The Shadow Line

Chiwetel was brilliant! He's never lightweight! This is a mixture of Mamet and David Simon (Homicide: Life On The Street) with an American '70's movie vibe (I'm thinking PARALAX VIEW) thrown in. It's all about how the supposed law & order top brass are more corrupt than their criminal counterparts. I liked the cynical view that emerged which seems to indicate that there's really no place for a moral or compassionate person in the cutthroat world of modern life. All those that prevail ultimately have sold out their moral codes in favor of greed and corruption. Kind of downbeat but beautifully executed. Stephen Rea is one of the most chilling villains to come along in a long time. Christopher Eccelston's character was the most sympathetic and his arc is heartbreaking. Of course this is heightened reality but that's the point.

The closest thing the Brits will have to an answer for The Wire. The Shadow Line is a stunning exploration of the line that men walk between morality, faith, justice and identity. The writers keep you in a constant state of mystery, unsure of who these people are and what side they ultimately lie on. The lines are blurred up until the end and everyone involved makes it a gripping and intense journey through this dangerous world. There are so many scenes that had my legs shaking in paranoia, dying to see how things were going to turn out. They somehow manage to make the quietest moments the most epic; there's a scene at the beginning of the fifth episode (that ends up lasting almost half an hour) that felt very reminiscent of that epic feeling during the Omar/Brother Mouzone meetup in The Wire.

Of course, the talented cast is an essential piece of crafting this brilliant work; Chiwetel Ejiofor is the perfect protagonist, a do-gooder with a potentially dark past who explodes in the final few episodes. Christopher Eccleston excels as the "good guy" on the bad side, a very Stringer Bell-esque character who takes a business approach to everything. The supporting cast all make huge impressions as well; Rafe Spall and Stephen Rea both create two of the most terrifying villains in recent memory. Spall the livewire with his finger always on the trigger and Rea the calm and mysterious shadow figure hiding behind the door. They take two entirely different approaches and each one is marvelous beyond words.

It's pretty hard for a mini-series to end up ranking among the best complete series for me, but this one is high up there. It's without a doubt the best mini-series I've ever seen and at the end I was definitely just desperate for even more. The final episode ends up having to rely a little too much on exposition and there are a few too many twists, but it's all necessary to wrap up the story and leave the viewer satisfied with answers. The Shadow Line is the rare series that will have you constantly guessing and on the edge of your seat. Intensity beyond intensity, a really powerful masterwork.

This series lost viewers from a strong start (for a BBC2 series) and got mixed reviews. You cannot win can you? All the signposted, glib, lazy, pandering excess of cop/thrillers blocking up the schedules, not just from the turgid ITV1 either, which many reviewers rightly are fed up with. Blick dares to dare at least.

'The Shadow Line' was not easy comfort viewing, that was the point of it, surely?

It compares very well to the missed opportunity of 'Luther', though in that case perhaps having one of the stars of 'The Wire' raised impossible expectations, even so, what a load of overblown, overheated, all sound and fury signifying nothing 'Luther' is - I gave up on it after series 1.

The Shadow Line had some of the very best, most tense, often shocking set pieces of anything on UK television for many a long time, these were not isolated either. This I think is where many draw comparisons with classics like 'Edge Of Darkness', The Shadow Line does not match up to that one - what does? Still, the comparison with 'Between The Lines' of 20 years ago, as some critics have cited, despite the very different series formats, is a fair one.

Overall, a good effort, worthwhile, a series that will be looked back on rather more fondly that the more negative reviewers think.

Well the series finally came to its grim conclusion and I have to say I didn't see this ending coming. I read other reviews comparing this series to The Edge of Darkness (the series not the film), and while I get the comparison, that did have light relief in the Joe Don Baker and Charles Kay characters.

The shadow line has no such lightness or let up, and the nearest I can get to compare my feeling at the end is the 'Get Carter' (Michael Caine) film.

A fine cast does this justice and an excellent script made Thursday evenings a night in! A huge well done to the writer and all the actors who made this so memorable. If you remember Stephen Rea as Carter Brandon in 'I didn't know you cared' (one of the best comedy series ever IMHO), who would have imagined he would progress to being one of the most memorable screen villains ever. Bravo!

Hugo Blick, the writer and director of 'The Shadow Line', has spoken of his inspirations as a television dramatist: the incomparable 'The Singing Detective' (a story based on buried personal drama); 'Tinker Tailor Soldier Spy' (with its deceptively quiet middle aged protagonists); and 'Edge of Darkness' (and its mood of general paranoia). On watching his series, however, I was reminded of some American films: 'Things to to in Denver When You're Dead', and 'Brick', for example, as well as many of the works of David Mamet. What these tales have in common is a certain stylised dialogue, and more generally an internally consistent world which only partly resembles our own and which exists entirely within the prism of its own construction. In the case of 'The Shadow Line', Blick manages to keep this going for seven full hours, mostly successfully: the series is artfully shot and orchestrated and full of memorable scenes, the devilish and inventive plot even makes some sort of sense in the end, and a superb gaggle of character actors rise superbly to the script, none more so than Stephen Rea whose wonderfully-named character Gatehouse is the role of a lifetime. It's not perfect, however: with a plot so intricate, and an entire drama consisting of the sorts of encounter that might normally be found only at the most critical moment, there's no room for normality: it's hard to care about the characters or even, in it's most baffling moments, the story, however much one is absorbed; the personal elements are not as superfluous as might be thought half-way through, but one's still more likely to laugh as the preposterous twists as one is to cry for the death of one of the few sympathetic figures. Against a backdrop of such a superb cast, Chiwetel Ejiofor is a little lightweight in the lead role; and with so many characters, almost all of them dodgy, that at times one can lose track of which is which. But it's bold and inventive, a character-led drama whose characters are (in the real world) scarcely plausible, but who make perfect, chilling sense on the other side of the line.