Home > TV and anime > Wallander: One Step Behind (2008)

Wallander: One Step Behind (2008)

Wallander: One Step Behind (2008), produced by Yellow Bird, is the third episode I’ve seen. In the novel series by Henning Mankell, it’s called Steget efter and is the seventh. It now goes without saying that Wallander (Kenneth Branagh) is falling to pieces emotionally and physically. This seems to define the man. The television version gives the emotional reason as his wife, Mona, who now has a confirmed relationship with another. In the novel, Wallander is deeply upset because his father has died which, frankly, is a lot more convincing given the man’s devastated state. He never goes home, changes his clothes, or acts as a functional human being. Indeed, he carries the art of not talking to people to previously unexplored heights. He can sit with a potential witness for interminable periods of time and not ask a meaningful question. It’s as if he’s somehow walled himself off from the world and has literally lost the basic art of conversation. For example, when he’s on a trawler going out to an island with a potentially valuable witness, they nod at each other at either end of the journey and are shown not talking. For a man in a police procedural, this is quite extraordinary. It seems he’s converted to telepathy without telling anyone around him. He goes through this investigation as if he’s about to pass out at any minute. When he does collapse, appropriately enough in a hospital, he’s diagnosed as having developed Type II diabetes. His eating habits are catching up with him. This leads us to a general set of conclusions. He has been a crap dad to his daughter Linda (Jeany Spark). He was a crap husband to Mona. And he’s a crap human being because he fails to establish and fit into any kind of meaningful relationships with those around him. From this you will understand he wallows in self-pity. Driven by an increasingly obsessive desperation, he seems to embody a man determined to solve the crimes given to him even it it kills him.

Kenneth Branagh feeling on top of the world as Kurt Wallander

Anyway, in a prologue set on Midsummer’s Eve, we’re shown the murder of three teenagers. One of the mothers reports them missing, but three postcards turn up which appears to contradict her. The somewhat perfunctory investigation is being run by Svedberg (Tom Beard). He’s the quiet, retiring detective everyone works with but no-one knows. It’s as if he has no existence other than as a calm and efficient officer in the field. Naturally, Wallander has one of his nonconversations with the man and then, before we get too far into the story, someone shoots the officer in the head. This triggers a full investigation as a guilt-ridden Wallander tries to figure out who his colleague was and why anyone would want to kill him. It fairly quickly becomes apparent that Svedberg had been conducting an unusually thorough investigation for a missing person’s report. This suggests some information is missing from the files. When three more people are killed, I immediately knew who was responsible. I’ve read too many mysteries to miss this old idea. Of course it takes Wallander an age and even then, there’s a twist to throw him off the scent.

The ending is a travesty. I’m unable to understand how or why we must be subjected to idiocy of this level — although I concede the written version does have merit, this adaptation is horrendously clichéd. Through police work made far more difficult than it should have been because Wallander has been walking around like one of the living dead, they have identified the killer. I don’t think they sent the man a telegram, warning of their approach. As such plots require, they break in, guns being waved meaningfully as they’ve seen in American police shows on television. They then begin a search and Martinson (Tom Hiddleston) works through a veritable mountain of papers and, in no more than two shakes of a lamb’s tail, he’s holding a postcard that the killer has intercepted. It says Linda will be coming home that very day. Wallander lets out one of his grunts and sets off running like he wants a heart attack before he can go ten yards. Sweating like a pig, he staggers into his own home (fortunately not a great distance away as the man runs) and finds the psychopath waiting with a gun to Linda’s head. How did this psychopath know Wallander was coming? Has he tuned into the same broadband telepathy that Wallander has been using? I despair.

Tom Hiddleston recovering from dumpster diving

As to why the psychopath doesn’t kill Wallander when he has the chance. . . Well, to my mind, it’s just silly. Psychopaths kill people and, frankly, it would put us all out of our misery if he’d just pulled the trigger. That’s what psychopaths are supposed to do. There’s no rationality, no inhibitions and, in this case, every reason for him to want Wallander dead (if only to assert the sense that he rather than Wallander was the most important person around). As to why Wallander doesn’t just shoot the psychopath. . . Well, I think he was just past caring who lived or died by that point.

So although Wallander: One Step Behind (2008) is not quite as bad as last week’s episode, I’m rapidly losing interest in this excessively morose Swede. As television, it’s just one cliché after another framed in a story about a detective close to a complete breakdown. Although there are many fictional detectives given different forms of disability, this is the first time I can recall anyone so depressed all the time. I suppose Ian Rankin’s Rebus comes closest as an alcoholic depressive with Peter Robinson’s DCI Banks close behind. The more I see and read of these fictional detectives, the more I feel the need for something bright and cheerful. At least Sherlock Holmes could quietly retreat from the world when things were tough. Just a quick hit of cocaine and he was an bright as the energiser bunny for the rest of the episode. Our modern detectives all need to get out more and get a life.

For reviews of other films and television programs by Yellow Bird:
The Girl Who Kicked the Hornet’s Nest or Luftslottet som sprängdes (2009)
The Girl Who Played With Fire or Flickan som lekte med elden (2009)
The Girl With the Dragon Tattoo or Män som hatar kvinnor (2009)
The Girl with the Dragon Tattoo (2011)
Headhunters or Hodejegerne (2011)
Wallander: Before the Frost (2012)
Wallander: The Dogs of Riga (2012)
Wallander: An Event in Autumn (2012)
Wallander: Faceless Killers (2010)
Wallander: The Fifth Woman (2010)
Wallander: Firewall (2009)
Wallander: The Man Who Smiled (2010)
Wallander: Sidetracked (2009)

  1. October 6, 2012 at 4:42 am

    Well, if Branagh played the Gloomy Dane, I suppose he can play the Morose Swede; too bad the writing isn’t better.

    • October 6, 2012 at 5:10 am

      It’s genuinely unfortunate that what works well in the written form falls to pieces when too literally adapted for television. For example, the three teens who die first actually dress up for their trip into the woods. On the screen, it just looks absurd but, when it’s described, it’s acceptable as the type of behaviour rich and disaffected youngsters might engage in as a mutual demonstration of their uncool status. It’s the same with Wallander’s depression. At first sight, it’s quite affecting but, after ten minutes, it becomes a bit tiresome because it lacks light and dark. Deep depression is by its nature monotonous, i.e. a single tone. It would be better if he perked up every now and again but all he does in wallow in despair (albeit while solving a multiple murder case).

  1. No trackbacks yet.

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

%d bloggers like this: