Anyone who is already a fan of Jo Nesbo and his nail-biting Nordic noir mysteries will enjoy this non-stop, action-packed continuation of the Harry Hole series. Many of the familiar characters (and enemies) are back as Harry is persuaded to return from Hong Kong, where he has been spending his “hiatus” from the Oslo Crime Squad in an alcoholic haze. He is now in debt to the Hong Kong Triad, which as taken his passport to prevent his leaving without paying his debts. Three gruesome murders have taken place back in Oslo while he has been gone, however, and investigators are exploring the possibility of yet another serial killer on the loose. Harry Hole is the best in the business in tracking down serial killers, having just resolved the case of The Snowman, a particularly vicious killer of women, and the Oslo Crime Squad wants him back. By far the most complicated of the Harry Hole novels so far, this one is a special challenge at six hundred eleven pages, and readers of The Snowman will have an advantage in understanding some of the characters who reappear here.
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Utu, winner of multiple prizes and set in New Zealand, is dark and full of violence, and depends on the internal conflicts within a country for their dramatic impact and plot. Longstanding resentments between an upper ruling class, and the dispossessed original residents of the country, the Maori, who were conquered during the colonial period, dominate the plot which involves many characters, both white and Maori. The plot becomes so complex that at several points in the novel, the author actually backs up and has a character go over the details so far, to remind himself and the reader about what is happening. Though the novel may be considered by some to be powerful and dramatic, it gains its power largely through its shock value, through the over-the-top reactions of presumably civilized people, well connected to the Auckland mainstream, who are intent on gaining what they want when they want it. While some may consider main character Paul Osborne to be an “anti-hero” (and his actions to represent mainstream “noir”), my own feeling is that there is a difference between the “unsentimental depiction of violence,” one of the main characteristics of noir, and violence for its own sake, which is what I saw here.
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Reading this recently translated novel by Icelandic author Arnaldur Indridason feels much like reading a movie. Originally published in 1999, Operation Napoleon is a stand-alone thriller of World War II and its aftermath, not part of the author’s more character-based Erlendur series, with its dark themes and grim visions of human nature. This is not to say that this novel is not also full of violent behavior against innocent characters, but in this novel the villains are the Americans, who will stop at nothing to further America’s global interests. Operating in conjunction with the controversial US Army base in Keflavik, a secret, high tech spy agency, known as “Building 312,” in Washington, DC plans to conduct a mission on Iceland’s largest glacier without the knowledge of their usually cooperative hosts, who know nothing more than a cover story about “routine training” disseminated by US intelligence. The “heroes” of the novel are the honest Icelanders who inadvertently run afoul of American interests. The paranoid Americans in charge of the mission will stop at nothing, including cold-blooded murder, in order to accomplish their ends.
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Norwegian writer Jo Nesbo’s latest novel is a stand-alone, not part of his Harry Hole series, and it provides yet another example of Nesbo’s immense talent as a story-teller. In this novel, however, Nesbo lets his darkest, most deadpan humor loose in a wild but carefully constructed mystery in which the several sections of the novel parallel textbook recommendations regarding interviewing and hiring candidates for executive positions – seemingly a straightforward process. Nesbo turns the whole thing all on its head, however. Nesbo’s “headhunter,” Roger Brown, though much in demand both by individuals looking for new opportunities and by corporations seeking the perfect new president, is a loathsome human being, but he is as close to a “hero” as one gets in this page-turner. He has powerful enemies who are at least as clever, at least as opportunistic, and certainly as amoral at he is. By limiting his focus to these characters, however, Nesbo frees himself from the limitations of a police procedural and can take his story in new directions, omitting the law entirely from almost all of the action, and creating a plot in which Roger Brown and his enemies essentially play a game in which the “king of the chessboard” is the person who survives.
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Drive, though the most brutal film I have ever seen, is nevertheless very worth seeing for those with the fortitude to deal with the darkness and graphic cruelty. Nicolas Refn, a Dane who won the Cannes Film Festival Award as Best Director for this film, creates a tight and spine-tingling drama of a character known only as Driver (Ryan Gosling), a young man who works as a Hollywood stunt driver by day and as the driver of getaway cars at night. A man who is emotionally scarred from some unspecified trauma in the past, Driver (Ryan Gosling) is cold, unflappable, and just what a career criminal wants in his getaway driver. Opening with a robbery scene followed by a high octane chase scene, as Driver and two robbers avoid the police and two helicopters, the film then shows Driver returning to his almost bare apartment and meeting pretty Irene (Carey Mulligan) in the hallway. A strange love story runs parallel with dramatic scenes, chases, shootings, and all kinds of mayhem, but as the film develops, the viewer comes to see that Driver has his own bizarre sense of ethics, and a real desire to help Benicio, Irene’s young son. Drive is a dark and violent but complex literary novel. As a film, it is also violent but far more earthbound and simplistic, with no real subtlety except in Gosling’s acting.
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