The Hunters was a big hit in Sweden in the 1990s but, as far as I am aware, didn’t receive a UK cinema release. It wasn’t until the success of Scandinavian TV noir dramas that UK distributors began to look out for Scandinavian genre films. Consequently it was only in 2012 that I learned about The Hunters when Arrow released its sequel with the English title False Trail (Jägarna 2, Sweden 2011). The original film was then given a UK DVD release.
The Hunters turns out to be a genre classic full of familiar elements. It is no surprise that it was a big hit or that Hollywood attempted to persuade writer-director Kjell Sundvall to remake it in an American setting. That didn’t happen but the film is intriguing in the mix of universal and Scandinavian elements – something which in turn perhaps explains the contradictory critical responses to the film. Its narrative is basically the same as in the sequel. The central character, Erik, a Stockholm policeman played by the familiar figure of Rolf Lassgård, returns to his home town in the far north of Sweden, ostensibly for his father’s funeral. Later it is revealed that he has left Stockholm after the trauma of a recent case and has been transferred to this rural backwater. He is reunited with his brother who stayed on in the family home. One of Erik’s first tasks as a new local policeman is to investigate illegal poaching of game in the area (the film begins with the killing and butchery of elks by unidentified poachers). It soon becomes apparent that there is a local conspiracy between some police officers and officials and local hunters. Matters become personal for Erik who is ostracised by many in the local community and who soon finds himself suspecting his own brother to be involved in poaching. The situation worsens when a Russian fruit-picker is accidentally shot. Eventually, another familiar figure arrives from Stockholm, a female prosecutor who joins up with Erik to forward the investigation. A grisly climax is inevitable.
In the early parts of the film I was reminded of Cimino’s The Deerhunter with the depiction of local hunters as a boisterous male group with generic character types, the leaders, the clowns, the weak members – a dangerous camaraderie fostered by alcohol. I reviewed the sequel soon after seeing Thomas Vinterberg’s The Hunt (Denmark 2012) which also focuses on the secrecy and conspiracies of small town life. That film is essentially a melodrama about the persecution of the central character. The Hunters too becomes partly a family melodrama about Erik’s relationship with his brother Leif and their relationships with their father. But I’m also reminded of Carlos Saura’s celebrated 1966 film La caza (The Hunt). Saura’s film works as a metaphor for life under Franco’s regime in Spain – the hunt provides the explosive setting for men to argue between themselves, to be aggressive towards women etc. In Swedish narratives there are important resonances in the choice of settings and in particular the journey from the far North to Stockholm and the ‘return of the natives’ back from Stockholm (at one point Erik is presented with an award for ‘returnee of the year’). The elements in the story do sometimes feel hackneyed – a Filipina working in a bar, a man with learning difficulties caught up in the intrigue, Lief’s brother’s passion for opera – but that’s only because we’ve encountered them in the years since in various Scandinavian noir crime dramas.
The Hunters is strong genre entertainment. It’s nearly two hours of action with strong performances especially from Lassgård and from Lennart Jähkel as Leif. It serves as an interesting example of Swedish commercial filmmaking and is especially useful as a starting point for studying ‘Nordic noir TV’ as discussed in Chapters 4 and 9 in The Global Film Book.
Arrow Official Trailer for the DVD release: