Hans Rosenfeldt dazzled lovers of the series with the screenplay of Bron (The bridge), a Swedish-Danish co-production that begins with a corpse on the bridge of Öresund, which unites Sweden with Denmark, and in which an atypical pair of detectives tries to unravel the Mystery. The second season, after the success of the first in the Scandinavian countries, was issued in the United Kingdom. It may be the origin of the British ITV chain to produce Marcella (Netflix), Rosenfeldt’s new proposal.
They are eight chapters with Anna Friel of absolute protagonist as a retired detective who returns to work after separating her husband. A woman, also, with cerebral anomalies — as Detective Saga Norén of El Puente — that allows the screenwriter to play with the ambiguity of certain acts of the central character. Trick gimmicky? Without a doubt, but with a coherence in the story of the plot that, in turn, leaves open an end that will justify the second season. The classic said that the cinema was an art, but also a patio of seats to be filled, and that the good scriptwriters of television and the managers of the chains try to fulfill it to letter.
Detective Marcella Backland will have to deal with her personal problems as she resumes her abandoned police activity, which also reemerges the unresolved case of a serial killer who 11 years ago tormented in their failed investigations. Her husband, Jason Backland, head of the legal services of a large construction company, is responsible for his stress, a prototype of the executive capable of any miserable act in order to maintain his status. Rosenfeldt unites with skill the two areas in which the protagonist, the public and the private, manages to maintain the interest of the Spectator, the armchair to be filled, although not with the brilliance of the case of the corpse in the bridge of Öresund.
