I love lean movies.
THE GUILTY (2018) clocks in at a thrifty 85 minutes. There is not one ounce of fat on this flick. It’s nonstop intense from start to finish.
It’s also claustrophobic, as the action follows one man, police officer Asger Holm (Jakob Cedergren) working the emergency police dispatch. The camera never leaves Asger, never leaves the confines of the police dispatch center, often focusing in tight on Asger’s face, as the rest of the action occurs off camera. The audience, like Asger, sees none of it, and like Asger, is only privy to what he hears.
Yet the film is so well done you’ll swear you’ve seen everything that happens, every dramatic scene and tense moment, but you didn’t. That’s just your mind and imagination at work, manipulated by some effective filmmaking.
THE GUILTY opens with a tight close-up of the side of Asger’s face, on his ear piece, signaling to the audience that this is going to be a compact thriller, the focus on the auditory. We learn fairly quickly that officer Asger Holm is working the emergency dispatch for disciplinary reasons, that he has an important court date the next day which seems as if it’s going to clear him of any wrong doing, and so he’ll be back on the street immediately thereafter. We also learn fairly quickly that he’s not particularly enjoying this temporary position, that’s he’s not overly sympathetic to the folks calling in for help, and that he has been a difficult co-worker with those who work there in the dispatch regularly.
But then Asger receives a call from a woman who’s being kidnapped, with her assailant by her side as they ride in a car. She pretends she has called her young daughter, and Asger plays along attempting to learn as much information as possible in order to help her. What follows is as taut a thriller as you’re going to find, thoroughly enjoyable and wonderfully suspenseful, and yet the action never leaves the office of the emergency police dispatch.
Asger is a police officer, not a dispatch operator, and as such he’s both frustrated by the limitations of what he can do behind a desk on the phone and energized to do more, to follow his police instincts, to take matters into his own hands, regardless of the legal implications, which as the film goes on, ties into what he did previous to warrant him a court date. The two stories gel seamlessly, and Asger learns a valuable lesson about rogue police work from his actions trying to save the woman at all costs, as things don’t always go as planned.
THE GUILTY is a Danish film by writer/director Gustav Moller. In fact, it’s Moller’s directorial debut, and it’s a good one. The film has already won lots of awards at various film festivals.
Moller’s camerawork in THE GUILTY is superb. Most of the time, the camera is up close to Asger’s face, capturing the tension of the entire movie. And since the camera never leaves the dispatch office, for this film to be as suspenseful as it is, that’s saying a lot. It’s the sort of film Hitchcock would have done, but it’s even more claustrophobic than Hitchcock, with the possible exception of LIFEBOAT (1944).
Moller co-wrote the screenplay with Emil Nygaard Albertsen, and it’s a terrific script. Everything in it works so well. Asger is a troubled police officer who at the beginning of the movie sees nothing wrong with what he had done previously, but as the events of this film unfold, he begins to see things differently.
The thriller aspects, where Asger is in a race against time to save this woman from possible murder, is exciting. The audience shares in Asger’s frustration when he awaits news of squad cars sent to the scene, hearing live on the radio as a police car pulls over what turns out to be the wrong van, and later when the woman’s children are involved, and Asger can do nothing but listen as officers arrive at the house.
As I said, you’ll leave the theater swearing you’ve seen it all, but in this case, you would have only heard it.
There are also some nifty plot twists that will keep the audience guessing as well as churn their stomachs at some of the revelations later in the movie. But ultimately this is not a dark depressing thriller, because in spite of the horrors which occur in this story, and there are some horrible things that happen, Asgar emerges as a better man and perhaps a better police officer as well.
Jakob Cedergren is excellent as Asger. He’s in every scene in the movie, sharing screen time only with his fellow dispatchers. The rest of the characters we only hear over the phone. Cedergren rises above the cliché. He plays Asger as a police officer who believes in right and wrong, who sees it as his duty to stop criminals at whatever cost, and who sees it as his duty to protect those who are in harm’s way, which is why he latches on so dramatically to trying to save Iben, the kidnap victim who called him.
Yet we also see the side of Asger that got him into trouble, the side where he goes it alone and doesn’t shy away from breaking the law in order to solve a crime. Asger doesn’t reach out to his superiors when this event unfolds. He switches into police officer mode and attempts to save the day himself, and of course, things don’t go as planned.
Cedergren keeps Asger a three-dimensional character. In spite of his shady methods, there’s no denying that he wants to save this woman, and his drive is commendable, even as the audience realizes he should be handling things in a different way, that the rule of law exists for a reason. The best part of Asger’s story arc is that what happens to Iben so affects him that it draws out of him truths he probably didn’t know he believed in, before now.
With so much screen time, Cedergren has to be solid for this movie to work, and he is and then some.
The rest of the key performers do their jobs with just their voices as they don’t actually appear in the movie. Jessica Dinnage does a phenomenal job providing the voice of Iben, as does Katinka Evers-Jahnsen as Iben’s six year-old daughter Mathilde. Everyone in the movie provides excellent voice work.
I loved THE GUILTY. It’s a sweat-inducing little thriller that will captivate you from start to finish. It’s also the type of movie that I can easily see being remade by Hollywood and subsequently ruined with additional scenes of action and violence.
THE GUILY is filmmaking at its finest. It tells its frightening story without ever showing any of the action. The audience is stuck in the same situation as main character Asger Holm, hearing only what happens through the police dispatch. And yet this does not hinder the film one iota. On the contrary, it makes it a far superior thriller than the standard by-the-numbers police actioners.
And the title, THE GUILTY, refers to what Asger has in common with one of the voices on the other line, something that he’s feeling for the first time, that truth be told applies more to him than anyone else in the story.