A documentary-like series

M. Nedim Hazar

"The Unlikely Murderer" (I don't know if that's how they translated it into Turkish, the original title is:
The Unlikely Murderer) is a striking mini-series that tackles one of the darkest events in modern
Swedish history from an unexpected perspective. Telling the story of the assassination of Prime
Minister Olof Palme through the eyes of the suspect Stig Engström, the production is conceived as a
character-driven psychological drama rather than a classic crime drama, but it often pushes the
boundaries of drama and veers in and out of documentary territory.

What makes a person a murderer? Someone who felt compelled to target a prime minister for
assassination? How did this sad, lonely figure escape police detection? Our series tries to answer
these questions and puts forward some hypotheses. Just as it is a compelling and psychologically
intense attempt to solve a crime that shook a proudly stable and peaceful social democracy to its
foundations. Could there be a shockingly simple explanation for the murder of Olof Palme, the
greatest true-life thriller in Swedish history?"

The first thing that struck me in the series is that the Swedish head of government was able to live
like any other citizen at the time and avoid chauffeured cars or bodyguards, preferring public
transportation, as we witness today in many developed free countries. You know, an innocence that
has been lost in totalitarian regimes like ours. In this respect, I likened Palme to the late Bülent
Ecevit.

The series explores and depicts the inadequate police work around the Palme Investigation during
the 80s and 90s. Stig Engström as a human being is at first too much for the audience, but this
distance makes the role compelling and compelling, and the audience seems to feel a certain amount
of peace of mind as they watch.

Yes, the series, which feels like a documentary in the guise of a Swedish drama, can be characterized
as a fictionalized interpretation of how Stig Engström, the graphic designer named as the probable
killer of Swedish prime minister Olof Palme, managed to escape justice with a combination of
audacity, luck and a bewildered police force until his death.

Engström, played by Robert Gustafsson (whom you may remember from the beautiful "The Hundred-
Year-Old Man Who Climbed Out of the Window and Disappeared, Det som göms i snö"), is a middle-
class Swede born in 1934. This ordinary-looking man, who works as a graphic designer for the
Skandia insurance company, has a complex inner world. His conservative views, his hatred of Palme's
social democratic policies and his constant need to prove himself are his main motivations.

Rather than a chronological narrative, the series opts for a structure that moves back and forth
through different time periods. This allows us to see the changes and contradictions in Engström's
personality more effectively. On the one hand we see an ordinary, even somewhat pathetic man, on
the other we witness the mind of a potential killer. Loser is the story of a man who has been
despised all his life and who, at the end of his life, tries to be present and visible through
sensationalism.

One of the production's greatest strengths is its success in capturing the atmosphere of the period.
Stockholm of the 1980s is convincingly recreated not only in its physical locations but also in its social
and political atmosphere. Costume and make-up work is particularly noteworthy for its skill in
showing the aging processes of the characters. But unfortunately, cinema is not only about these
things. Especially a drama!

The book that inspired the series and its author Pettersson.

Engström's alcoholism and deteriorating mood become more apparent as the series progresses. The
fact that his coworkers describe him as "ambitious but a failure" deepens the character's tragedy. His
constant attempt to put himself forward can be read as the story of a man trying to mask a deep
sense of worthlessness.

His relationship with the media after the assassination is one of the most striking aspects of the
character. His story, which changes a little more with each interview and new details are added, is
actually an expression of his desire to be visible and recognized. At this point, we can say that the
series successfully blends a real event with a fictional interpretation.

In this respect, Robert Gustafsson's performance deserves special praise. The actor manages to make
Engström's character, full of contradictions, both sympathetic and uncanny. His mastery of the
character's increasingly paranoid state of mind is particularly impressive. However, due to the
structure of the book it is based on, the series proceeds like an encyclopedia of history throughout
almost all the episodes. Apart from Engstörm, there is almost no character that can be deepened. In
fact, Petersson, the author of the book, who is supposed to be the other protagonist of the series, is
very faint and insignificant. Yes, one can't talk too much about oneself in one's own book, but the
character of the author should have been much deeper in the series.

