A paparazzi photographer is found dead, his apartment ransacked. When Beck's superior Margareta Oberg goes through the evidence, she reacts very strongly to two of the images left behind, ... See full summary »

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Ing-Marie Carlsson ...
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Peter Hüttner ...
Rebecka Hemse ...
Neil Bourguiba ...
Elisabeth Carlsson ...
Lillemor Bernér (as Elisabet Carlsson)
Embla Hjulström ...
Thomas Oredsson ...
Stig Engström ...
Erik Gindorf
Peter Eriksson ...
Gösta Jansson
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A paparazzi photographer is found dead, his apartment ransacked. When Beck's superior Margareta Oberg goes through the evidence, she reacts very strongly to two of the images left behind, going so far as to hide them from the team. Who was in the photographs, and was the motive for the murder revenge, blackmail or something even more sinister? Written by Anonymous

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10 October 2007 (Sweden)  »

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More than Usually Downbeat Episode
29 August 2016 | by (London) – See all my reviews

Centering around a right wing vigilante group dedicated to ridding Sweden of the "pernicious" influence of homosexuality, a corrupt politician (Elisabeth Carlsson), and the cold-blooded assassination of Beck's boss Margareta (Marie Göranzon), this was a particularly downbeat episode of the detective series.

Director Kjell Sundvall worked hard to create a noir atmosphere of darkened passages, ill-lit rooms, and black nights where it seemed that anything could - and frequently did - happen. While Beck (Peter Haber) and his fellow police officers managed to uncover the activities of the vigilante group, there remained a lingering sense of disillusion: why did Margareta have to die as a result?

The pain of loss was felt in particular by Gunvald (Mikael Persbrandt); despite claiming to be burned out and requiring compassionate leave, he had sufficient energy to pursue one of the killers with such vigor that when they eventually clashed in a morgue, the denouement was particularly savage. While Beck justifiably upbraided Gunvald for unprofessional behavior, we nonetheless felt that the police officer was somehow justified; there are occasions when restraint simply does not work.

This production, although structured around the basic whodunit framework, was far more interested in social criticism of an amoral world where it seems that anything goes, so long as those in power profit through their activities. In this kind of environment the police force have only limited powers to enforce the law.


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