Henning Mankell’s Kurt Wallander. Stieg Larsson’s Lisbeth Salander. Jo Nesbø’s Harry Hole.

Who are these people and what do they have in common? All are protagonists in crime novels who moved from the printed page to the screen. All were created by Scandinavian authors, whose success in both formats have created a crime genre known as Scandi Noir.

What exactly is Scandi Noir and why has it exploded in popularity?

Crime in general is extremely popular these days, and the characteristics of Scandi Noir translate easily from print to film. The first word that comes to mind when examining these works is “spare.” Dialogue is terse, physical settings are bleak, protagonists are loners and the crimes are horrendous. In more recent film adaptations, however, these characteristics are not quite as severe. Let’s take a look at the most successful book-to-screen translations.

Kurt Wallander

Henning Mankell’s detective Kurt Wallander is one of the first examples, popular initially in a series of books that began with “Faceless Killers.” Mankell has been around for a long time, though his work draws upon the legacy of Maj Sjowall and Per Wahloo’s Martin Beck books. Outwardly, Wallander is the epitome of Nordic stoicism. Taciturn and serious, he is a man of few words, prone to interior ruminations on Swedish society, mental health and the nature of violent crime. This works fine in print but requires a slightly more loquacious character on film.

Kenneth Branagh is the most well-known Wallander and plays the character as Mankell created him in the four-season series “Wallander.” This early noir exemplifies all the print characteristics translated to film. First presented in “Faceless Killers,” he heads up a team of homicide detectives investigating the brutal farmhouse murders of an elderly couple. The setting is isolated and bleak, and like many Scandinavian productions is monochromatically presented. The landscapes are largely barren, the dialogue is limited, and Branagh embodies the cerebral, aloof detective from the novels. Eventually Wallander and his squad solve the murders, but there is little sense of triumph, only relief.

If you’re getting the idea that Scandi Noir isn’t exactly a barrel of laughs, you’re correct. It’s not Ingmar Bergman-level serious, but humor is rarely employed (if at all). However, there is something intriguing about the dogged determination of noir protagonists and the violent crimes they investigate.

Harry Hole

Take Jo Nesbø’s Harry Hole (an appellation that unfortunately doesn’t translate well phonetically). Detective Hole is written as a Norwegian anti-hero and alcoholic, and is prone to operating outside protocol. He shares Wallander’s introversion, obsessive drive, and depression. Unlike Wallander, he’s a loose cannon at times, haunted by tragedies of his own making. He has a romantic partner and a sex life (not always prevalent in the genre), along with a nemesis in the character of a crooked cop.

A 2017 movie based on Nesbø’s first Hole novel “The Snowman” was a flop that failed to adhere to Nesbø’s narrative. It was panned critically despite a great cast (looking at you, Michael Fassbender and Val Kilmer). Numerous production problems and the author’s non-involvement are said to have doomed the outcome.

The current Netflix series Detective Hole has been well received, with Nesbø more involved after “The Snowman” debacle. Tobias Santelmann is very good as Hole, but it’s Joel Kinnaman who steals the show as nemesis Tom Waaler. It’s filmed with substantially more color than other Scandi Noir productions such as Denmark’s “The Bridge,” Iceland’s “Trapped” or the Finnish “Deadwind.” If you’re looking for a more action-centered watch, this is the one for you.

Lisbeth Salander

Last but not least are the books and movies that brought hordes of new fans to the genre in Stieg Larsson’s Millenium trilogy featuring hacker Lisbeth Salander. The first and most popular work was “The Girl with the Dragon Tattoo,” which in print form exemplifies the best and worst of Scandi Noir.

The characters and plot are first-rate, but the interminable descriptions of mundane activities are tedious. It’s doubtful anyone cares about a described-in-detail IKEA shopping trip that contributes nothing to the narrative. The main characters are presented more thoroughly in print, as is the plot. However, the novel introduces so many characters a spreadsheet is needed to keep them straight. There was a lot of flipping back and forth to determine exactly who someone was. Fortunately, this isn’t a problem in either of the two movies based on the book (one European production and one American).

Both were successful, though the Swedish version did adhere more closely to the book’s plot. The American version was jazzed up, employing more color and action than is typically seen in European productions. It’s a good way to differentiate the two movies, as the Swedish production is faithful to the Scandi Noir ethos.

Bleak and melancholic, with a dash of horror, the genre continues to expand in popularity.

About the writer

Lori DuVall-Jackson is a Buffalo resident and graduate of Canisius University. Her passions include crime, music, and wildlife conservation. Her columns are published monthly in the My View section of the Buffalo News. Past work includes editorial credit for her contributions to “Charles Burchfield’s Journals-The Poetry of Place,” published by SUNY Press.  Lori looks forward to contributing to Booked & Screened.