The suspect, Stig Engström, had called the media and demonstrated how he personally ran after the killer.

A striking feature of the series' narrative is the constant flashbacks to the night of the murder. At
each turn, we see the events from a different angle, just like Engström's ever-changing stories. This
structure makes us constantly question our perception of reality.

The production also bravely tackles the failures of the police investigation. Competing police units,
prejudices and bureaucratic errors show how a murder can remain unsolved. In this respect, the
series can be read not only as a crime story but also as a critique of the system.

Details such as Engström's experience with guns and his access to weapons through his sports club
are skillfully handled in the series. This information both confirms and questions the character's
profile as an "extraordinary killer". Rather than the identity of the killer, the question of how he could
be overlooked for so long comes to the fore.

Yes, his suicide in 2000 and then being officially declared a murderer in 2020 adds a tragic ending to
the story, but the series fails to adequately convey this immense tragedy to the audience. On the
other hand, his ex-wife's statements about his paranoid behavior in his last years make the
character's psychological breakdown even more striking.

The series avoids a clear explanation of the motivation for the murder. This choice both respects the
mystery of the actual event and leaves room for interpretation for the audience. The question of
whether it was personal hatred or part of a larger conspiracy remains unanswered at the end of the
series.

To its credit, the visual language of the production is quite impressive. The cold Scandinavian color
palette, dark streets and closed spaces increase the tension of the story. The camera work is
particularly successful in reflecting Engström's moments of loneliness and paranoia.

The use of music also deserves praise. The minimal and suspenseful soundtrack enhances the
atmosphere of the story. Especially the musical rendition of the murder scene effectively reflects the
shock of the event.

On the other hand, the mini-series format does not come without its limitations. The five-episode
duration means that some of the side stories and characters are not fleshed out enough. However,
this does not diminish the impact of the main story.

"The Extraordinary Killer" is not only a crime story, but also an in-depth examination of failure,
obsession and the desire for recognition (Fame). With Robert Gustafsson's impressive performance,
successful reflection of the period atmosphere and character-driven narrative, it stands out as one of
the most remarkable Scandinavian productions of recent years.

In conclusion, by blending a real event with fictional elements, the series both sheds light on a
historical event and successfully deals with universal humanitarian themes. Stig Engström's tragic
story will probably be remembered as a dark portrait at the center of the biggest political murder in
modern Swedish history.

Typical of modern Scandinavian Noir, the film is notable for its dark tones and slow pacing. However,
unlike classic Nordic Noir, the focus is not on solving the crime, but on the psychological portrait of
the suspect.

One of the most important achievements of the series is that it successfully reflects the Swedish
social structure and political atmosphere of the 1980s. The conservative reaction to Olof Palme's
social democratic policies helps us understand the social tensions of the period.

Workplace dynamics and Engström's professional life are also skillfully handled. His daily routine in
Skandia, his relationships with his coworkers and his constant effort to prove himself provide
important details to understand the character's psychology.

The portrait of Engström's marriage is also one of the series' strengths. His relationship with his wife
makes the character's loneliness and inner conflicts even more apparent. Especially the effect of his
paranoid behavior on his wife in his last years is dramatically portrayed.

One of the most impressive technical aspects of the series is the sound design. The noise of the
streets of Stockholm, the silences that reflect Engström's inner world and the ambient sounds that
increase the tension are the elements that strengthen the atmosphere.

Another strong aspect of "The Extraordinary Killer" is that it also questions the role of the media.
Engström's relationship with the media and the media's approach to the case have thought-
provoking parallels for today's media.

The final episode is particularly impressive. The process that culminated in 2020, when the Swedish
prosecutor's office officially declared Engström a murderer, both reflects real-life developments and
is skillfully woven into the fiction of the series.
In short, "The Extraordinary Killer" is not only a crime drama, but also a daring production that
tackles one of the most important events in modern Swedish history from an unexpected
perspective. With Robert Gustafsson's unforgettable performance and strong production values, it
can be considered one of the best examples of its kind.