The film series about special investigators Carl and Assad, who reopen unsolved cases, shows its most exciting side to date in part four and thus the last part in this cast. A truly worthy conclusion CONTEMPT there forms. We reveal more about this in our review.
The plot summary
Carl Mørck (Nikolaj Lie Kaas) and his assistant Assad (Fares Fares) are confronted with a gruesome crime scene: craftsmen have found three mummified corpses in an abandoned apartment – they are sitting at a set table with a fourth empty seat for another guest waits. Who are the dead and for whom is the place intended? The trail leads Mørck and Assad to a women’s clinic on a deserted island off the Danish coast. The cruel experiments that were carried out on the patients here are a dark chapter in history that was previously considered closed. But Mørck and Assad find evidence that the perpetrators from back then are still at work – and they don’t have much time to prevent further murders and attacks…
Contempt Movie Meaning & ending
Since the Stieg Larsson film adaptations of the Millennium Trilogy received great respect, Scandinavian crime novels have been in great demand: In addition to material that is developed directly for television, Scandinavian crime bestsellers are also being made into films and sometimes even shown in cinemas instead of exclusively to flicker on the home (and mobile) screen. As with various Scandinavian crime thriller productions, ZDF also has a hand in adapting bestsellers by the writer Jussi Adler-Olsen. And some films about Adler-Olsen’s Special Department Q, in which Carl Mørck and his colleague Assad, seem as if they should only be shown later in the evening on ZDF: solidly made, but without any special dramaturgical or directorial polish – so why get a special cinema ticket solve for it? “Contempt”, now the fourth part in the series after “Mercy”, “Desecration” and “Redemption”, justifies the “cinema upgrade” all the more: Director Christoffer Boe (wrote the screenplay for “When Animals Dream”, among other things) , a novice in this film series, skillfully underlines the human depths of this case in the past as well as in the present, which also increases the dramaturgical height of the case.
Nete (Fanny Leander Bornedal) spends a night in the isolation cell.
The plot of “Contempt” takes up a very dark chapter in Danish history: for decades there were girls’ homes in which young women were forcibly sterilized. Around 11,000 women were victims of such forced sterilization. At the beginning of “Contempt,” three mummified bodies are found in a hidden room in an apartment, in agonizing poses. The people have all been dead for over a decade – and they all have a past with such homes. As is not unusual with Adler-Olsen, past horrors are narratively combined with present-day crimes, although the screen translation of how the writer connects two different thematic sites in his novels has so far been of variable quality due to the different narrative times. The authors Bo Hr. Hansen (“The Uncanny Story of the Giant Pear”)Nikolai Arcel (“The Dark Tower”) and the returning Mikkel Nørgaard (“Desecration”) “Contempt” succeeds in making the various narrative levels appear as if they were all of a piece and, on top of that, not giving the impression that they are rushing: there are no excessive thematic jumps in this cinematic crime thriller. Rather, he takes us in a captivating way from Denmark’s shameful past to today, where racists can barely conceal old horror ideologies.
This story is lightened up not by forced comedy or trying to humanize moments, but by the already constantly grumpy inspector Carl Mørck (Nikolaj Lie Kaas), who this time grumbles even more than usual: his colleague Hafez el-Assad (Fares Fares). transfer, which is an almost unique opportunity for an investigator of Syrian origin. Carl, grumpy secret-keeper that he is, doesn’t want to admit his hurt feelings, much less let them show, and so complains a lot, while secretary Rose Knudsen (Johanne Louise Schmidt) teases him about this behavior. Boe anchors such scenes in a calm, flippant tone, rather than acting out or tearing down the mood because of the changing mood between the friendly colleagues. This turns out to be a sound decision: the scenes do not clash with the basic mood of this dark, dramatic crime thriller and are still very amusing to watch thanks to the well-rehearsed, cheeky dynamic between Kaas, Fares and Schmidt, which provides a welcome little contrast to the rest of the film represent.
Conclusion: An exciting, frightening case that cleverly combines past and current atrocities in a narrative manner, and a good use of the well-rehearsed core ensemble: The fourth Adler Olsen film is the most successful to date.
“Contempt” can be seen in selected USA cinemas from June 20th.