Talking Pictures TV came up trumps again on Saturday night with a screening of an intriguing Claude Chabrol film. As it turned out, there were quite a few problems with the print, but if you can get past these there are several interesting aspects to the film. As a production this is an early example of a Canadian tax deferral scheme which was aimed to attract co-productions and France is perhaps the most likely co-production partner (after Hollywood – though I’m not sure Hollywood does co-productions as such). There have been several Montreal-shot films over the years. In this case the ‘property’ is an Ed McBain ’87th Precinct’ novel from 1975.
‘Ed McBain’ is perhaps the best-known pseudonym of Salvatore Albert Lombino who officially changed his name to Evan Hunter in 1952. Hunter was not only a hugely prolific writer of genre fiction but also of standalone novels. His books were often adapted for film and TV and he also worked as a scriptwriter, most famously for Alfred Hitchcock on The Birds. He was very popular in Japan with adaptations by Kurosawa (High and Low 1963) and many others. I’ve seen one comment that Chabrol was happy to re-locate the story of Blood Relatives in Montreal from New York and not have to worry about the trappings of the New York police procedural. One aspect of this is the creation of a police detective who I think is quite different to the familiar US type. The investigator Steve Carella is played by Donald Sutherland and overall the police in the film seem relatively laid-back but quite efficient in their operations. But although the narrative begins in the police station, this is not really a procedural. Instead it sends Carella into a deep investigation of a family and plays more like a crime melodrama. I can see why Chabrol would be interested.
A teenage girl smeared with blood and with cuts to her arms and face bursts through a door collapses into a police station. The police then find the girl’s 17 year-old cousin dead from multiple knife wounds in a derelict building. The two girls had been at a party and were sheltering from the rain on their way home when they were attacked. The survivor Patricia (Aude Landry) describes the killer and the usual police work ensues. But the girl’s testimony will unravel and Carella finds himself more concerned with the Landry family – this is familiar Chabrol territory. The film’s title more or less tells you where the narrative is heading, so I won’t spoil any other aspects of the plot. I’ll simply state that several flashbacks are necessary to discover what happened to the unfortunate cousin Muriel (Lisa Langlois).
In a career lasting over 50 years Chabrol made over 70 films. A small number of which were made for TV but even so this is a formidable total and inevitably his career has been divided into periods when he made critically accepted films and other periods when he made cheap escapist films. It isn’t always easy to distinguish between the two and since I’ve only seen a modest proportion of the 70+ titles (perhaps 18 or 19) I’m in no position to judge. However, I’ve run through the list looking to see if he had made any other films in North America before this one. It would appear not, but what I was surprised to discover is the number of his French films that include American actors – Bruce Dern, Mia Farrow, Rod Steiger, Anthony Perkins etc. It’s perhaps not a surprise then to find that Blood Relatives features Donald Pleasence and David Hemmings alongside Sutherland. There is a real flavour of a ‘European International film’ about the casting. Sutherland had previously been in films for Bertolucci and Fellini and Hemmings was in Dario Argento’s Profondo rosso as well as Antonioni’s Blow Up. The other roles are mainly played by Canadian actors apart from Stéphane Audran, whose role is the only real disappointment for me. She plays the drunken mother of Patricia and is almost unrecognisable. I did wonder if she was dubbed but I’m sure I’ve seen her with an acceptable English accent in other films. The other French actor is Laurent Malet who plays Patricia’s brother as a rather beautiful young man who exposes his muscles in tiny shorts. Chabrol had his regular cinematographer Jean Rabier with him but most of the other HoDs and crew appear to be Canadian.
