Innan frosten (roughly translated to "before the frost" – don't worry, it doesn't make sense in Swedish either) is the kind of by-the-numbers, middle-of-the-road police thriller that we get a few of every year here in Sweden but might have some sort of exotic appeal elsewhere – at least that's my theory of why the equally unoriginal The Girl With the Dragon Tattoo became such a hit abroad. At the same time, while it is extremely safe, it does offer 90 minutes of decent entertainment, and perhaps one should not ask for more.
Based on a novel by the rather politically oriented author Henning Mankell, Innan frosten deals with religious fanaticism and vaguely with gay marriage and abortion, which is a decently interesting topic. Moreover, it is hilarious how the casting unflatteringly managed to find so many people who naturally look like crazy fanatics. To spice things up further, the plot also involves the complicated relationship between the inspector Kurt Wallander (a great Krister Henriksson) and his police daughter (the talented, late, Johanna Sällström). Unfortunately, it is overall handled rather clumsily, but there is one terrific scene in which their relationship reaches its culminating point.
Stylistically, the film does little more than what is required, and again, perhaps you should not demand more than that. However, the opening image of burning swans flying through the air is quite striking, and it also features some rather nice images of nature. Finally, the aptly adequate finale concludes what is still probably one of the best films of the series, even if it does not spur any afterthoughts, exactly.
Based on a novel by the rather politically oriented author Henning Mankell, Innan frosten deals with religious fanaticism and vaguely with gay marriage and abortion, which is a decently interesting topic. Moreover, it is hilarious how the casting unflatteringly managed to find so many people who naturally look like crazy fanatics. To spice things up further, the plot also involves the complicated relationship between the inspector Kurt Wallander (a great Krister Henriksson) and his police daughter (the talented, late, Johanna Sällström). Unfortunately, it is overall handled rather clumsily, but there is one terrific scene in which their relationship reaches its culminating point.
Stylistically, the film does little more than what is required, and again, perhaps you should not demand more than that. However, the opening image of burning swans flying through the air is quite striking, and it also features some rather nice images of nature. Finally, the aptly adequate finale concludes what is still probably one of the best films of the series, even if it does not spur any afterthoughts, exactly.