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Killing/ Forbrydelsen (TV)

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  Killing/ Forbrydelsen (TV) Review
Tookey's Rating
10 /10
Average Rating
9.25 /10
Sofie Grabol , Soren Malling , Troels Il Munk
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Directed by: Kristoffer Nyholm, Fabian Wullenweber,Charlotte Sieling,Henrik Ruben Genz,Birger Larsen,Natasha Arthy,Mikkel Serup, Kathrine Windfeld,Morten Arnfred,Morten Kohlert
Written by: Soren Sveistrup, Torleif Hoppe, Michael W. Horsten, Per Daumiller Created by Soren Sveistrup

Released: 2007
Genre: DRAMA
Origin: Denmark/ German/ Sweden/ Norway
Length: 0

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A remarkable piece of television. Its sheer narrative ambition – to present one convoluted murder mystery, lasting no fewer than 20 episodes and spanning a police investigation, a grieving family and a political campaign – is unparalleled in British TV drama. The police officers – Lund, played by Sofie Grabol, and her partner Jan Meyer (Soren Malling) – did credible detective work (including painstaking forensic investigations, dead ends, red herrings and bureaucracy).
(Neil Midgley, Daily Telegraph, 2011)
Sarah Lund is, quite simply, one of the greatest female characters ever created... There’s a scene in one of the episodes of the first series that sets out Lund’s stall succinctly. She has been delaying and delaying her journey to Sweden. Everyone is cross with her. Her mother berates her for not doing what her boyfriend wants. Her son stares dolefully out of car windows and accuses her of knowing nothing about him. Her would-be replacement drops barbed comments like confetti, in the hope that she will take the hint and just go away. She ignores all of it. Then she returns to her office to find her boyfriend, a Swedish criminologist, waiting in her office. He’s disgruntled, hurt, perplexed. He wants her to stop what she’s doing and come with him. Enough is enough. It’s time for Sarah Lund to be his girlfriend. And she stares at him. And at that moment, we know that she has no intention of following her boyfriend. And as I watched it, I wanted to cheer. Lund wants to solve the case. Not because it has got under her skin, or because she feels a special affinity with the dead girl or her family – she simply wants to do her job. And for Sarah Lund, doing her job is more important than any personal relationship. In other words, she’s allowed to be like a man. I tried to imagine a similar scene taking place in a crime thriller whose protagonist was male, and was forced to conclude that it wouldn’t even get past a first draft. For a male detective, it would be simply risible for his girlfriend to turn up at his place of work and tell him to pack up and follow her to a different country. Can you imagine Bergerac’s girlfriend rocking up and moaning at him for wanting to do his job properly? Or any woman standing in front of Jack Bauer and shrieking at him that he’s had his fun, but it’s time to go to Ikea and pick out the wood for the sauna?
(Emma Kennedy, Daily Telegraph, 2011)
The Killing’s narrative was of a complexity that 24 could only dream of, and a coherence that Lost would fall over itself in admiration for. Although the US is still producing some fine drama series, The Killing truly announced that there was stiff competition coming from Scandinavia and convinced many people that the future of TV drama lay to the North.
(James Stanfield, Den of Geek, 2012)

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