With Chabrol working in English and these interesting casting decisions, the film feels different from either French cinema or Hollywood, though there is still a recognisable Chabrol sensibility I think. I did feel at times that this was an example of a different kind of crime film, possibly derived from a novel by Ruth Rendell or Patricia Highsmith – and Chabrol would later adapt both authors. I also somewhere got a whiff of Hitchcock’s Marnie. Partly this is because Sutherland’s cop treats a psychologically-scarred female character quite gently but firmly, much like Sean Connery treats Tippi Hedren in Marnie. I also remembered that Evan Hunter was asked by Hitchcock to adapt Marnie but he didn’t want to write the rape scene that Hitchcock required. You might the sense that if I was thinking about all these connections, I couldn’t have been following the narrative very closely. You would be wrong but I do think this is an odd film in some ways although it does make me want to catch some more of the Chabrol films I’ve got somewhere in the archive.
There is also the question of the print. DVDBeaver.com gives an interesting account of all the problems. The film seems to exist at various lengths from 90 to 100 minutes. I certainly think the version on TPTV had some cuts. Supposedly the film was to be presented in standard widescreen 1.85:1 but the TV print was closer to a panned and scanned 4:3. Even that didn’t look right on my TV’s 4:3 setting. In the end I found myself using the Zoom settings to achieve a 16:9 image that was slightly cropped top and bottom but was otherwise watchable because nobody was squashed or stretched. the BBFC (British Classification Board) tells me the Rank Organisation submitted the film for UK showings but in Canada and France the distributors were small independents. The print is murky at times and may well have been copied from a VHS master. Still, I think it is an interesting addition to my Chabrol collection and kudos to TPTV for finding it.
A few weeks ago I posted on John Ford’s Gideon’s Day (UK-US 1957) and mentioned Ealing’s The Long Arm as a reference point. The Long Arm turned up on Talking Pictures TV a little while later and offered an opportunity to make a comparison. In this film Jack Hawkins, a regular Ealing player in the 1950s, plays a Scotland Yard Superintendent – as he does in Gideon’s Day. However, the two films are quite different. The Ealing production was made in black and white and broadcast in Academy (1.37:1). IMDb suggests that this was always the intended ratio, even if widescreen was established in the UK by 1956. Unlike the Ford film, with its multiple cases all solved in a 24 hour period, The Long Arm is essentially a narrative about a single investigation spread over several days, perhaps weeks. The common features of the two films are the presence of Jack Hawkins and the family melodrama elements of the Superintendent’s home life. In Gideon’s Day that element is foregrounded by the romance of Gideon’s daughter which is cleverly interwoven with the day’s police action. In The Long Arm Superintendent Halliday’s young son does inadvertently provide his father with a clue that helps the investigation but the theme of romance (and the difficult life of a police officer’s wife) is displaced onto Halliday’s new assistant, DS Ward (John Stratton).
I’ll focus on The Long Arm and return to the comparison later on. The narrative is based on a story by Robert Barr which he adapted with Janet Green for The Long Arm. Barr was a remarkable man who worked in newspapers, radio and then television. He was a radio features writer in 1946 who took the opportunities offered by the re-launched TV service, writing one of the first TV documentaries, a report on Germany under Allied Occupation. He then began to move between non-fiction and drama, focusing on police operations in the UK and becoming something of an expert on Scotland Yard. The Long Arm was the first appearance of his work on film but he was soon to be successful writing for popular TV crime fiction series, mostly police procedurals. He worked on both Z-Cars and its successor Softly, Softly in the 1960s and 70s. Scan down the credits for The Long Arm and you will find Stratford Johns as a Police Constable. Johns would eventually become one of the main stars of Z-Cars and then Softly, Softly. Barr’s collaborator on The Long Arm was Janet Green who had been an actor in the 1930s and subsequently a screenwriter and playwright, writing first for Rank on The Clouded Yellow (1950), an excellent chase thriller, and on another intriguing crime fiction, Eyewitness (also in 1956). She would become best-known for her later scripts for the Basil Dearden-Michael Relph partnership on films such as Sapphire (1959) and Victim (1961). In 1966 Green would be one of the three writers on John Ford’s last feature, 7 Women. I mention these links partly to highlight Ealing’s role in providing blueprints for TV drama series, especially ‘cop shows’ and also the work of ex-Ealing staffers like Dearden and Relph after Ealing collapsed.
