There is a degree of fatalism and nihilism in the more slick and stylish BBC reworking of WALLANDER that is absent from the earlier Swedish television series. And I feel that that absence is to the earlier show’s benefit.
While the Swedish series is no less a captive and mirror of the forlorn land it depicts, there is in the original series and in the captivating and world wearied yet bemused performance by Krister Henriksson a welcome sense of hope, of optimism even in the face of those who have forsworn hope. As such, despite or because of its understated nature, there is something more endearing in the Swedish WALLANDER, something easier worn.
Whereas the BBC version of Wallander is a different animal all-together. First its scale is far grandeur than the Swedish version, essentially each season comprised of three feature length movies, with approximately two years between seasons; 2008, 2010, and 2012 respectively.
Add to that Branagh’s wonderful portrayal of a man ever more broken is superlative. However that degree of depression can be taxing to view. To the BBC WALLANDER’s credit it is a distinct and different take from the Swedish version they were going for and achieved, so it can be viewed as its own thing rather than simply a remake.
All that to say you can watch the original series and the BBC series and see two distinct and divergent shows, each deserving of your time. But if pressed regarding the version of Wallander that I enjoy the most, I would have to choose the Krister Henriksson series.
While the BBC version has amazing direction and cinematography, powerhouse acting by its lead Kenneth Branagh, and a wonderful score and introduction (reminiscent of the equally compelling LUTHOR), thematically I prefer the less angst ridden and less dire Swedish version. Its low-key delivery making for less hyperbolic viewing.
Grade: WALLANDER BBC series gets a grade of B/B+, and the CANAL Swedish version edges it out with a solid grade of B+.
Next up I’ll sample the Rolf Lassgard WALLANDER episodes and bring you my take on those.
These four films, which did not get theatrical releases, are far better than the vast majority of films that do reach the theaters. Disappointing films such as DEAD MAN DOWN and SPRING BREAKERS get screen time, when visually and thematically superior films such as Tim McCann’s brilliant ANOTHER ZERO IN THE SYSTEM and Dan Eberle’s enthralling, nearly wordless PRAYER TO A VENGEFUL GOD go unheralded.
And Michael Morrissey’s impressive BOY WONDER is the myth of masked vengeance done better than most big budget super-hero movies. Rounding out the quartet, director Brian A. Miller’s HOUSE OF THE RISING SUN is one of the best neo-noirs seen since the Coen Brother’s BLOOD SIMPLE or Craig Ross Jr’s frenetic and fantastic CAPPUCCINO. Dave Bautista delivering a surprisingly elegant and understated performance.
One of the common threads these four movies share is understated but brilliant performances, as well as a thematic conceit of men either at odds or abandoned by the judicial system, who must themselves find justice for those around them.
From Mike Simmons memorable turn as the protagonist in ANOTHER ZERO IN THE SYSTEM (A great film unfairly lambasted by the short-sighted crowd, there’s rumors of director Tim McCann and star Mike Simmons in talk to helm the new Luke Cage/Power-Man series from Marvel/Netflix — to which I say… heck yes!) to Director/Writer Dan Eberle, also doing triple duty as star in his PRAYER TO A VENGEFUL GOD. Together these four films create a new and refreshing phase of American cinema, a new wave if you will.
Sample them for yourself while they last on streaming services, and when you find yourself smitten with them… purchase your copies here:
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