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The Shadow Line – Episode 7


And so we’ve followed The Shadow Line all the way to its vanishing point. But did all the pieces of Hugo Blick’s puzzle fit together into a satisfying big picture? Or was all the build up ultimately a disappointment?

Well depending on where you stand, the big reveal that the whole mess was about pensions might be a letdown. There are few less exciting words in the English language. If pensions were a colour they would be grey. They are grey pounds collected from grey post offices in dreary grey villages by grey haired foot soldiers of the drab and grey retirement brigade. All the talk of far reaching Cold War and government conspiracies on internet forums seems rather laughable now. But wouldn’t it have been more interesting and satisfying to find out that it was all more significant than a pension fund? Doesn’t all that killing seem rather OTT for a secure retirement?

A part of me was certainly a little underwhelmed by the explanation of it all, delivered by the retired Commander Penney on his yacht before he blew his own brains out. He explains to Gabriel, who refuses to let the case drop even after the really bad copper at the top has been found out and given the boot because Petra was hired by him to take out Gatehouse, that Counterpoint was official at first. But then after amassing £70 million through drug deals the authorities ordered it to stop, as its activities were entrapment and therefore useless to prosecutors in the courts. Counterpoint carried on, below the radar and unofficially. It laundered money through its deals in order to fund the pensions for the entire police force.

My initial reaction was; seriously? But by the end of the episode I liked the idea and I was sold on it as a good explanation. The way Blick ties things up again emphasises what this series was about; the lives of both sides of the line, cops and crims, and the overlap in between. Police corruption was vital to the entire series and it was fitting that the solution to most of the questions raised throughout was one of complete self interest on behalf of the boys in blue. More than anything though I liked the Britishness of the pensions answer, in keeping with earlier lines like “typical fucking British car chase”. Blick could have tried too hard for a grand an all important finale. But right until the end this series remained original despite emulating the production standards and story arcs of popular American shows.

So what about Gatehouse? Were the shadows around him illuminated with a little light? Yes, a little. We find out that he’s a MI5 agent and in charge of the operations of Counterpoint in the field. He set up Glickman and Harvey Wratten long ago, and by the end of this episode he’s found replacements for them in Jay Wratten and rent boy Rattalack.

Incidentally Jay, who was completely absent last week, has been cunningly manoeuvring behind the scenes. He put the cops onto his uncle in the first place. As Gatehouse says, he has “hidden depths”. Jay gets some of his best lines in a climactic scene with Babur; “It’s never nice to watch an old man refuse to leave a disco…someone had to bundle him off the dance floor”. For all his camp menace, I think most of us who followed The Shadow Line to the end came to love Jay as a character, slimy pantomime villainy and all.

For Gatehouse the whole thing was about control, as Glickman hinted in previous weeks. The head honchos of Counterpoint thought he might have gone rouge to pocket the money for himself, hence the UV tags, but he was only ever trying to restore the stability of the system. With replacements in place, by the end it’s like he’s hit the reset button on the whole series.

Our two principal characters on either side of The Shadow Line, Christopher Eccleston’s Joseph Bede and Chiwetel Ejiofor’s Jonah Gabriel, are both extinguished. Bede is shot in a car in exactly the same way Harvey Wratten was and then officers examine the carnage as they did in the very first scene of the series. Bede knew he was going to his death, he’d been warned and had his own suspicions about Jay, but in a powerful piece of understated acting from Eccleston, he leaves his gun on the kitchen table. His plan to save his wife had failed; she attempted suicide twice and was put into care.

As for Gabriel, it seemed like he could do no more. He might just have to accept the promotion that his corrupt superior Patterson, but perhaps slightly less corrupt in that he only follows Counterpoint rather than pocketing the cash for himself, had given him. But then Gatehouse phoned him. They arrange a meet and Honey accompanies him, after repeatedly assuring him throughout the episode of her loyalty to him.