The Long Arm was directed by Charles Frend, one of the central group of directors who made multiple films for Ealing. His thirteen films for Ealing comprise a diverse collection which includes major hits such as The Cruel Sea (1953), ‘prestige’ pictures such as Scott of the Antarctic (1948) and the children’s adventure The Magnet (1950). Frend’s reputation seems to have suffered a little since although he made some of Ealing’s best films he didn’t display the kinds of ‘personal vision’ beloved of the auteurists so he is not celebrated like Robert Hamer or Sandy Mackendrick. Nor did he make any of the well-known Ealing comedies. His Ealing career ended with Barnacle Bill in 1957. This was in fact a comedy with Alec Guinness, but like his earlier comedy effort A Run For Your Money (1949), it is now largely forgotten. Instead, I would argue Frend’s most interesting films are San Demetrio London (1943) about an oil tanker miraculously surviving during the Battle of the Atlantic, The Cruel Sea (1953) and Lease of Life (1954).
The plot of The Long Arm pits Halliday against a clever criminal who manages to open the safes of various companies in Central London, the first of which is virtually under the noses of the police. The script is intelligent, though whether it is plausible is open to question. The investigation is thorough and eventually leads to a finale played out on the South Bank by the Royal Festival Hall, then only a few years old. More interesting for me was to see the British European Airways Terminal close by. In the 1950s both BEA and BOAC had check-in buildings in the centre of London and BEA used the ‘Waterloo Airline Terminal’ between 1953 and 1957. The Long Arm was Ealing’s second police-focused drama following The Blue Lamp (1950). That film featured ‘beat bobbies’ and exciting car chases in what was also a ‘social problem’ drama dealing with younger and more reckless criminals. Gordon Dines photographed both films, but The Long Arm features a more ‘opened out’ investigation which takes Halliday out of London, visiting North Wales, and as well as featuring familiar Central London streets it includes Halliday’s home in a quiet street in Bromley.
So what does this all add up to and how does it compare to Ford’s film a year later? Jack Hawkins gives a very strong performance in both films but The Long Arm suffers from weaker roles for women. Despite the modernist poster at the head of this blog post, The Long Arm feels tired and already old-fashioned next to Gideon’s Day. On the other hand it is a proper investigation and in some ways it does indeed resemble the later TV police procedurals. Some crime fiction film fans try to promote it as an example of ‘British noir‘, but I can’t accept that label. There are plenty of night-time scenes but little else that is recognisable as part of the noir crime film repertoire. It is an acceptable Ealing ‘entertainment’ and it points towards later TV cop shows.
Hong Kong cinema has not been very visible for me during lockdown so I was delighted to discover ‘Focus Hong Kong’ – part of the Chinese Visual Festival in the UK offering five features with some extras and a series of short films at the bargain price of £8.99 or £2.99 for a single feature. The festival started last night and films are available to stream until 15th February.
I started with this title which promised genre pleasures in the form of an absurdist crime fiction film, a mash-up of gangster film, police investigation, melodrama and romance all laced with violence and humour. My immediate point of reference seemed to be Johnnie To, the legendary director of crime films with a twist, something prompted by the presence of Louis Koo as one of the two leads, Sean Wong, a cool and ruthless gang leader. He’s up against Louis Cheung as ‘Larry Lam’, a police detective down on his luck. The film begins with the introduction of these two central characters. Wong is fleeing from a killing where the only witness appears to be a parrot and Lam is trying to avoid a loan shark from whom he has borrowed money to set up a cat sanctuary. But just in case this might suggest a whimsical tale, writer director Fung Chi-Keung soon flashes back to a jewellery robbery in which, because of police informants, the cops arrive en masse and the robbery turns violent as Wong and his gang escape with the loot. The murder suggests that the loot has gone missing and Wong is looking for it.
