A model is murdered at a famous fashion house and the Hillmans start to investigate. Kajsa Hillman is employed as a model and discovers that several people had motives to kill the model who... See full summary »
On a tourist trip abroad the passengers on the bus witness an assassination attempt on the President Hurkas. One of the tourists has evidence against the perpetrators, and is killed when ... See full summary »
The third film adaptation of Selma Lagerlöf's novel. The drinker David Holm gets killed right on the stroke of midnight on New Year's Eve. He will now face the death coachman, which happens to be his old friend.
When private eye John Hillman is on assignment in London his wife Kajsa visits the Army's riding school at Strömsholm, Sweden. She gets involved in the strange murder of the Blue Rider. Unknown to everyone at Strömsholm.
Since Sjunde himlen (1956) Dr. Lovisa Sundelius (Sickan Carlsson) and radio host Villy Lorens (Hasse Ekman) have married, but when Villy becomes a TV host with cutie Suss (Lena Granhagen) by his side, things start to fall apart.
While it's not really a part of the Hillman-movies, "Vita frun" features Holmsten as the detective Hillman and along for the ride is also regulars Hallberg and Granhagen. The plot is simple enough: A ghost, called "vita frun" (The White Lady) ,is blamed for the strange deaths that occur at a country manor. But is it really a ghost? This film manages to be quite unintentionally hilarious at times, when Mattsson tries to give his old-fashioned ghost story a sense of true pathos and a "Bergmanesque" sense of doom. The actors mostly play the whole silly plot commendably straight, but that sometimes makes supposedly serious lines like "You want to die, Eivor! You want to drown in the swamp!" an unexpected comedic delight. The downside of "Vita frun" are some very talky scenes that could have been omitted (or better developed) and the character Freddy, as the (so-called) comic sidekick with a stutter, who is 100% annoying. But Mattssons sense for visuals does manage to make an impression during the course of the movie, creating suspense by using lights and shadows and weird camera angles. There is one TRULY creepy scene and several others that are genuinely eerie. And it's all shot in glorious black-and-white, adding a lot of atmosphere, by Hilding Bladh who also lensed the pre-giallo "Mannekäng i rött". Sweden has never had a director like Arne Mattsson who often put style before content and was ridiculed in the 50's and 60's for being totally politically incorrect, but today we can appreciate his movies for what they are: somewhat slow-moving at times, unnecessarily theatrical, but pure entertainment
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