"Beck" Spår i mörker (TV Episode 1997) Poster

(TV Series)

(1997)

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6/10
Season One Review
southdavid14 June 2022
As a new season has recently arrived in the UK and looked interesting, we decided to go back to the start and view this Swedish police drama from the beginning, all the way back in heady, carefree days of 1998. Like most crime thrillers, its diverting enough to keep me interested, even if, to an English audience at least, it's an odd mix of occasionally extreme performances and Scandinavian quirk.

Martin Beck (Peter Haber) is a middle aged, divorced, Police detective and the head of Stockholm's major crimes division. Together with his loose cannon second-in-command, Gunvald Larsson (Mickael Persbrandt) and new recruit Lena Klingstrom (Stina Rautelin) they solve high profile murder and terrorism cases. Though the cases initially seem unrelated, a singular shady figure may prove to be the link between them all.

My initial thoughts was that the show reminded me to Glaswegian Detective series "Taggart", both because of the experience lead detective and younger male and female assistant premise - but also because I used to watch "Taggart" in the 1990's and the style of this mirrors a lot of that. Cell phones but not much internet, homophobia and misogyny, even the grainy stock used reminds me of that show.

I will say that there are several aspects of this show that felt off to me. Beck has a neighbour, Grannen, played by Ingvar Hirdwall who is there to provide comic relief. Occasionally his scenes are so bizarre though that they stretch the credulity of the episode. Many of the characters are . . . Uneven . . . But none more than Gunvald, played by "Sex Educations" Mickael Persbrandt - who ranges from borderline psychopath to "I'd like to raise this child" in the same episode. He's never less than watchable though.

It's somehow both cliché and wildly odd at the same time and though it's hard to actively recommend it, I didn't struggle to watch it and have already powered into season two.
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The best film in the new Beck series. Beautiful!
Neo-1817 May 2000
This one is a must see!

The difference between this film and the other "new" Beck films is huge. I don´t know why but it could be that the director of the other films, Harald Hamrell has been replaced by Danish director Morten Anfred. This film has got a totally different go than the others rather lame films (and a great story) Four people are being brutally murdered in the Stockholm subway and Martin Beck and his group gets the case. They start up a hunt for the murder(ers) in the tunnels. The story is much more complicated than that, but i wont reveal too much.

Anyway. This is a great, swedish movie. A gold star too the performance of Mikael Persbrandt as Gunvald Larsson. If you ever get the chance too see it, take it! /Erik Nordlund
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3/10
Crap
Antagonisten29 July 2006
There are moments when lousy script-writing transcends the depths of horror and becomes truly awful. This is one of those moments.

I don't even know where to begin. The fact that there were more of these pathetic "Beck"-movies produced after this disaster proves more than anything the dreadful state of Swedish film-making. The plot is psychos are killing people in the subways, leaving the police dumbfounded. Spearheading the investigation is as usual the worn-out cop Martin Beck (Peter Haber) and the departments muscle Gunvald Larsson (Mikael Persbrandt). Haber is as always in these movies, very very tired. I can still remember movies when i thought that Haber was actually a good actor, but that seems like ages ago now. Nowadays he's just... tired. Persbrandt is the most entertaining part of the Beck-franchise. The cop that constantly threatens violence on anyone he perceives to be a criminal. Honestly these characters aren't as bad as they sound, with a proper script they could work.

Because the problem here as in all the new Beck-movies is the script. It always stinks. In the older Beck-movies where there were books to back up the story there was at least some semblance of coherence. The scripts to the new movies seem like five-minute jobs. In the end no detective-movie/crime drama can survive without a proper script, so it's no surprise that this is an almost complete failure. Sad.
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9/10
Best swedish film ever!
flight_64311 February 2003
This film is really great, actually it is the best Beck film. It has the right feeling, and probably it is quite realistic too. The crazy guys with the Night Googles are just too creepy.

I recommend this film! If you want to see a really good thriller, see this!
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2/10
What monsters lurk?
erik-otterberg18 October 2005
Warning: Spoilers
The crime novels of Maj Sjöwall and Per Wahlöö are classics, and rightly so. To this day they remain one of the most unique and special works of their genre. Most of them have been transfered to the the silver screen and one of those films, Bo Widerbergs "The Man on the Roof" is perhaps one of the top ten best Swedish movies ever.

This new series, starring Peter Haber and Michael Persbrandt are how ever not based on the novels. Even the claim that the characters should be based on the main protagonists of Sjöwall/Wahlöös novels is quite ridiculous. Screenwriter Rolf Börjlind in fact uses only two characters, Martin Beck and Gunwald Larsson, and goes on to invent a whole new cast of supporting characters. (Unless of course you count Becks daughter, who really only appears very briefly in the books.) And neither Beck nor Larsson in this version display any of the subtlety of the original characters. It is as if they have been reduced to their on clichés.

Out of all these movies, this one is without a doubt the silliest. While Sjöwall/Wahlöö analyzed society and came up with some pretty harsh conclusions about the role the police plays in the escalation of violence, these movies settle for taking middle-class fears and anxieties and exploiting them. Beck gets to chase psychos and loonies and foreign mafia syndicates, the one worse the other. Here it is kids who play video games that are the big threat.

The plot is complete science-fiction though presented as realism. Instead of of challenging common prejudices like the novels did, these films embrace them. It is very cynical.
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