The police investigation is led by hard-faced Inspector Yip and Lam is joined by Charmaine a young female officer who we learn only joined the force because she was inspired by Lam’s bravery on a case a few years ago. Wong has gone into hiding and become the tenant of a landlady named Joy whose other guests are a trio of elderly folk. Lam decides that the parrot knows who the killer is, but it seems to discount Wong. It’s a clever script which I don’t intend to spoil any further. I’ll only point out that with crooks, loot, crime victims, police and informers – and a brief appearance of ‘internal affairs’ – there is every possibility of double-crossing and misrecognitions.
The parrot doesn’t appear that often but its role is important. In the Q&A the director explains that he was inspired by his own experience of living with a parrot when he was a schoolboy and the parrot inadvertently (or not!) got him into trouble. The cats don’t contribute anything that I remember and that’s a shame. Overall, however, the excitement of the shootouts and the humour of the situations work very well. There is a hint of romance and some beautiful aerial shots of the city (it’s a Scope picture). I thought the characters were well drawn within the confines of the genre and the performances were all good. If you are a Louis Koo fan you’ll certainly enjoy his performance. I’m not sure it adds up to anything more than a genre exercise but I found it very enjoyable and just the thing for a lockdown pick-me-up. I’ll certainly look out for more films by Fung Chi-Keung.
Just One Look is a French TV serial from TF1 featuring Virginie Ledoyen, an actor with a long history of parts in film and TV since appearing as a child back in 1986. I saw her earlier this year in a revival of Ma 6-T va crack-er (France 1997). Just One Look is available to stream as a ‘Walter Presents’ offering on All 4. I decided to start watching unaware of the original property that was adapted for this production. It wasn’t long before I started thinking about the big-budget and very successful French thriller, Tell No One (Ne le dis à personne, France 2006). The narratives seemed similar.
In the earlier film a man who whose wife was murdered several years earlier suddenly finds himself a suspect because two more bodies have been found close to the murder site. The accused man goes on the run and then receives a message that suggests his wife is still alive. In this more recent narrative, Eva’s husband Bastien goes missing from a hotel where he has taken their two small children after a pop concert. Eva then discovers a photograph of a group of younger people in a bar several years earlier. One of them is Bastien and one is a woman with her face scratched out. As a younger woman, before she met Bastien, Eva had a frightening experience at a rock concert – which is why she didn’t accompany her husband and children this time. She has tried to forget the concert which ended with her in hospital but the photograph and her husband’s disappearance makes Eva worried about the safety of her children.
As well as some similarities between the two narratives, there is also something about the new narrative, with its fast action and overall pacing, which reminds me of the close links between French and American crime fiction. I’m sure you are ahead of me here – I finally confirmed that the two narratives were both adapted from stories by the American crime thriller and mystery writer Harlan Coben. Coben was also involved earlier with a similar French TV serial Une chance de trop (No Second Chance, 2015) as writer and executive producer. No Second Chance is also on All 4. He has also written three other British and French-based long-form narratives. He seems to be operating on Just One Look as a ‘showrunner’ with a team of French writers.
Just One Look is a complex narrative with an array of characters but one of the interesting lead roles is a contract killer played by Jimmy Jean-Louis who is supposed to have grown up in Haiti and who carries the name Eric Toussaint. He’s the only Black character of note in the serial – which distinguishes it from the police procedurals and banlieue dramas set in Paris. (The co-writer/producer Sydney Gallonde is Black and the character is changed from the novel – a conscious attempt to diversify casting?) I think we are meant to be in the next ‘outer ring’ of more affluent areas outside Paris, though the story takes us into Montmartre a couple of times. The carousel in a square close to Sacré-Couer is a favourite place for Eva’s small son Max who is on the autistic spectrum. This is useful in plot terms because Max is both quite difficult to keep safe but also a dab hand at remembering car number plates. His slightly older sister, Salome, is very bright as well.