Yeah it was fairly obvious. Honey has her gun trained on Gatehouse but after some final tying off of loose ends and some chit chat about shadows, Gatehouse flicks his lighter and Honey shoots Gabriel dead. So Gatehouse always wins, Counterpoint is back to normal. Honey seems to feel a bit remorseful but Gatehouse assures her she’ll get over it, presumably in retirement with a nice fat pension.

At times The Shadow Line was atrociously bad, usually in a funny way. At times it tried far too hard to be stylish, with one example of this being a fetish during the last two episodes in particular for a close up of cigarette tips as they were lit. However overall it was ambitious and absorbing TV. I haven’t seen anything like this on the BBC or anywhere else. Hugo Blick should be applauded and I hope he gets the chance to make more things in the mould of The Shadow Line. I shall miss both watching and blogging about such twisty, exciting and quality television.

What were your thoughts on the answers, the pensions and the series as a whole? Did you want more? Would you welcome a second series or a spin-off for a particular character?

The Shadow Line – Episode 6


This penultimate episode started to bring things closer to the big reveal and end of series climax. However rather than my usual attempt to sort out the threads of the plot, I am driven by a minor detail to starting this week’s summary with a rant about realism and the suspension of disbelief.

Gatehouse, played with quiet menace by Stephen Rea, has been the most mysterious figure in a story arc stuffed full of secrets and deceit. In this episode he finally appeared to meet his match. Anthony Sher’s Glickman, who had that thrilling standoff with Gatehouse last week, uses Chiwetel Ejiofor’s confused Detective Jonah Gabriel, the one with the bullet in his brain, to set the perfect trap for Gatehouse. Both men lie in wait for Gatehouse in the home of Gabriel’s secret family.

After a tense conversation between Gatehouse and Gabriel, Glickman pounces from the little boy’s room (the son’s bedroom not the toilet). He fires several times with his silenced weapon, hitting Gatehouse decisively at least twice. The action slides into dramatic slow-mo as Gabriel’s son runs from his room, getting caught in the crossfire. Glickman shoots Gatehouse to make sure before stumbling from the horrific and tragic scene his trap has inadvertently created. Even in death Gatehouse finds and hurts the weak points of those in his way.

Except Gatehouse isn’t dead. He’ s taken to hospital and Gabriel says the doctors insist he has the heart rate of a twenty year old. I said last week that Glickman seemed to be far more human than Gatehouse despite his similar efficiency, and I was right. Distraught after accidentally killing an innocent boy, Glickman rings Petra, his jilted girlfriend. She meets him in an alleyway to console him. And then she stabs him several times, leaving him to die in a heap.

That was certainly a surprise I didn’t see coming. I had assumed Glickman’s abandoned love was simply to give his character weight and also give Christopher Eccleston’s Joseph Bede a forbidden love interest to spice up his inner battle with his wife’s dementia. But no, it turns out she’s an assassin. Who is she working for? With Gatehouse taken out, we assume he has powerful friends or subordinates seeking swift revenge.

However then she turns up, right at the end of the episode, at Gatehouse’s private hospital room. His only security is a nurse with a fondness for Dairy Milk and an unfortunate knack of dropping her precious snack to the floor as killers lurk outside looking to sneak past. Petra is clearly a cunning and formidable opponent to deceive so easily and completely someone as wary and careful as Glickman. Here she unzips her top to reveal an ample cleavage and a mass of wires clinging to her chest. She proceeds to hook herself up to the immobile Gatehouse, seemingly doing something complicated to swap heart beat readings. She has a lethal injection ready and waiting. As she says aloud “bleep bleep” to make sure she gets the timing of the switch right, Gatehouse rolls over, says “bleep” and kills her like he was just having a power nap.

