Death comes to dinner or, for some reason, at high noon in English

Film is a classic murder mystery told in a tight and controlled manner by Balling, always moving the plot along and thusly managing to sidestep the pitfalls his stock characters could so easily fall into by themselves had they been left in the hands of a lesser director.

Poul Reichardt plays the unfortunate author of crime novels who on a dark, wet, and cold evening runs out of petrol and so happens upon murder most foul in one of those houses deep in the forest such films are aplenty with. As the murderer puts him out of play without revealing him or herself after our hero discovers the body, he comes to the morning after only to be told there was no murder but a suicide. The police won't be told otherwise and so begins our hero's quest to prove it was in fact murder.

Reichardt is teamed up with Helle Virkner, a pairing that would later become iconic although in a much lighter setting as the Olsens in Huset på Christianshavn - yet again guided successfully by Balling. Virkner is effective if at times a bit over the top as the slightly rebellious young literary reviewer decked out in black. Her profession is as on the nose as is the conflict it's meant to spur between the pair via her bad review of his latest crime mystery.

Virkner's character quickly reveals the main suspects, herself one. And so, we're off. The characters in this murder mystery aren't all that interesting, but they serve their purpose well enough, superbly supported by one of Bent Fabricius-Bjerre's more atypical scores creating a foreboding atmosphere heightened by the film being shot in black and white.

This type of film is interesting not because it breaks new ground - it doesn't, but because it was a rare venture into a genre mostly avoided but the Danish film industry. That we saw another murder mystery two years later in 'Gys og gæve tanter', an excellent pairing with this film for an evening of light horror, was unexpected but as the rising score of both films here on IMDb suggests, very welcome.

A traditional and well told murder mystery by the incomparable Erik Balling - beloved by the people, overlooked by the those who should revere him most. If, like me, you're increasingly impressed by Balling's output, this film is a must so don't hesitate if you get the chance.

Danish cinema is renowned for its intimate focus on character and moral complexity, often framed with naturalistic performances and understated visual style. It has balanced art-house innovation, such as the Dogme 95 movement, with popular storytelling that explores family, community, and ethical dilemmas. Danish filmmakers often examine how personal choices collide with collective responsibility, giving even small-scale stories a sense of moral weight and cultural reflection.

The crime genre features criminal activities, investigations, law enforcement, crimes, and the pursuit of justice. Crime stories often revolve around the planning, execution, and consequences of criminal acts, as well as the efforts to solve and prevent such acts. They explore various aspects of criminal behavior, motives, and the moral dilemmas faced by both perpetrators and those seeking to uphold the law.

James Gandolfini, Edie Falco, Sharon Angela, Max Casella, Dan Grimaldi, Joe Perrino, Donna Pescow, Jamie Lynn Sigler, Tony Sirico, and Michael Drayer in The Sopranos (1999)

The drama genre is a broad category that features stories portraying human experiences, emotions, conflicts, and relationships in a realistic and emotionally impactful way. Dramas delve into the complexities of human life, often exploring themes of love, loss, morality, societal issues, personal growth, with the aim to evoke an emotional response from the audience by presenting relatable and thought-provoking stories.

Mahershala Ali and Alex R. Hibbert in Moonlight (2016)

The mystery genre features the investigation and solving of a puzzle, typically a crime or an enigmatic event. Mysteries are known for their suspenseful narratives, intricate plots, and the challenge they present to readers or viewers to piece together clues and solve the central mystery alongside the characters.

Jack Nicholson, Faye Dunaway, and Kelvin Harrison Jr. in Chinatown (1974)

The thriller genre features suspense, tension, and excitement. These stories are known for keeping audiences on the edge of their seats and delivering intense emotional experiences by revolving around high-stakes situations, dangerous conflicts, and the constant anticipation of unexpected events.

Entering a house to borrow the phone, a crime writer finds a murdered man and is knocked out. The police calls it suicide. A boy helps him investigate.

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Østergade 7, Helsinge, Sjælland, Denmark

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Jan Priiskorn-Schmidt in Døden kommer til middag (1964)

Poul Reichhardt and Helle Virkner in Døden kommer til middag (1964)

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Birgitte Federspiel and Jan Priiskorn-Schmidt in Døden kommer til middag (1964)

Poul Reichhardt in Døden kommer til middag (1964)

Helle Virkner in Døden kommer til middag (1964)

Døden kommer til middag

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