So, what to make of this? Coben appears to have taken his familiar narrative model and switched gender roles – the man goes missing, the woman has to become investigator. The police in charge of the investigation are women. It seems to tick all the right boxes – except that the police in this case seem to be completely inept. As several viewers have pointed out, Salome seems capable of finding useful leads on Google well ahead of the police and the team from Engrenages (Spiral) headed by Laure and Gilou could have solved this case by Episode 3 (Just One Look has 6 x 50 minute episodes). My guess is that Coben is the problem here. I found that the plot became repetitive and although it had some interesting twists, it lacked sufficient credibility to make the final resolution as satisfying as the writers presumably hoped it would be. Those French films that have taken American influences and re-worked them to create the polar in French cinema have often created a relationship between a police investigator and a lead criminal that holds the whole narrative together. Coben’s narratives work in a different way. I haven’t read the the original, but from extracts available online, I can guess some of the problems they faced. I think that the narrative would work better if the hit man Eric and the wife/mother Eva were more directly in a prolonged confrontation. The story needs stripping back and re-working more in the French tradition. Virginie Ledoyen and Jimmy Jean-Louis are strong performers in roles with potential that is not realised from my perspective.
I realise that I have fallen into the trap of focusing only on the writers/producers of a TV long-form narrative. The serial was directed by Ludovic Colbeau-Justin as just his third directorial project. (He was previously a cinematographer but directed the previous Coben adaptation No Second Chance.)
Another British picture (new to me) showing on Talking Pictures TV, this is a Francis Durbridge adaptation. Durbridge (1912-1998) was a very prolific writer of radio and TV serials as well as novels and plays. His work was widely adapted and Wikipedia lists German, Italian and French TV adaptations as well as all those in the UK. Durbridge was best known for the Paul Temple radio serials in which Temple and his wife Steve become involved in crime thrillers. They were broadcast from 1938-68 (and are now to be heard on BBC Radio 4 Extra). Durbridge was born in Hull and educated at Bradford Grammar School.
The Teckman Mystery was an adaptation of a TV serial from 1953-4. 1953 was the period when TV audiences began to grow in the UK around the time of the Coronation in 1953, but presumably there was still a sizeable potential cinema audience for an adaptation. The story was certainly contemporary. A crime novelist Phillip Chance (John Justin) is surprised to be asked by his publisher to write a biography of a test pilot, Martin Teckman (Michael Medwin) who was killed when the new jet fighter he was flying disappeared with only a fragment of the fuselage recovered. Chance is even more surprised to discover that the woman sitting next to him on the plane bringing him back to London from his writer’s retreat in France is Teckman’s sister Helen (Margaret Leighton). You’d think he would have found that suspicious! As you might expect, the plot involves a group of foreign agents who have attempted to steal the experimental fighter (a model of which in the film is similar to the Gloster Javelin which was being tested at the time – a Javelin did crash in the week before the film opened).
The most significant feature of the production may well be that the director was Wendy Toye making her début. Ms Toye was a choreographer, dancer and actor who had a successful career as a stage and TV director which lasted until the 1990s. After directing a short film which won a prize at Cannes in 1952 she made seven features and a contribution to a compendium film. Two of the films were crime narratives but most of the rest were comedies. She was only the second British woman to direct mainstream studio features after 1945. Muriel Box was the first. Both women deserve to be better known.
The Teckman Mystery is an ‘A’ feature with a strong cast. John Justin is actually quite good as the Durbridge type of amateur detective with enough arrogance and charm. His career never really took on the next step from his early starring role in The Thief of Baghdad (UK-US 1940) but here he does well. Margaret Leighton is top-billed as a femme fatale in what some reviewers describe as a noir. The film was photographed by the experienced Jack Hildyard and features some nice location work around London including the final section filmed around Tower Bridge and the adjacent docks. It was projected in theatres at 1.66:1 but slightly cropped on TV to allow a 16:9 TV broadcast. American reviews suggest that the plot is ‘meandering’. I didn’t feel that myself and at times it moves very quickly – but at 90 minutes it did feel a little like an 80 minute film that had been expanded. As with many of these TPTV prints, the film has been released on a Network DVD which gets a generally positive review from DVD Beaver.
