DOCUMENTARIES are the message movies par excellence, providing windows on the human condition, views of the universe and challenges to issues. In 2012, “Time” magazine listed the 100 most influential people in the world. One […]
THE advance promotion for the third film based on a novel by Norwegian crime writer Jo Nesbø threatened to churn our stomachs with its grisly horror passages.
True, the murder technique favoured by its serial killer uses a nifty development of what, until 1975, was the Spanish method of legal execution. But there are no grounds for calling “The Snowman” a horror story. It’s an intelligent, complex thriller, performed by a strongly skilled cast in a Norwegian winter environment.
In 2015, Norway is bidding to hold Winter Games. Industrialist Arve (JK Simmons) is a major sponsor of the bid. He’s also a bit of a creep with nubile young women. He’s just one of a number of characters with person-of-interest status in the investigation to which Chief Inspector Aasen (Adrian Dunbar) assigns detective Harry (Michael Fassbender) to catch a killer who signs his work by building a snowman outside the crime scene.
Harry’s investigation moves between Oslo and Bergen, providing some challenging and beautiful locations. His assistant Katrine (Rebecca Ferguson) is so beautiful. And independent, which is a familiar dramatic ploy for intensifying tension.
What I like about this film is the subtlety of its many complexities. My stomach did not churn whenever director Tomas Alfredson filled the screen with neatly-severed body parts – a head, a finger, each delivering its particular dramatic punch. All’s grist to “The Snowman’s” mill. Solid entertainment, with no visible need to deliver a message.
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