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'All the King's Men'
Review date: 2008-11-07 Rating: 8 out of 10
One of the strangest series ever to grace British television, 'Special Branch' stripped the glamour often depicted in police series and replaced it with cold hard mundanity and weary cynicism.
George Sewell plays Alan Craven, a dour, seen-it-all 70's cop, taken to walking round in a mac stubbornly looking at things.
Sewell's performance is so low-key it barely exists - this is no womanising, action hero al la Regan from 'the Sweeney',(Incredibly the two shows are closely related; the same production crews and casting, same tv company..) but he's barely awake. He seems to just drift unenthusiastically from one unpleasant scenario to another, bucking every tv trend and cliché as he goes.
Whether chasing down bombers, assassins, smugglers or kidnappers, his resolute demeanor doesn't change. He's craggy, his dress sense is uninspired, he's just there, rule book in hand, stoic to the last.
By modern police drama standards,(ie, ANYTHING post-'Special Branch') it's a complete plod.(!) There's very few car-chases, a sore lack of dementedly sweaty villains, Craven and his bosses get on just fine and the only hint of animosity comes with the introduction of Haggerty, an uppity inspector that represents everything Craven is not.
Even then, once the two of them get to 'understand' each other, the 'mutual respect' thing goes down, and we're back to fingerprint logging and filing cabinets. Haggerty in his spiv waistcoats and classy flares, Craven in his mac.
So why does 'Special Branch' win? How does it overcome all it's surface drawbacks and turn out a fine series?
Well, you don't always need a dashing hero as Hitchcock proved, and while I'm name-dropping, Craven can be seen as some sort of sub-Kubrickian public servant. Matter-of-fact and bland - there's more than a hint of William Sylvester's character in '2001' in his methodical ungainliness.
It's brilliantly filmed,(as opposed to studio) grainy film-stock gives the impression that the London skyline is perpetually gloomy and drizzly. There's a level of realism not encountered before which works brilliantly - and as in real police work - Craven and co don't always get their man.
And hey, I've just discovered something thrillingly absorbing-Craven has TWO macs. One navy the other beige - that'll bring the raw-edge excitement to quite a head won't it?
Episodes end weirdly, sharply, leaving you thinking 'What!?' It reminds of the X-Files, with bogus Russian defectors and hippy fire-bombers instead of aliens.
Truth is, I hope we do have the likes of Craven, Haggerty and co attending to our country's security, instead of the CCTV obsessed internet sleuths I suspect we really do.
And perhaps that's it. Craven is a bloke, a real identifiable person despite his faults. Run that Union Jack and he'll salute it, play that anthem and he'll stand.
He'll look tired and completely disinterested but he'll do it.
AND, he's got a black girlfriend - in the early 70's !?!
Unfortunately, we just don't have enough 'heroes' like that.
However the show can be slightly awkward, particularly DS North (played by Roger Rowland) through no fault of the actor, his character was just not made interesting or deep enough. Patrick Mover was brought in mid way through the series to liven it up a bit by being a more rebellious and macho character, which seemed to ignite the show a bit. Many of the episodes are based on espionage plots, much like the later episodes of The Professionals, but by staying true to replicating Special Branch procedures it almost limits itself to the amount of action it can include in the show.
It was a ground breaking series, when we look back to set based shows like Z-Cars and Dixon of Dock Green, but it lacked the real punch and grit of its Euston Films brother - The Sweeney so has been overshadowed by The Sweeney's legacy.
Its still very entertaining, and features some good episodes and early cameos from support actors who later went on to be household names.
I wonder how many people would consider Special Branch to be part of the 'golden age'. Not many, I reckon. Even the actors who appeared in it - George Sewell and Patrick Mower - interviewed on the DVD set of the 1974 series (also available as a network release) seem to be somewhat apologetic about it. Mower suggests that he was brought in to "grab the series by the balls" after the filming of the first six episodes because the format wasn't working, and Sewell disarmingly admits that it lacked the "polish" of its highly-regarded successor, The Sweeney.
Well, forgive me for disagreeing, but Special Branch - at least the 1973 and 1974 series - certainly deserve to be seen as part of the golden age of British TV. Well acted, well scripted, and the first of Thames TV offshoot Euston Films' productions shot entirely on film and on location, this series is a gem from start to finish.
Chic, it certainly isn't. It's gritty and cynical, an attitude superbly captured by Sewell's portrayal of Detective Chief Inspector Craven, a smoking, swearing, punching copper whose idiosyncratic methods - in a wonderfully cliché-snubbing way - do not always get results. A sense of almost sordid ethical ambivalence pervades the series: you find yourself siding with the 'criminal' as often as with the law, who themselves often wonder why they are pursing their latest hapless victim.
London in the 'seventies - a far grubbier and decaying city than that of today - is superbly captured on film, as is the dullness and dimness of Special Branch's office. The dialogue often displays its 1970s heritage - girlfriends are 'birds', gays are 'queers'. Yet, Craven - an archetypal East Ender - has a West Indian girlfriend, and becomes prickly when racism rears its ugly head. This on-screen relationship must have been quite a novelty on early 'seventies TV, and I bet it did far more to highlight the absurdity of racism than any number of episodes of the 'ironic' 'Till Death Us Do Part or the ghastly Love Thy Neighbour.
In a series of 13 episodes there will always be the odd dud script and there is one here - Episode 9, Threat, is absolutely dire. But the rest are uniformly excellent. Some stand out as superb television drama, especially A Copper Called Craven, Round the Clock and Inquisition. The latter, in particular, sums up the essential virtues of this series - a great script, superb dialogue, and down-to-earth, believable actors who can carry it off. The pace of such episodes is also interesting - slower than contemporary TV drama, but all the better for it. Absolutely wonderful stuff.