BBC4 has long been my favourite channel, not only because I can be pretentious about it by saying that I’m into foreign dramas, but also because it genuinely shows intriguing crime thrillers and top-quality shows about art and travel. After watching anything foreign with subtitles you can’t help but feel cultured, with an elevated IQ of at least ten points. This love affair began with a terrifically Italian detective series called Inspector Montalbano (lots of hand gestures, macho manliness, spaghetti and sexy brunettes) and proceeded to cover an expanse of European dramas with Spiral (French), The Bridge (Danish & Swedish) and Wallander (Swedish). Note the absence of The Killing – I entered the series half way through and was so confused by the thick political twists and the symbolic importance of the jumper that I gave up. Suffice to say, I felt like I had been thoroughly educated on the psyches of serial killers and would absolutely be the last survivor if ever a situation arose where there was one stalking the corridors of my college.
Recently, the new rage in Swedish crime thrillers has been adapting novels written by Arne Dahl, the pen name of literary critic and journalist Jan Arnald. Now acquired by the BBC, the series features what I feel are the characteristic Scandanavian TV traits of an Instagram-like filter and an indie soundtrack, combined with a conflicted protagonist whose family struggles are often woven into the tensions of the narrative. There is also a lot of facial hair involved, and most of the actors seem to have eyes so blue that their tears could produce enough clean water for Africa.
The first instalment of the series tried to reflect the animosity felt for the bonus culture, with what appeared to be a professional killer targeting bankers and prominent financial players. The plotline (which probably acted as a satisfying creative outlet for Swedish frustrations) made it quite evident who the writers sided with, as the bankers were all depicted as immoral individuals with sordid pasts of attempted rape, adultery and links to the Eastern European mafia. The portrayal of these murders offered viewers a strange sort of detachment from emotion. The lack of empathy created a disjunctive and almost uncomfortable juxtaposition of guilt and fear, which acted as a compelling force for the series. What I really like about these Swedish crime thrillers is the clear, distinctive notions of emotion and detachment, almost as if their lives were specifically compartmentalised: work life emanates a sense of urgency and efficiency, while the disintegration of family life tweaks the heartstrings with its relatable nature. The protagonists are made out to be flawed both morally and emotionally, adding a refreshing aspect of realism to the plot.
Overall, although it is not the best crime thriller I’ve ever seen, Arne Dahl is an interesting depiction of human mentality in times of duress. It has a narrative that sustains the viewer’s attention long enough not to become bored, and contains plenty of the compulsory dead-ends and twists that define the genre. A good start to what I hope will induce another round of my Swedish obsession. And if crime dramas aren’t your thing, at least you can learn how to say to ‘hey’ in another language.