And so, finally, to my big gripe. Gatehouse has not a single sign of being shot on his body. Blood could be seen spreading around his head and trademark black coat after Glickman fired. He must have been substantially wounded, taking bullets somewhere on the torso. I am quite willing to accept that Gatehouse turns out to be the unbeatable top dog, as he has been all along. I wouldn’t have minded Gatehouse summoning the strength to kill his would be killer, if there had simply been a bandage or stitch or something to indicate the earlier ordeal. We get that Gatehouse is stronger than normal men. But such inconsistency and laziness of detail when shooting a pivotal scene, severely limits the audience’s ability to inhabit the increasingly sensational story.

Most of you are probably thinking I’ve blown such a tiny detail out of proportion. I may have done. But for me things like that have always been important. It is often a trait of men to pick fault in the believability of a story. It’s not that I didn’t enjoy the excitement of the scene and all that went before it. And it’s not that I wish everything to be so plausible that it becomes mundane.

Such mistakes leave me with a feeling of annoyance though. This is a huge shame because The Shadow Line has been largely consistent and quality in terms of such details. And all I really wanted to do was commend this episode. Of course, it might be revealed next week that Gatehouse knew Glickman was planning a trap and had taken precautions. In which case this was an even more pointless rant.

What about the rest of the episode then? Well finally we got some satisfying focus on Gabriel’s character. For most of the episode he was the narrative focal point, right up until Glickman’s trap was sprung, adding to the drama, emotion and awfulness of the death of his son. We start by watching him get a brain scan; it seems he’s getting his memory back. His wife nearly loses the baby but then things turn out to be fine. Glickman tells him to follow the money, not the drugs as he said last time. Would have helped if he hadn’t mucked us about wouldn’t it? He tells Gabriel to harass the retired police commander about Counterpoint, which will bring Gatehouse out of the shadows to hunt down his weak point. We learn that the journalist, otherwise known as M’s assistant in Casino Royale, met his maker because he pestered the commander too much.

The police corruption goes higher and deeper than anyone could have imagined. A senior civil servant seems to be pulling the strings as he issues instructions to our crooked inspector at a funeral. He orders the convincing suicide and murder of Gabriel and his family. Does this mean Gatehouse is working for people within the law and government (as he killed Andy Dixon in the same way)? Meanwhile Gabriel finds out he’s a good cop. He didn’t log the operation the night he was shot because he knew there were rotten elements on the police side. And the police were buying the drugs as well as selling them. Baffling.

Other asides: rent boy Rattalack is getting his money from Gatehouse to buy Bede’s drugs. But with Gatehouse almost dead, everyone gets panicky when the money doesn’t turn up. And Bede’s right hand man is going to sell details of the deal. We still don’t know what Counterpoint is or who Glickman’s ex was working for, seeking to tidy up the situation with some slick murders. Gabriel’s wife gets a lecture from his ex, the mother of his dead child, at the boy’s funeral. She basically tells her to get Gabriel out of the mess and that the truth isn’t always worth it. Will he be able to keep a family together even if all the mysteries are solved?

Next week, light will illuminate the shadows. Will everything fit together? Supposedly Hugo Blick plotted the whole series with massive interconnecting mind maps, so it should. And will Jay Wratten, absent this week, go out with a whimper or a bang?

The Shadow Line – Episode 5


Let’s not muck about: this was the best episode yet. The first twenty minutes to half an hour in particular, were as gripping as anything on TV. The quality of the opening alone made this the highlight of a bold series.

What made the beginning so absorbing was the reveal of the much talked of, but never seen, Peter Glickman, and some superb writing and acting. Indeed it was the acting above all else that made this so good, especially when Stephen Rea’s Gatehouse squares up to Anthony Sher’s Glickman. Before that unbelievably tense encounter though, we’re treated to Sher’s portrayal of Glickman’s alter ego Paul Donnelly, who lives a simple life as a clock shop owner in Ireland.

The unlucky passing of an old business associate, an American flashing plenty of cash, transforms our Irish accented and mild mannered old chap devoted to his clocks into a slick and ruthless criminal. The script excels itself as we see Glickman follow the man from his shop, cleverly work out the number of his hotel room and then pull off a near perfect murder.

