Directed by Tomas Alfredson (Tinker Tailor Soldier Spy, Let the Right One In) The Snowman (based on Jo Nesbo’s novel of the same name) was made from a screenplay co-authored by Peter Straughan, Hossein Amini and Søren Sveistrup) features a case on the alcoholic Harry Hole (pronounced holy) played by Michael Fassbender. Fans of the “Nordic Noir” series featuring the FBI trained inspector will be, no doubt, a tad disappointed with this screen version.
For a start, there is no mention as to why Hole is such an asset to the police department that his boss is willing to cover for his being AWOL from work. The film also touches all too briefly on the love affair between Harry and his ex-girlfriend Rakel (Charlotte Gainsbourg) but changes the story line somewhat in order to fit the film in a just under a two hour time period.
I personally adore the entire Harry Hole series by Nesbo. The Snowman was sixth in the series and while it seems odd that the filmmakers opted for this late novel the movie still works. We miss the intimacy of the books, there is no real focus on Hole or his alcoholic habit, including the why, or just why he and Rakel are still, on the sly, a couple.
The books emphasize the sexual proclivity of Harry along with his weakness for alcohol and the grip is has on his everyday existence.
The film feels right. The story of Harry, as well as Nesbo’s superb novel The Headhunter (that also left a good bit out of the film when translated from the novel) has to leave a lot of Nesbo’s work and character development or the finished project would have been in excess of four hours long.
I loved the series and Hole as a character. He felt a bit like a Norwegian version of England’s “Cracker” (played so well by that behemoth of talent Robbie Coltrane – who did have a career before Hagrid in the Harry Potter franchise), in other words, a chap who was head and shoulders above his colleagues in skill sets and yet seriously flawed.
At first glance, Fassbender seems a poor choice to play Hole in “The Snowman.” However, he does shine as the alcoholic cop who is deeply addicted to booze, his ex-girlfriend and the pursuit of criminals. He is also, it seems, addicted to sex and not just with his ex. (This is more evident in the books.)
A woman goes missing and all that is left behind is her colorful scarf; wrapped around the neck of a snowman. The trail then leads Hole and his new partner Katrine Bratt (played by Rebecca Ferguson) to investigate a slew of missing women. All the cases seem to be interlinked and Bratt has her own personal agenda while working on the case.n
Bratt leads us to the most puzzling aspect of the film meant to be directed by Scorsese. Her father, played by a very ill-looking Val Kilmer, is part of the case despite being dead for a very long time. Kilmer, who looks to be on death’s door, has his lines dubbed for the film and it has the effect of throwing one right out of the story.
While Scorsese was attached to the film when the initial prospect of The Snowman being made into a film was in its infancy, Alfredson gives us a pretty well rounded film despite the odd bits of editing and continuity that jar and annoy.
(Moments after finding the head of a missing woman stuck on a small snowman, Hole tells his boss that it is all about missing persons at the moment, which is clearly wrong.)
J.K Simmons affects an English accent, Toby Jones is vastly underused and the film does deviate from its source quite a lot. Still, the mood and atmosphere remain faithful to Nesbo’s novel and the movie looks stunning. There is no doubt that we are in Norway, despite the lack of folks speaking the local lingo. (Although some minor parts do speak in what sounds like Norwegian.)
It would have been interesting to see a Norwegian version of this film, with a cast of Nordic performers and subtitles, but this effort manged to entertain, despite it’s overall length of just under two hours.
The Snowman scores a full 4.5 stars out of five for its atmosphere and the ability to keeps one glued to the screen throughout. The appearance of Val Kilmer serves to mystify rather than intrigue although the rest of the film manages to pull the viewer in nicely.
Check this one out at the cinema, it will be worth it, and then rush out and read the books by Nesbo. You will be glad you did. This is a quirky Nordic Noir thriller that manages to deliver despite deviating from the superb book.
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