MCN Columnists
Gary Dretzka

By Gary Dretzka Dretzka@moviecitynews.com

Suddenly, the great Swedish cop Wallander is everywhere …

 If one were to judge the crime rate in Sweden strictly by the number of mysteries, you’d think it was a haven for sociopaths, drug runners and gangbangers. Between Henning Mankell, Sieg Larsson, Maj Sjowall and the late Per Wahloo, alone, more fiendish murders have been solved by Swedish novelists than almost anywhere on Earth, outside the United States.

If American TV viewers are familiar with Ystad’s chief inspector, Kurt Wallander, it’s because an English-language adaptation starring Kenneth Branagh has aired on PBS’ “Masterpiece Mystery!,” with new episodes set to return in September. Both Krister Henriksson and Rolf Lassgard have played the melancholic cop, who lives in what ought to be a peaceful port city on the country’s southern tip. If memory serves, Branagh’s interpretation of the character makes him noticeably more brooding and troubled than the one we meet in Henriksson, in the new DVD collection, “Henning Mankell’s Wallander.” His protagonist still is far from being outgoing, but his recent move to a seaside home appears to have lightened his mood somewhat.

Besides having to sort through 13 episodes’ worth of exceedingly disturbing crimes, Wallander’s required here is to adjust his preconceptions about women in law enforcement. He also must come to grips with his imminent retirement and the responsibility that comes with grooming someone to replace him. On his daily constitutionals with his black Labrador, Jussi, he’s on doctor’s orders to count each step with a pedometer. That doesn’t mean, however, he can’t enjoy a smoke or stiff drink every so often.

“Henning Mankell’s Wallander” also reflects a Sweden whose crime rate has grown steadily since the author conceived of the mystery series in 1989. “Faceless Killers” was the first of a baker’s dozen of novels, but Mankell has since added several more stories and teleplays to his resume. Although many westerners have long considered Scandinavia to be something of a crime-free zone, it’s not. As everywhere else in Europe, the steep rise in violent crime has been blamed on an increasing numbers of immigrant workers, easier access to hard drugs, terrorism and vigilantism. Ystad, then, with a population of less than 20,000 people, is northern Europe in microcosm, and Wallander has evolved with the time, if, sometimes, reluctantly.

According to Mankell, “The only way to create a credible character in a novel or movie is to portray a human being who changes, as I do. No living creature is the same tomorrow as they are today (and) we also share the dark sides of life.

“You can see yourself in people that change. But, if they stay the same, although years go by and the stories multiply, it is no longer possible to do so.”

The new compilation from Music Box includes 13 episodes of 90 minutes length each. The acting is uniformly excellent throughout and the police work’s engrossing. This time around, Wallander’s patience and heartstrings often are tested by the presence of a new lead prosecutor, played by Lena Endre (“Faithless”). The scenery is pretty special, too.

As another sign of the times, the first chapter of the series starring Henriksson, “Revenge,” has already been made available a la carte on VOD, via iTunes, Amazon and Vudu. It opens theatrically in Los Angeles and New York on Friday. – Gary Dretzka

 

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon