L.627

TFO is running a series of Bertrand Tavernier's films; L. 627 is just another example of this man's bewildering versatility--costume epics, science fiction, exotic noir, gritty slice-of-life pictures. Here we have police procedure with a more despairing tone than Hollywood has ever given us. The light cynicism of the French Connection has become a cry of despair over police corruption and bureaucratic nonsense. The only problem: at 145 minutes, it's far too long, since there is no plot the viewer can hang on to, just a series of vignettes.

The actors are great: Lara Guirao impresses as the HIV-positive hooker whom Lulu is attracted to, but can't have sex with. Philippe Torreton is his usual frightening self as Lulu's partner, while Jean-Paul Comart is the boss from hell: irresponsible (tear gas in the coin toilet), concerned only with filling quotas. Dodo leads the squad into a squalid room with two African women and a baby, the resulting foul-up has to be seen to be believed. Didier Bezace wise-cracks his way through the chaos, showing us some of his pain.

The story is about policemen who work in a "commissariat" in Paris, France. They have to do their job everyday, running after little robbers or little drug dealers... The movie is very far from police stories we can see everyday in others movies, with great detectives, mafias... In fact, Bertrand Tavernier, with the help of an ancient policeman for the scenario, tries to catch policemen every day work, with their little problems with the hierarchy... I think this movie is the most "real" about police problems in France.

Tavernier's examination of the Paris police's losing battle against the drug-dealers was reportedly inspired by the experience of his son's addiction. It is an angry, despairing film. Early on the central character says that "all drug-dealers are terrorists" and later the police chief says that "my son is 13. He will have already met his first dealer".

This is a documentary-style examination from the front-line, where the police are demoralised, under-resourced, corrupt and incompetent. The 'hero', Lulu, (an outstanding performance by Didier Bezace) is a maverick detective who gets transferred to desk duties when he is angered by his drunken boss demanding the return of the unit's van in the middle of a stakeout - so he can go home! After struggling with the police station's incompetent bureaucracy, Lulu is placed in a new anti-drugs unit, led by practical joker Dodo, concerned only with filling in forms and meeting the Ministry's statistical targets.

The whole film rings true, right down to the tedious form-filling using old typewriters and stolen carbon-paper. There is no real plot, as the unit stumbles from disaster to disaster, but rather a series of incidents punctuated by much eating and drinking. As if to contrast with the chaos of the police unit, the film is shot calmly and lucidly by Tavernier. By the end of the film you have become involved with the characters and want to know more about their bleak futures. A wonderful film, and as good a portrait of policing (at its worst) as you will see.

I remember vividly watching the film in 1996. It had a recommendation (as it says on the poster): 'Just as gritty as Reservoir Dogs'. We were disappointed. This wasn't Reservoir Dogs at all!

How wrong was I. Twenty years later there are a lot of documentary-like series about the lives of cops, for example Engranages. Well, L627 is EXACTLY as these TV series, but twenty years earlier. The cops from L627 and Engranages both work in the underbelly of Paris, where tourists won't come. We see the REAL lives of cops. Eating together, joking together, doing undercover operations together, shouting at each other, visiting squats. These are not the overly cool cops from other films, these are real people dealing with fears and tensions. The only thing from the series that is missing here, are judges and lawyers.

The thing that stands out, is how all kinds of stories are intertwined, just like in real life (and just like in Engranages), without leading towards a 'bad guy' to catch, as crime flicks usually do. It's about an hopeless fight against the drugs trade, without the proper resources. Suddenly you realize how much improvisation and intelligence this job needs. A job in which you even have to negotiate with a school director about using a classroom for a lookout, you can't have a decent car and have to pay your own camera when you want to film something.

No wonder it has been written by Tavernier together with a drug squad detective. With its two hours runtime L627 is almost as a mini TV series in itself. And just like Engranages and The Wire it boasts not only realism, but also terrific acting by a largely unknown cast. As in these series they have a wonderful chemistry together – for example when they are joking with each other. There's even one running joke… In the midst of all this is Lulu. He is only loosely the protagonist – as was Laure in Engranages (who has many similarities with the character of Marie in this film, by the way).

It isn't a pretty film, it has not really a cinematic feeling you are used to. But it is ahead of its time as many films nowadays are aiming at documentary-like realism. Therefore it demands a lot of attention and concentration in the beginning and it might be difficult to get into. It is certainly NOT the kind of film teenagers would like to see, I can say from my own experience.

Totally engaging look at the life of Paris narc. Tavernier's mastery of detail, creating a sense of real people doing real jobs (and the feeling they've worked together for years) pull you right in and don't let go. Didier Bezace as "Lulu" (short for Lucien), a classic 'not by the book' cop who is in trouble from the word 'go', as he finds himself demoted to a desk job, processing petty crimes. It's not long at all before he's back on his real job, dealing with suppliers and their contacts. Some scenes are harrowing--one in particular, when they raid a home with women and children inside, is devastating. Lulu is committed to the job in the best way, even if he breaks the rules, but some of his colleagues range from layabouts to jokers (literally, in one case). There is also a young prostitute whom Lulu tries to reform and protect, as well as his fiancée who doesn't add much to the plot. As one of the colleagues is Phiippe Torreton, who will give a savage portrayal as Captain Conan for Tavernier four years later. This is one of the most immersive crime films ever made. It doesn't let up, not even in several scenes meant to reveal character but that don't further the story. We're shown what life is like for Lulu and his cohort. It all feels incredibly real.