It seems that detective work offers him brief periods of respite from brooding about his disastrous personal life. He shares with Inspector Morse a taste for opera, but his physical bulk, disheveled appearance and boorish manner suggests a personality profoundly ill at ease with himself. Rolf Lassgård offers a memorable characterization of the eponymous hero. Wallander manages to discover the culprits, but remains powerless to change entrenched attitudes it seems that the non-white will always be regarded as a potentially threatening figure.
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When Wallander fails to make an arrest in timely fashion, a series of vigilante groups attack a camp for foreign refugees, burning a building to the ground and carrying out a brutal ritual murder. It creates a small-town world in which immigrants are viewed not only as interlopers, 'destroying' the all-white Swedish world, but terrorists as well.
"Faceless Murderer" (aka "Mördare utan ansikte") doesn't pull its punches in terms of its politics. Berglund also makes astute use of light and shade - the wan sunlight of a Swedish winter casts a melancholic pall over the entire proceedings, as Wallander investigates a brutal murder of an elderly couple and becomes embroiled in a public scandal. Thus the characters have both the time and space to develop their relationships we understand clearly the love Wallander (Rolf Lassgård) still bears for his family, including Linda (Cecilia Zwick-Nash), even though the detective is impossible to live with. Director Per Berglund favors a leisurely shooting-style, with characters moving within the frame, rather than the rapid shot/reverse shot. They plan to steal these guns, and make a deal with Tiwari, however, once again Murphy’s Law prevails and the hapless trio find themselves on the run from a multitude of gangsters and killers – including a man who can bite through steel and a faceless 8 foot monster – who will not stop at anything to get their hands on the guns.Watching this twenty-year-old episode of the Swedish detective series, viewers might be struck by the vast difference in terms of structure and cinematic technique between this and the average British or American thriller. It is then they find out that a rich Parsi man owns an antique gun collection that is worth more than their loss. The trio decide to meet with Tiwari and plead with him, but all in vain, then they decide to stage a robbery, however, that does not go well either.
Devastated, they move out of their bungalow and are now living in a shanty room in a Chawl when they get a visit from Pappu, who wants his money back, as he owes this money to Tiwari, an underworld Don. After 21 days when the trio go to collect their doubled wealth, they find that Anuradha and her company have disappeared. He dupes another man by the name of Pappu into parting with 50 Lakhs, and the rest of the money comes through by getting Shyam and Babu to sign away their respective investments. She informs him that the minimum investment is one Crore, and Raju quickly agrees to invest this money. Then Raju finds out that he can double his wealth in 21 days, and meets with an attractive young woman named Anuradha from an agency in Bombay’s business district. They each have a car, a palatial house with a huge swimming pool, that Babubhai is yet to familiarize himself with, and a very easy life. Using their wits, Ganpatrao “Babubhai” Apte, Ghanshyam “Shyam”, and Raju find themselves wealthy beyond their imagination.
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