Killing time again - Forbrydelsen II

In much the way author Howard Norman revisited the same story in three books from 1994 to 2002, the writer of The Killing, Søren Sveistrup, has been tipping his hat to familiar themes in the second series of the Danish crime drama. The original series (Forbrydelsen in Danish) stood out in part because of its focus on the family and friends of various central characters, especially those related to murder victim Nanna Birk Larsen.

Four episodes into the noticeably tighter Forbrydelsen II, the action is less immediately personal, though there are hints we may learn a little more about enigmatic heroine, detective inspector Sarah Lund. Her son has settled permanently with his grandmother, whose impending wedding gives Lund another family occasion to muck up or miss altogether, to put alongside her attempt to move in with Swedish ex-boyfriend Bengt.

Sofie Gråbøl is as outstanding as ever as Lund, whose powers of detection continue to outweigh the character's ability to play things by the book, coupled with an innate talent to be in the right place at the wrong time. As Gråbøl told me of her character in a recent interview for Time Out, 'She makes connections, that's her talent, her gift. Of course she has a strong gut feeling but there's nothing supernatural [about her intuition].'

Lund is one of only two recurring characters in the series - the other being her boss, Lennart Brix (Morten Suurballe). The political background is played out at a national level on this occasion, albeit with the state's civil servants still proving obstructive. Senior figures throughout seem to know more about the deaths of several people attached to a military unit in Afghanistan than they're letting on.

There are echoes of the excellent Danish film Armadillo (2010), which BBC4 would do well to screen during The Killing II's current run; the character Søgaard is notably familiar from Janus Metz Pedersen's Afghan documentary. Lund's case also has political as well as personal repercussions, not least for the women who are forced out of their jobs after having affairs. (There's even a replacement for luscious Rie Skovgaard in Ruth Hedeby.) Nor has the Danish weather improved.

There is, too, the initial frisson with Lund's new colleague, the brilliantly named Ulrik Strange (Mikael Birkkjaer), who has already succeeded where her previous (romantic) partner failed - by taking her to Sweden, as if that's some sort of strange Danish euphemism. Birkkjaer and Gråbøl previously appeared together in a film about a couple dealing with their daughter's death, Aftermath (2004). It's out on DVD on Monday.

Søren Sveistrup has injected warmth and dark humour in their relationship, worthy of the Swedish TV version of Wallander. (Gråbøl told The Guardian that Lund would beat Wallander in a fight - 'no contest'.) The writer is also playing with viewers' knowledge of what happened to Lund's previous police partner, and has just placed Strange in jeopardy. We'll have to tune in on Saturday to find out how that goes.

A new Lund

Those suffering withdrawal since the end of triumphant Danish TV series The Killing, may be tempted to check out Swedish detective Irene Huss, based on writer Helene Tursten's character. An introduction for English-language thriller fans comes in publisher Soho Crime's Detective Inspector Huss. The cover to the 2003 edition brands it 'Sweden's Prime Suspect', though no doubt the dabs of Scandinavia's finest, Sarah Lund, would be all over the book if it were published now.

Forty-year-old Irene Huss is admittedly less of a mess than lovely Lund - Huss is a judo-practising, happily married mother of teen twin girls. The crime is different, too: a wealthy businessman falls to his death from his apartment block, although there is the ever-present interference from superiors on such a sensitive case.

The bleak Göteborg atmosphere compares with the Copenhagen of The Killing, then there is Huss's dress sense: 'black jeans, down-filled poplin jacket, and […] red wool sweater'. There is a Lund here, Huss's colleague Håkan, who brims with initiative.

A procedural in the style of Maj Sjöwall and Per Wahlöö's Martin Beck series (also set in Sweden), there's the occasional nice change of perspective: 'Since the major renovation a few years ago, Göteborg's Central Station is quite a beautiful place to visit. The dark, polished woodwork of the walls, benches, and pillars creates a turn-of-the-twentieth-century atmosphere. But the crowded flow of travelers, the stoned junkies, and the the winos asleep on the benches are the same as always. The ticket line is the same too, even if nowadays it's computerized with little paper numbers and digital displays above each ticket window.'

