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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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The motive for the killing, the timeline, the multiple crime scenes, and the distribution of clues don't even begin to add up. To take just one example: the killer is supposedly sophisticated enough to leave no trace of DNA anywhere, even taking the trouble to trim the victim's fingernails; nevertheless, the victim is found with her hands bound by plastic ties, but clutching an extremely incriminating piece of evidence. How did this come about? No explanation is offered... probably for the excellent reason that none could be least bit credible. Placement of other key clues (e.g. a video card, a passport) is similarly determined by the need for them to be accidentally found, not because it's the least bit likely they could have been dropped there by the victim at that particular juncture in her ordeal. Nor is the police work portrayed in a realistic manner: evidence is left jumbled around the office, Lund and Meyer are forever racing off on hunches that can't possibly wait for morning or for back-up, insubordination is tolerated to a degree that would never be found in a real department. And then there's the political plot, which becomes quite tedious less than halfway through the series. It's not so much that the candidate, Troels Hartmann, lurches from crisis to crisis, but that all the crises are so interchangeable and so easily resolved: an alliance that is "vital" to Hartmann's ambitions in one episode might be casually discarded an episode later; a revelation that will "ruin" his political career is soon overshadowed by other, much more damaging, revelations that seem to have no effect on his polling. Likewise, many of the secrets the characters keep exist only too obviously for purposes of drawing out the investigation: family members inexplicably withhold information that would be germane to any investigation; other suspects stubbornly refuse to divulge facts that would provide them air-tight alibis if known, etc. If this happened only once or twice in the course of the series it would be vexing, but it happens again and again and again. All sense of verisimilitude is eventually lost. Worst of all, however, is the ending, which involves a ludicrous, melodramatic confrontation between the police and the killer... utterly unbelievable in every way.
(zashibis, Amazon user, on The Killing I, 2011)
It failed for me. I was too irritated by the contradictory characterizations, the turgid pace, and the miserable ambiance to continue to watch after a few episodes. Without wishing to reveal plot details, too many of the characters are introduced to us as one type of personality only to start behaving in a quite contrary manner. Just not credible. 20 hours of tortuous false trails only leads back to the perpetrator who is evident from the first episode. The sense of personal and societal breakdown that radiates from so many Scandinavian detective writing is oppressive (see Mankell, Sjowall and Wahloo, Larsson, etc.). `Noir' hardly captures the darkness of these works. I'll take Italian, American, British and French crime writing before this every time.
(B. Abrahamson, Amazon user, on The Killing I, 2012)

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