads the majority of
the investigation as the suspects vary and swing from one extreme to the other.
Regardless of the criminally unfashionable jumpers she
wears, Sarah's character is a complex and organic one. She obsessively pursues
the case at the risk of her own professional, social and personal life, and her
determination and desperation permeates on screen. She is in constant conflict
with all around her, including her partner Jan, although on occasion her
theories are logical enough for them to share the same wave length. Regardless,
their relationship remains tangled and independent with neither of them sharing
many similarities.
Nanna's parents Theis (Bjarne Henriksen) and Pernille (Ann
Eleonora Jørgensen) are another major focus, who both cope and try to overcome
their individual depression as their relationship gradually falls apart and
they continue to keep their family business functioning. These scenes, while
important, for the most part dragged on and let down the integral portions of
some episodes.
What did not let down the episode structure however was the
cut throat, compelling and intriguing mayoral election and one of the candidates
Troels Hartmann (Lars Mikkelsen) who becomes embroiled in the murder. Lars
plays Troels perfectly, giving off the impression of gentleman, confident
politician, damaged individual and potential murderer as the series progresses.
These are the protagonists of The Killing, and the show follows them equally in each episode
which are day-by-day but gradually so. The day turns to night and although it
is not precise the 20 days pass over the 20 episode arch. It is chronological
with no flashbacks or devices. 20 episodes is a lot to work through however,
and for what is essentially one cover up, 20 episodes begins to grind. It is a
very slow burn series that has peaks and troughs; patience is required as some
episodes setup a big reveal or exciting scene in the next.
Some episodes however were yawn inducing, while others
demand total attention. The midway point of the series leaves the viewer in a
strange place, it attempts some twists that no other crime procedural has, but The Killing is primarily about the
characters that inhabit it and not the processes, grit, realism or underlying
plot.
The mood certainly helps drive the characters and the tone
of the entire hopelessness of the seemingly never-ending and exhaustive murder
case and the city of Copenhagen and its dark and grimy locations. The city
itself is almost a character as it is thoroughly explored with a variety of
impressive set pieces that add to the mystery of Nanna's murder.
Character is integral in The
Killing, so each characters flaw is highlighted. Sarah is in the throes of
leaving, has problems with her son and her Swedish partner and as the case
becomes more and more vague she begins to lose touch of reality, "you only care
about dead people" her son snaps at her, but even he is wrong, as Sarah's
reason for finding the killer overshadows any care she has for Nanna or her
family; she is an ice queen obsessed with only one thing, the truth.
The Killing,
although boring in parts, is ultimately worth the watch. It is heavy on
politics and moral and ethical dilemmas, but its focus on character rather than
action or results makes The Killing
more like 24 on Prozac.
The Killing was
recently remade as an American drama. It is practically the same, with the
episode structure itself not even changing and is essentially a complete waste
of time, with overdone caricatures, unrealistic responses and bad casting
choices. See the original.