The conversation between Glickman and the American in his room is chilling and realistic. The moment Sher’s performance switches from one persona to another is astounding. Glickman is a quietly menacing character very much in the mould of Gatehouse but also somehow on another, less predictable level. The murder itself was surprisingly brutal, jumping out at you just as Glickman is showing a compassion Gatehouse seems to lack and contrasting starkly with the meticulous but unnoticeable preparation.

Accomplished ad hoc killing complete, Glickman slots seamlessly back into the shoes of an old fashioned and harmless shop owner. He has cultivated the last resort escape route of his alter ego for twenty years, making regular but short appearances in Ireland as Donnelly to flesh out the believability. Echoing all the talk of him dividing his life into boxes in previous episodes, he describes his double life as a room kept ready for him and where nothing looks odd when he moves in full time, because really, he’s been there all along.

Despite his calculating nature and devious credentials to match Gatehouse, Glickman nevertheless seems more human than Stephen Rea’s character. He claims to have genuinely loved his girlfriend and to deeply regret not having the opportunity to say goodbye. Later in the episode he meets Christopher Eccleston’s Joseph Bede for a dead drop on a bench, ignorant of the fact that he’s been banging the woman he misses. She has sought comfort in the arms of the florist/drug trafficker, somewhat predictably after last week’s flirtatious behaviour, because they both live in the “loneliness of the past” or something.

Anyway what do we actually learn when Gatehouse and Glickman have that awesome standoff? Admittedly I’ve been putting off an explanation because I’m not quite sure I’ve digested it all. But the big thing that surprised me, amongst the quick fire, back and forth dialogue was that Gatehouse is Glickman’s “controller”. I always assumed Glickman was the real big cheese and that Gatehouse was pissed because he’s the hired help, albeit a rather active, expert and efficient employee. But I guess a theme of the series is that people appear to have roles and responsibilities which they don’t, to protect the real puppet masters (e.g. Bede).

Glickman got Wratten out of jail because the two had been working together for thirty years. Gatehouse disapproved because Wratten was threatening to expose something massive, an extremely secretive operation called “Counterpoint”. Gatehouse implies he wanted the satisfaction of killing Wratten himself, rather than having him eliminated in jail. Glickman of course ends the conversation by trying to blow up Gatehouse, unsuccessfully, thus postponing the real showdown for a later date.

Crudely ejected from his cover life, Glickman tips off Gabriel about the drugs, kick-starting an unveiling of police corruption on a huge scale and taking us closer to the truth about Gabriel’s memory loss. The police are selling drugs from the evidence room (Honey and Gabriel discover UV codes; two sets from the police and one from customs) and even very top officers know about it. Gabriel, in trying to confront his superior, is confronted with his own apparent corruption and the extent of the rot. Blimey.

As if that wasn’t enough for one episode, Bob Harris pulls out of the deal to buy Bede’s drugs, only for his rent boy to bump him off and take his place. Someone must be backing him and this becomes one of the new mysteries, along with what exactly is “Counterpoint”?

As I’ve said before, this is a series that can infuriate as well as inspire, with some of the many references to “shadows” in this episode deflating the subtlety somewhat. But undoubtedly, The Shadow Line is now beginning to reward commitment in a big way.

The Shadow Line – Episode 4


After things really seemed to be getting somewhere with episodes 2 and 3, last night (the first time I have watched The Shadow Line as scheduled, 9pm BBC 2) things once again became a blend of baffling plot lines and bad dialogue, punctuated by the odd superb scene. This is one of those programmes so determined to keep us guessing that no sooner are we given a clutch of answers, a bucket full of more questions is splashed into our bemused faces.

