Michelle Forbes (Mitch Larsen)
Brent Sexton (Stanley Larsen)
Mireille Enos (Sarah Linden)
Billy Campbell (Darren Richmond)
(Photos by Frank Ockenfels/AMC)
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My first impression after the first videos, interviews and photos: It looks fantastic, the adaptation does work for me.
Looks like they stay close to the original story line, the atmospheric depth and to a character driven drama with an authentic look. And I hope that Mireille Enos will make Sarah her very own, unique character. It's futile trying to copy the - at least in Europe - iconic Sarah Lund portrayed by Sofie Gråbøl :)
To our UK visitors who are approaching episodes 9 and 10 of Forbrydelsen this weekend: Stay away from Twitter. Avoid the IMDB and any discussion boards. Forbrydelsen aired several times the last years all over continental Europe, and is out on DVD. Some viewers tend to give away the killer, the twists and plot.
The Guardian on Forbrydelsen:
"... TV of the absolute finest quality...
... the drama is allowed to breathe. Events don't unfold at breakneck speed: so far we've ventured down a number of apparent dead ends with detectives Sarah Lund and Jan Meyer; Lund has reneged on promises to leave for Sweden more times than Meyer has sparked up cigarettes in the office; and mayoral candidate Troels Hartmann has sported a number of ever-more perturbed looks. But most importantly, we've also spent a great deal of time around the Birk Larsen kitchen table; the one that Pernille and Nanna carefully crafted together one holiday...
This focus on the family is one of The Killing's greatest strengths. Its portrayal of a couple ripped apart, trying to come to terms with the violent death of their daughter while keeping the family, home and business on track is heartbreaking – I have yet to get through a single episode without at least a solitary tear escaping down my face. The acting is wonderful: Ann Eleonora Jørgensen brittle, contained, silently screaming as Nanna's mother; Bjarne Henriksen gentle, loving, and occasionally menacing as her father Theis. Parental guilt and grief perfectly played.
The writing helps, of course. It's odd to talk about the dialogue given the number of Danish words I speak. (That would be none.) But not only does the translation feel full of personality and verve, the spareness of the dialogue does not need translating. Silences hang. People stare. The light fades yet further. Not everything is about exposition and moving the story on."