This is a well-made film and if you like old-fashioned crime mysteries I can recommend it. For me the interest is in the subject matter. This was the period when British aviation was at its height and aspects of it were world-leading. The Cold War was becoming a reality and films about jet aircraft and test pilots were all the rage. The Net (UK 1953) was shown on the same day as The Teckman Mystery on Talking Pictures TV. Not long ago we had David Lean’s The Sound Barrier (UK 1952) and before that the slightly different No Highway (UK-US 1951) – a new airliner is grounded when evidence of possible faults is found. Plane travel was only beginning to feature regularly in British films. I was intrigued by the aircraft that Phillip boards for Berlin that might be an Airspeed Ambassador.
Network’s teaser (with Raymond Huntley as Phillip’s publisher) for the DVD release in 2016:
‘Walter Presents’ is the ‘authored brand’ of foreign language TV dramas offered by UK broadcaster Channel 4 via selected slots on its secondary channel More4 and on SVOD via its All4 streaming service. ‘Walter’ is Walter Iuzzolino, the Italian TV producer who finds the programming for Channel 4. The SVOD service is free to access in the UK, though it requires registration. I’m accessing it via Apple TV. Code 37 (the original title) is unusual in being an archive series/serial which ran in Belgium for three seasons in 2009, 2011 and 2012 – 39 episodes (of approx. 47 mins) in all. There was a standalone feature film in 2011, also titled Code 37. I’ve watched the first half of Season 1 and it’s been an interesting experience.
The narrative is set in the Flemish city region of Ghent (Gent) in East Flanders. The dialogue is mainly in Flemish with English subs and the occasional phrase in English. Episode 1 begins with the new boss of the city’s vice squad, Hannah Maes (Veerle Baetens) arriving on her first day at a murder scene in a hotel. She meets her new team and swiftly claims the case (of a guest murdered in her room) ahead of the homicide squad because, she argues, the woman in her 30s was clearly strangled during a ‘choke sex’ act. I’m not sure that the narrative establishes how this could be proven – i.e. whether this was a sex ‘game’ gone wrong or a deliberate act of murder. The episodes appear to be organised as one case per episode, so the team have barely 40 minutes to find the person responsible. In addition this first episode shows Hannah settling in to her new apartment after returning from working with American crime teams in Chicago. There is also a brief flashback to something that happened several years earlier in her parent’s home. This was clearly traumatic and marks Hannah as a young woman who is driven by her early experience of violent crime. Stieg Larsson’s Lisbeth Salander is a possible influence on the script and I note that Veerle Baetens once starred in a theatrical musical production of Salander’s ‘heroine’ model, ‘Pippa Longstocking’.
Code 37 is in many ways a conventional crime series. Hannah relaxes by playing vinyl records (her mother’s collection’) of classic Motown. One element that is different is Hannah’s ‘team’ which comprises three typical misfits. Charles is an asthmatic chain smoker close to retirement and Kevin is a young man with blonde curls which along with his wide grin make him appear like a naughty choirboy. He is the ‘computer wiz’. Finally there is Bob, the macho slob who cracks bad jokes and cranks out the sexist remarks about Hannah – out of her hearing.
This unlikely team is supposed to investigate ‘sex crimes’ and it does mean a slightly different approach to the standard police procedural. I imagine that a ‘vice squad’, like a ‘drugs squad’ will see a different balance in their work between the private and the personal. They will spend time in an alternative world which they need to understand. They may have to go undercover and they may have to make moral decisions about behaviour that they might not otherwise meet. The broadcaster may feel that with an SVOD offer it is possible to represent sexual acts more graphically than on terrestrial channels. This series has been sold to North American channels and I’ve seen one commentator suggesting that this European show might ramp up the sex but moderate the violence compared to US series. I’m not sure that is necessarily something I’ve noticed so far. The show comes complete with warnings about sex and violence but the registration process would be unlikely keep out the average savvy 11 year-old.
