A NEW GAR­MENT is about to join Columbo’s mac, Dick Tracy’s yel­low trench and Berg­erac’s leather jacket in the pan­theon of screen-de­tec­tive ac­cou­trements. The green parka worn by Michael Fass­ben­der’s driven Oslo ’tec Harry Hole in The

Snow­man may soon be just as recog­nis­able, the kind of state­ment made by a man too busy solv­ing mur­ders to fret about fash­ion. “An iconic out­fit is im­por­tant for these things,” says Fass­ben­der. “Will it be­come ubiq­ui­tous? I hope so. I have dif­fer­ent jumpers, but they’re the only things that’ll change.”

The cre­ation of Nor­we­gian crime writer Jo Nesbø, Harry Hole has starred in ten dif­fer­ent nov­els, with an­other on the way. Num­ber seven, 2007’s The Snow­man, is the first to get a movie adap­ta­tion, bring­ing the off­beat gumshoe (his favourite band: Slip­knot) to a whole new au­di­ence. “A lot of times when you have these char­ac­ters, they’re almost bul­let­proof,” Fass­ben­der con­tin­ues, “but Harry seems like a real hu­man be­ing. He’s got a lot of flaws.”

On the trail of Nor­way’s first se­rial killer and con­fronted at each crime scene by a macabre snow­man, Hole has his work cut out. So, too, did Fass­ben­der in re­al­is­ing the char­ac­ter, right down to the con­tents of his jacket pock­ets. “He’s writ­ten so well in the books,” he says of Nesbø’s punchy prose. “He loves his job and he hates it.” And in those pock­ets? Cig­gies, lighter, po­lice badge, sweets and a black note­book. “They’re big pock­ets,” laughs the star.

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