Mannen från Mallorca

I am fond of Scandinavian (particularly Swedish and Danish) crime thrillers and I have tried to watch them as much as possible. It is not often that you come across with respective films before 1990ies as the international boom and fame started after that.

Still, Bo Widerberg is a film-maker worth (re-)discovering, as his approach is different from ordinary Beck-Wallander type of series. They have more action and twists, are less static, contain scenes and lines that make you giggle, and policemen are "ordinary" persons with their odd apprehensions and weaknesses... Additionally, a good overview of the 1980ies Stockholm, with the clear domination of Volvos and Saabs. In spite of some similarities with famous thrillers from the prior decade, the film in question is an independent witty story, not a copy or remake adapted for Sweden. Performances are good as well, I particularly liked Sven Wollter as Jarnebring and Ernst Günther as Dahlgren.

Well, the ending is realistic, but creates a kind of discontent, as the story is not round up in "clear" manner. Nevertheless, based on the circumstances above, Mannen från Mallorca is a film that could be shown on TV or cinematheques more often.

This is one of the best films I've ever seen. The actors are the Sweden's most terrific actors of the time. The plot is excellent and Bo Widerberg's direction is as crisp as ever.

The most amazing with this film is that you keep finding something new in it, something you haven't noticed before. The plot is so complicated that it will take you a couple of viewings to understand everything. But, it's well worth it.

It's a film that really sticks to your mind, it leaves nobody unmoved. So go rent it today, I'll promise that you won't be disappointed.

Lowly Stockholm vice-squad officers, Jarnebring and Johansson, are first on the scene of a robbery and go on to unearth apparent corruption in high places, but the threads are difficult to pull together and the case is hard to crack.

There are so many pleasures in this film that it's a shame that it is so rarely seen. Quite apart from being a good thriller director Bo Widerberg brings twists and slants to what would otherwise be the sort of film that we've seen a hundred times. Although a buddy-buddy movie, J & J's relationship is constructed back-to-front. Instead of going from 'chalk & cheese' to reconciled dream-team, they begin as good friends, with implicit trust between them as colleagues, but the events of the film put this under strain. As a corollary there is no neat ending.

There are some good moments of humour as American and Swedish culture brush up against each other, but the greatest departure from the standard is the insight into Johansson's personal life. Occupying no more than a few minutes screen time, we see the result of his marriage break-up. The scene where he attempts to recapture his relationship with his son is almost painful and his furtive eye contact with another metro traveler is nicely captured. In fact, these brief interludes convey more about the loneliness of a failed relationship than many an entire film. Overall they add a rare depth to this genre. Add to this a great car-chase and the technique of putting a rear facing road-pointing camera on the front of a car, which brilliantly conveys menace.

There is also a well-developed sense of place with all the action set in a wintry Stockholm and it's environs. While we see the city's underbelly (down-and-outs; winos; criminals; alienated youth) it is still an affectionate portrait.

Twenty years on there are some non-P.C. moments as when a suspect is recognised partly as he is seems to be the only foreign-looking person in Stockholm. The ending can also be criticised for leaving a feeling that the ball is still in the air, but this is largely because we cinema-goers are so used to complete resolution.

This is the sort of film that should be made more often. Widerberg rivaled Peter Weir as a director who could make an entertaining yet meaningful and character-driven film.

Right at the start there is a really good robbery of a Post Office just being done by one man. Outside two cops are at a car park and having their eyes on a brothel but then there is a call at the Post Office and becomes a thrilling chase. It turns out there is nothing much to do with our story and it is can be much more confusing. In the car later on the cops of course are talking about food and they suggest that they might not have McDonald's but the Swedish snacks don't look too good. When they mention Travolta this was not they were talking about Tarantino this is about ten years earlier and his first famous films and his dancing. Here we are in Stockholm, it is not too pretty, but wet, cold and gritty, clearly not their best times. This is a new Radiance film and one another's of Bo Widerberg, Man on the Roof (1976) which I thought was better.

It's rare to see a movie that is almost without a fault. This is one of them, although you might have had to have experienced Sweden in the 1980s to get the full impacct - and not to find some of the sub-plots or plot points improbable. The reality behind the movie, as eloquently elaborated on in "Call Girl" (2012) starring Pernilla August, was actually even uglier, and the author of the book - criminology professor and police expert Leif GW Persson - this movie is based on had a pivotal role himself in the real-life scandal. This paves the way for a great deal of authenticity, and the director Bo Widerberg pours all of his considerable talent into establishing that even further - yes, life really was that bleak, and the score actually *sounds* like the way it all looked and felt. However, Widerberg adds to that a great deal of suspense and action; a very great deal, even, especially for a Swedish movie of the time. The eerie footage of the villain and his car, for instance, is of Hitchcock class. Some of the finest actors available in those days also contribute memorable performances. Nobody can tell a whole story through a simple sigh as Tommy Johnsson did; the apparent disillusionment and overwork burden of Andersson is told only by Håkan Serner's fatigued-but-hopeful facial expression, and the walrus-like, condescending fatberg Dahlgren becomes equally likeable and revolting when played by Ernst Günther - not much needs to be said of the mutual dislike between him and the detective heroes. Speaking of which, Thomas von Brömssen acts out Johansson's heartbreaking backstory with enough subtlety for us to feel it and ache for it without it becoming preachy. The political dimension of the film also becomes apparent only as the plot unfolds, leading up to... well, let's just say it isn't your standard cop flick. In short, Widerberg manages to internalise the suspense into his audience, making it ever more powerful than it could have otherwise become.