A (Swedish) TV series of Detective Inspector Huss mysteries kicked off in 2007 - the slightly grim trailer for the first instalment is here - starring Angela Kovács (pictured), who was also a regular in the Krister Henriksson Wallander series, currently rescreening on BBC4. Six new 90-minute episodes of Irene Huss are due to air in Sweden this autumn - worth picking up, anyone?

Making a Killing

In the absence of Wallander and a brief but enjoyable introduction to Zen, may I point fans of detective drama with a strong lead (character) in the direction of BBC4's The Killing, which is also available on iPlayer. Sofie Gråbøl, pictured, stars as the head of a team investigating the drowning of a young woman, as if Twin Peaks had served as the inspiration for this latest import. Made in Denmark, its rhythms and atmosphere are (very slightly) reminiscent of Lars von Trier's haunting - haunted - hospital drama The Kingdom, Danish dialogue notwithstanding. The introduction of a politician and his cronies into the mix may have been a little more nuanced but otherwise The Killing displays an admirable interest for the ripple effect of a murder on investigators, victims and suspects alike. No doubt this will help it sustain a 20-episode run.

UPDATE At past the halfway point, the series continues to grip, not least because it's so filmic; I fear the prospect of catching up on 12 episodes may be beyond most newcomers, though the BBC is very sensibly keeping them all on iPlayer. Before The Killing began, the Guardian focused on its female lead but the series is remarkable for its portrayal of powerful women at all levels of the drama: there's intuitive detective Sarah Lund; Pernille Birk Larsen, mother of the young woman whose death is the action's catalyst; luscious Rie Skovgaard, steely press spokeswoman for politician Troels Hartmann, who is heavily implicated in the crime and, of course, Nanna Birk Larsen, the murder victim who haunts every revelation with her Laura Palmer-like presence. The men with whom they interact are mere shadows in thrall to these formidable characters.

Related: Sofie Gråbøl on the writer of The Killing

Ystad of mind

Unfortunately they're no longer on BBC iPlayer, but I did want to celebrate the BBC's latest series of Wallander, based on the celebrated books by Henning Mankell. The last episode was especially strong - certainly the best of this second series, which has been slightly bogged down by the police inspector's shame over killing a(n armed) suspect.

The Fifth Woman stood out thanks to Aisling Walsh's direction; I'd be intrigued to learn why several shots were filmed through windows. The usual implication when this happens is that someone is watching the subject but that wasn't the case here. Unnerving as it was, was the implication that Wallander felt he was being watched or that we the viewers were seeing something that we normally weren't privy to (or that there was nowhere else to put the camera)?

Kenneth Branagh's Wallander seems to spend much of each episode alone in his car. It may be a practical necessity to cover Skane County for his work, but here Walsh emphasised his isolation. And as she let takes hang as long as they poetically could, she would prick the scene's serenity with his inescapable, ridiculous, phone ringtone.

Branagh's achievement has been to carry this wonderful series; by contrast, his counterpart in the Swedish version, Krister Henriksson, acts as a catalyst for those around him, notably his daughter, Linda. It will be interesting to see where the makers of the British version (notably writer Richard Cottan) go with her character if and when she joins her father in the police.

To me, the Swedish version is played as a black comedy, notably in the interaction between Wallander and his forensics expert, Nyberg. There was a neat crossover between the two versions in the first episode of the latest British series, where Wallander shot a neo-fascist played by the same man who plays ever loyal police office Svartman in Sweden. You may have noticed, too, that anything written in the British version (police signs, book dedications) is in Swedish, making the show simple to dub into any language for coproducers and buyers while retaining its sense of place.

Update: the first two BBC series are now available together on DVD.