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What if there were a series about investigation of crimes from a realistic, bureaucratic point of view à la The Wire that gradually matures into the highest quality wine ever? Such a series exists and is adored by critics, loved by viewers in Europe and has achieved cult status in France and Britain. This is a series that is not unrealistic (no arrests “US style" involving two people with a car chase across the city, but, just in case theoretically those two might be armed and dangerous, ten to fifteen cops are involved, meaning that the result of any attempt at escape would end up in them being stopped almost instantly) or easy viewing (forget about “every case solved and everything explained") because that’s just not how it works. It is ideal if you have at least a vague idea about the peculiarities of the French legal system, and about the powers of the police, the district attorney, lawyers and investigative judges. Because here we follow the fates and the daily routines of those who work inside this system who are meant to cooperate, but also have various and conflicting interests. Everybody has their own personal demons and the work takes its toll, whether in the form of drug addiction, a non-existent private life or something completely different. It’s also a series that is dark (or rather, worryingly realistic) and raw. The cases they deal with are generally believable, not over-combined twists where you can hear the paper shuffle; but this doesn’t mean that the cases are boring, uninteresting, unsuspenseful or lacking ideas. If it can be compared to anything, then to a peculiar mix of the already mentioned The Wire, The Shield (“the end justifies the means"), Damages (Josephine is turning into Patty Hewes’ twin) and classic, tough, old-school French crime movies where the evidence and solution of the case doesn’t take place sitting at a computer or in a laboratory, but traditionally in the interrogation room and by careful collection of information on the street and from stake-outs. But it isn’t just a derivative of the above, but a series that can stand up for itself which presents compelling questions and moral dilemmas both to the characters and to the viewer for which no correct answer exists. A fundamental difference exists between the legal and the human or “highest moral principle" approach to the same topic. It eats away at you without respite, draining you mentally until... Until you start to understand why the characters see the only comfort or solution in drugs. You will be very likely to have a solid case of depression after a couple of episodes. Not surprising, each episode is instant depression. You find your heart warming to the characters, despite their demeanor, deeds or decisions. And to add to it, each season differs distinctly in style and delivery. Season one (2005; 8 episodes) is excellent, no doubt about it, although it is still trying to find its own style in this original concept and is a little bit “trial and error". It is closer to “French Law & Order" (Paris enquêtes criminelles) than what it becomes in later seasons. The outcome of the main storyline might be a little to chillingly realistic, on the other hand it’s true that some storylines for some reason fizzle out (not the cases themselves, but more the personal and career-related issues). This is no longer a problem in season two(2008: 8 episodes). The three-year gap between the first season and this co-production with BBC Four means that this is much tighter (fewer cases, but in greater detail), tenser and more personal, despite having more characters. It turned out to be an ingenious step to borrow the idea from The Wire; we get an ion-depth look at “the other side of the barricades". Drug dealing and violence among immigrant gangs. And while the first season did not shy from showing the corruption and amorality of the legal system when trying to achieve “justice" realistically, season two addresses these topics even more fearlessly and uncompromisingly. But without slipping into cheap fabrication and simplification to make it more attractive. All of their deeds are fully understandable; you will be in no doubt that this is how things happen in the street. Whether you will agree with it, is another thing completely. It’s just a sort of The Wire; I know that I have already written that, but it’s true. In season three, “The Butcher of La Villette" (2010: 12 episodes) the creators toned down the realism a little in favor of making it more movie-like, but never mind. It’s the darkest, most atmospheric and most worrying; Se7en is the epitome of optimism in comparison. Increasing the number of episodes means a slightly slower take off, but no harm done, because once it steps on the gas, you have no opportunity to rest. This time, without exception, all of the characters’ professional and personal lives are wallowing in shit (quite deservedly) and there’s no way out. This time there is no talk about whether the end justifies the means, this time round we only see the means. Simply noir, depression, quality and just a shame that the lawyer storyline is just to fill space this season. Season four (2012: 12 episodes) turns away from absolute darkness and thrilleroid style back to civilization. This time, the creators focuses on the tsunami of immigrants, xenophobic sentiments in society and the extremism that comes from this in the form of an anarchistic, leftist cells of “wannabe Andreas Baader" students who exploit the above as an excuse for a revolution of the social system. This season has two problems. For one, twelve episodes is too little, because so much happens here that in places there are so many storylines going on that many of them don’t come to a satisfying conclusion and others just fizzle out. The second problem is the finale which is in typical series style (a little lot in the style of Homeland). And despite being delivered in quality and suspenseful clothing, it is far from being convincing. Season five (2014: 12 episodes) returns to the roots that took root in season two. In other words, it becomes again a procedural crime series where everything relates to everything else; it’s about characters who have nothing in life but their job, regardless of which side of the law they stand. Where it used to happen in past seasons that some of the main storylines “investigative judge - police - defense lawyers" were sidelined, here this does not apply; all stories go hand in hand and each in their own way. And so the result isn’t just the best season of this whole series, but that I consider this to be the best season ever of all crime series. It’s just so well constructed, emotionally crushing, full of convincing twists, dark, personal, focused on characters and uncompromising. A masterpiece. Season six (2017: 12 episodes) "Don’t bother asking yourself what you’ve become and when you crossed the line, because you did that so long ago you’ve lost sight of where it is..." or else The Corrupt versus the Corrupt. Apart from the storyline with Joséphine, which was strangely sidelined and left unnecessarily open for the next season, I have no complaints. The slightly corrupt try to take the really corrupt down, which brings politics, smuggling and almost everything into the equation; including unsurprising, moralizing-free social overtones. Add to this suitably written sturdy and emotionally strong personal storylines (mainly Roban). This time it is clearly less dark (but still realistically raw like nothing else you have seen, not only on TV), which is due to the fact that the thrilleroid genre elements have been abandoned and so the whole season and its outcome reeks of “grey everydayness". Season seven (2019: 12 episodes) What I said about the previous season applies word for word to this one; despite the fact that this season also stands up for itself and is absolutely unique. Plus, it is putting out not story threads, but ships cables for the final, eighth season, and to add to that, it is really emotional and fateful. And I say this about a dismal crime series about a (non-)functional system and corrupt cops. Which works only thanks to the fact that over the past almost fifteen years, my heart has warmed more to those erring, living characters than to any others. | S1: 4/5 | S2: 5/5 | S3: 5/5 | S4: 4/5 | S5: 5/5 | S6: 5/5 | S7: 5/5 | (2012.02.09) (kevesebbet) (több)