Ever since the Dragon Tattoo made its mark on the world—no pun—there’s been an explosion of mystery books, movies, and TV shows from Scandinavia. I think I’ll call it EuroNoir, when you add in the new waves from Germany and France.
Great, another brooding damaged cop. He’s great with facts and conjecture, not so much with people. I’d make a sarcastic remark about that being new, but why bother?
The plot is both difficult and, ultimately, ingenious. It’s hard to believe there are people crazy enough to plot such an elaborate revenge after so many years, especially over something that happened as a child, but then this villain was clearly never in his right mind. On the other hand, he did have a clear view of what killed his parents, and I have to believe the cause of the crash could have been written better; even a little girl couldn’t have been so dumb, and how come she wasn’t wearing a seat belt?
As I will mention more below in the directing section, the opening scene, involving a shootout, was all kinds of wrong. The three cops deliberately do not wait for the backup they know is coming. Once inside they find a dead body and put away their weapons. I was actually shouting at the screen, “You haven’t cleared the building yet!” and a second later guess what happens.
There isn’t all that much that’s funny here, but at the same time it wasn’t nearly as dark as I thought it would be, especially considering the first part and the hostage situation.
There’s a big fail at the very beginning: the shootout is simply not well done, in that you can’t tell who gets shot—other than the bald guy—or where they come from. At first I thought it was the main character who caught the bullet in the head, but even had he survived that he didn’t have a scar after that. More to the point, I should not have had to wonder.
But props are deserved for the shots in the pressure chamber. It would be a pun to call it atmospheric, but even if the interior views were not done inside an actual chamber, they were appropriately claustrophobic.
Think Dr. House, if he was even more weary yet dogged.
Though the lead is good, probably the best performance goes to his assistant, Assad. Considering how the main character was at the beginning, it’s telling that by the end he and Assad are almost buddies—he even cracks a smile—especially after all the crap Assad has to put up with from him.
Another contender for best performance has to go to the victim, who stayed strong enough after three years of captivity and atmospheric pressure to shoot him the finger. It was hard to reconcile the character in the flashbacks where she’s a young vibrant politician to how she was by the time she was rescued, but she does a great job in showing the fortitude. It’s almost insane.
A special mention also goes to the actor playing the victim’s brother, a mentally impaired young man who then had to suffer through the added horror of seeing his sister abducted. There’s a moment where he goes from almost catatonia to screaming in horror that you can’t help but be amazed. . . once your heartbeat settles down.
As to be expected from this type of movie, it’s dark and brooding, showing parts of Copenhagen tourists don’t see. This is one of my favorite towns, and while I didn’t expect shots of the Nyhavn or the Little Mermaid, I didn’t recognize one single vista, not even in the establishing shots. Other than their brief trip to Sweden, you don’t see the beauty of Scandinavia.
But once resigned to that, it’s easier to make out individual choices. There are some shots, for example, that come right out of the horror genre. Almost as creepy are some of the establishing shots in the insane asylum, though the garden certainly looked cheery in the sunlight. Perhaps the most intriguing set was the basement office, with its labyrinth-like stacks of beige files; at times it looked like a sepia filter.
Right away the tone is set with the creepy atmospheric music accompanying the opening credits. Other than that there’s nothing to talk about, as I don’t remember hearing another note the whole way through. . . which is not to say there wasn’t any music, it simply didn’t penetrate my brain.
After a slow start the movie gets better and better, until by the end you’re rooting for them to find her. It helps that it stops being about the detective and his hangups—other than a few brushes with Assad—and narrows its focus to the mystery.