THE KEEPER OF LOST CAUSES

Denmark, 2014, 97 minutes, Colour.
Nikolaj Lie Kaas, Fares Fares, Sonja Richter.
Directed by Mikkel Norgaard.

Grimace and frown. This is the usual look of the protagonist of this police story, Carl Nicolai I Cass, looking more than a bit like Michael C. Hall as Dexter on television), a single-minded and relentless police officer and detective. Actually he does smile a little ironically during the film and we do see a glimmer of smile at the end. His assistant is Assad, played by Lebanon-born actor, Fares Fares, who has a great deal more humanity about him.

In the last decade, Scandinavian police stories have become popular, worldwide. We could think of Henning Mankell and Wallander, Stig Lasrsen and The Girl…, or the novels and the film versions of stories by Joe Nasbro. This thriller is in this vein – based on a series of novels by Jussi Adler- Olsen, featuring Carl and Assad. The next in the film series has already been completed.

The film opens with some banter between the police, idle and nitpicking conversation during their surveillance. Carl is impatient, does not wait for backup, goes into the house with some disastrous results for his partners and some injury for himself. It is not surprising to find that after he gets out of hospital, his superior does not want him in active service, a danger for others, and not particularly liked by most people in the local force. He is given a new assignment, a small office in the basement when he has to study all the cold cases of the previous 20 years – the lost causes of the film’s title being these cold cases. And Assad is assigned to him, not immediately happily for Carl. But we know, eventually, with ups and downs, they will be able to work together, each saving the other’s life.

Assad arranges the cases with photos on the wall and Carl’s eye is caught by one that he remembers and he begins to follow it.

For those of us who are always intrigued by current novels with police investigations, be they in the US, Australia, the UK or in other contexts, this film will be very satisfying. It shows the police work, step by step, the police using their brains, intuitions, discovering leads, following them, working on hunches, and all this, despite the objections of the powers that be, quite realistically. The screenplay opens up the mystery, tantalises the audience with what might have happened, then starts to give the audience more information than the two police have so that the audience is always waiting for the police to catch up, providing solid tension for the mystery.

The victim is a young woman, involved in politics, who had attended a conference in Sweden and then, on a ferry ride with her younger brother who had suffered brain damage in a car accident when the two were young, she disappears, presumed suicide, presumed drowned.

Carl’s methods are blunt and direct. He has very little to happiness in his life, his wife has left him, his stepson can’t stand his mother and so stays with Carl, sometimes embarrassing him. It is only his job and his determination to live for it that gives him any satisfaction. We don’t know anything about Assad (except that we do see him kneeling and bowing on his carpet in Moslem prayer at the end of the film). But, Asaad has the human touch, especially his patience in sitting with the disappeared woman’s brother, something which pays off when he sees a photo.

Just when it seems that Carl and Assad have finally found their man, there are some twists which give more meaning to the film – and the audience could realise that they were given some clues early on which might have given them the motivation of the criminal.

The film is lower key than some of the other Scandinavian stories, but interesting because of the tension between the two characters, the detail of the detective work, so that it is quite a satisfying hundred minutes. Here’s hoping that it will not be too long before the second film in the series will be released.

1. The popularity of Scandinavian stories, police investigations, their tone?

2. The Danish film, dark, the opening surveillance car, police offices, hospitals, investigations, mcore?

3. The title, the Danish title focusing on the bound girl? The lost causes as cold cases?

4. The tone, the initial chat, impulsive going into the house, the dead man, the police being shot? The dead policeman? The policeman in hospital, possibly paraplegic? Carl to blame, the consequences?

5. The police chief, the interview with Carl, not allowing him on active duty, relegating him to department Q, Carl’s plea? The reasons, Carl’s shaking hand? Assad appointed as his assistant? The room, the loud music, his reactions?

6. Their working together, the cases, Assad putting the photos on the wall, Carl’s noticing the photo of the woman who disappeared? His choice? The decision not just to file the case but to investigate?

7. Carl, his age, career, his wife leaving him, the son, the son coming home, with his girlfriend? Carl as an isolated character?

8. Assad, no back story, eating of the same restaurant, making the coffee, Carl’s disliking it, a cheerful man, interested in pursuing the investigations, collaboration?

9. The detective on the case previously, the flashbacks? Into the life of the victim, the conference, meeting people, the photographs taken, her brother, the memories of the car accident, taking care of her brother, in the institution, on the ferry, the brother with a man, his sister’s disappearance? The enquiry, the police officer on the job, his lack of memory, the attitude of the Chief? The decision for the disappearance, suicide?

10. Information given to the audience ahead of the police, the catch up for the police, creating tension?

11. The container, the different pressures, degrees, the bins for food and waste, changed every day? The girl affirming herself and not giving in? The tormenter talking to her? One year passing, the players and the extraction of her tooth, the pain? Seeing him, the memories?

12. Carl and Assad, getting leads, Assad going to see the girl’s brother, Carl and his abruptness, the complaints of the staff, Assad’s patience, discussions with the nurse, the boy recognising Assad? The photos, the visit to Sweden and the police demanding their return? Taking the documents? The photos, the identification, the false identity? His death, the audience seeing this? The two being sacked, not allowed to investigate? Going to the orphanage, the flashback to the young boy, the abuse, his humiliation, his killing his killing the perpetrator? At home, his mother, going to kill the girl, Carl’s arrival, the discoveries, the fight, the violence, Assad hitting the murderer, saving Carl?

13. The rescue, the girl in hospital, recovery? The police chief acknowledging what Carl and Assad had done? Getting their badges back? Carl wanting to stay with the cold cases?

14. Anticipation of the sequel?