The weakness of the format is the short amount of time in which to set up a case for the team to investigate and apprehend the culprit(s) as well as exploring Hannah’s back story. But do the writers and director manage to get round the problem? I admit that after a couple of episodes I couldn’t really understand why the series seems to be so highly rated on IMDb. But there was something there that kept me watching (the box set binge attraction?). I’m glad I did because after eight episodes I’m enjoying the show a lot. The three team members who I thought were comic characters are being gradually fleshed out. Bob has got his comeuppance and Charles and Kevin prove to be competent and interesting characters with back stories that are slowly being revealed.
But the show stands or falls on Veerle Baeten’s Hannah and she is very good indeed. The character is similar in some ways to both Lisbeth Salander and Saga Noren but she isn’t as extreme as either of them. She has two other narratives to negotiate. The first is the trauma of a ‘home invasion’ at her parents’ house. Hannah is now trying to re-open the cold case and investigate it on her own. She is also trying to decide what to do about a possible relationship with her neighbour who lives on a barge behind her apartment. The cold case is introduced by the same flashback sequences each time Hannah visits her father. I do find this irritating but gradually more is being revealed so I’ll live with it. But the biggest surprise is the variety of cases the squad is required to investigate and the ways in which Hannah not only organises the work efficiently but also how she deals sympathetically and patiently with a wide range of victims and perpetrators. The code by which Hannah operates is spelled out in the first episode – if a sexual act between two people is consensual by both parties that’s OK. But if someone is forced it becomes a crime to be investigated. Presumably this will eventually be tested in an episode that involves BDSM? It is tested out in a different way in Episode 2 in which the team discover that a young woman is an exhibitionist who likes to strip and dance provocatively for a man in an apartment some distance from her high rise block. She sends him texts when she is about to start and he uses a telescope to watch her. This is clearly consensual but voyeuristic behaviour like this is, in general terms a crime, as Hannah reveals to the man whose wife and children are unaware of what he is doing. Because the young woman is involved in another incident which involves violence and is connected to her exhibitionism, the voyeur must be investigated. This risks his exposure and the possible break-up of his marriage and/or the loss of his job as a schoolteacher. This strikes me as an interesting moral dilemma for Hannah and her team – and one repeated in different ways throughout the series.
I’m assuming Belgian law is not dissimilar to that in France and other parts of Europe (i.e. it differs in some respect from English Common Law) but still the actions of the vice squad in arresting suspects and interrogating them seems to be free of some of the restrictions which have become common in UK crime fiction narratives. Again the short time available may mean that everything is streamlined for the narrative. The series has a team of writers and directors, the most used being the writer Hola Guapa (13 episodes) and the director Jakob Verbruggen (19 episodes). Verbruggen went on to direct both US and UK series including The Fall in the UK in 2013. Jan Vancaillie photographed the whole of series 1. I thought at first that the format would limit the range of locations but we do eventually get to see a bit more of the Ghent city region which has roughly the same population as Bradford (around half a million) but not the same range of landscapes I suspect. Ghent also seems much less of a multiracial city compared to both UK cities and to Brussels and Liège (with which I’m more familiar). The camerawork does attempt hand-held sequences and also both long shots and big close-ups. The latter often signal the flashbacks for Hannah’s trauma.
I will definitely complete at least Series 1 and if you are a crime fiction fan I would certainly recommend the series. If you stick with it past the first two or three episodes I think you will enjoy it as much as me. Don’t be put off by the sleazy connotations of ‘sex crimes’, the range of stories and the ‘human interest’ angles are all there.