- Also known as:
- The Bridge
- Year:
- 2011 -
- Countries:
- Predominant Genre:
- Crime
- Best Performances:
- Plot:
- Danish and Swedish police inspectors share jurisdiction and work together to find serial killers.
- Themes:
- Personal change
- White supremacy
- Similar To (in Plot, Theme or Style):
- Dogville
- Killing
- Spiral
- Review Format:
- DVD
Interesting look at White culture’s failings in terms of the inability of Whites to have both successful Personal and Political lives. Thus, the Personal becomes Political as the criminals depicted here are White terrorists against their very White failings producing terrorism in the first place. Terrorists usually have their hearts in the right place, the issue is nearly always their methods of achieving their goals; a nicely-made distinction here.
The obviously-contrived, red herring-filled plotting masks an apparently-mismatched detective duo anxious to find in each other what they both lack - and which they both cannot find in others. The performances here are spellbinding and facilitate the central mystery: Not who-did-what-to-whom but, why does Saga Norén repress her emotions such that she cannot enjoy personal relationships beyond the sexual? - and will she ever grow up into a fully-fledged human being? Like an Ingmar Bergman parody, Sofia HELIN’s portrayal of Norén speaks volumes for the millions of Whites one meets everywhere in the West who seem completely cut-off from their deep-seated emotions by a White supremacist political system which demands that this be so. she understands the give-and-take of Political relationships but not the share-and-share-alike of Personal ones.
This series only sounds depressing in the abstract and in the synopsis. There are fine moments of human tenderness and laugh-out loud humor here as Saga Norén’s social autism leads her to blurt out the truth (& ask for same) - even when there is no possible benefit to her; making this a comedy-of-manners in all but name. Like Sherlock Holmes and Mr Spock she seems completely oblivious to any social emmbarrassment (& human feeling); making her approach supremely objective and explaining her almost-greatness as a cop. (As susual with European cop shows, there is little reliance on gunplay to keep the audience awake after they realise they have been cheated into watching commercials wrapped around poorly-written drama).
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