The answers come in the form of customs officer Robert Beatty, who was the guy sultry sidekick Honey had a fight with last time. He’s one of these deep cover types working beyond the police, doing things they can’t like he doesn’t give a shit. It turns out that the drugs murdered Harvey Wratten used to get his rare Royal Pardon were already his. Beatty also reveals there was a second requirement for the Pardon; saving the life of a cop. In this case information was given to save him and his family from a car bomb. But it quickly emerges that the bomb was probably planted by Wratten too. So Wratten arranged a get out of jail free card for himself. Well mostly free, just minus millions of pounds worth of drugs.

Obviously Gabriel thinks this is getting somewhere with the case, that he’s been given three extra weeks to save. But it’s difficult to say where this breakthrough leads or what it means and his boss has a problem with that. Even though they’ve got a blurry picture of Gatehouse on CCTV too AND they’ve linked him to a big drug deal, where Gatehouse appeared to be acting on behalf of the vanished but ever present Glickman, who was in turn acting for Wratten because he was banged up. Confused much?

And that’s just the professional side of the police case. We haven’t even mentioned Gabriel’s personal problems. He didn’t have any agonising moments staring at that inexplicable briefcase full of cash this week but the mother of his secret child told him to tell his wife of their existence, who is finally pregnant. This is the cue for just one of many terrible lines in this episode. Gabriel, clearly in a sticky situation, blankly says “I’m in hell” only for the mother of his child to hit back with “No, we’re in limbo”. She then says she won’t have her son growing up in the shadows, which is far too forced a reference to the show’s title.

On the criminal side of the case, Bob Harris is sweating his hairy backside off because one of his supply lines has been compromised by customs, which is how the police know about Glickman getting the drugs for Wratten. How do I know he has a hairy backside you ask? I don’t for sure but I’m judging by the rest of his portly, sagging, ageing body. We’re treated to a scene with Harris and a gay lover, with Harris sporting a pair of very tight pants and awkwardly resting on his side like a beached whale, and the lover wearing nothing at all. He is sprung from a police station by an anonymous benefactor at the beginning of the episode and ever since has been stuck in camp seductive mode. He also gets some terrible lines and provides Harris with the information that apparently Jay Wratten is responsible for the busting of his line.

Jay of course, has been told by Andy Dixon the driver, that Harris killed Harvey. So he has a reason to piss him off. But Christopher Eccleston’s Joseph Bede interrogates Jay and he insists he didn’t do anything. We see very little of Bede this week, apart from when he’s questioning Jay and Glickman’s girlfriend, but Jay does get to pay another over the top, intimidating visit to Glickman’s son. And this is where we see the mysterious, deadly Gatehouse again.

Perched atop a mountain of office furniture, Gatehouse is across the street from Glickman’s son with some very fancy tech for listening to phone conversations etc. Eventually he decides to pop round to the home of Glickman’s son and play the kindly old fashioned gentleman card. Glickman’s sceptical daughter-in-law is won over by his harmless demeanour and Gatehouse gains access to the downstairs loo. After opening and closing the window briefly, he lets himself out. After calling her husband about the visitor, the wife goes upstairs to check on the wailing baby, prompted by the baby monitor. Their little girl is not there.

I was glad when Gatehouse showed up eventually last night because the rest of the episode had been poor. With Gatehouse though you know things are going to be suspenseful and tense and that something is going to happen, even without him doing very much. Here he’d magically whisked the baby outside, simply by opening and shutting a window in the toilet. Surely he must have had help? After dashing about the house absolutely distraught, she finds her baby and then Gatehouse, who chillingly tells her to call her husband “NOW” via the baby monitor. Glickman is then told Gatehouse wants to hear from him.

This episode has time for one more confusing but majestic scene. The journalist, otherwise known as that bloke from Casino Royale, who has been investigating police corruption throughout the series, features strongly in this episode asking people questions without really getting anywhere. Then he’s given the job of city editor at his paper, along with a far from feasible pay rise. Prior to this Gatehouse calls him up for an anonymous meeting but does nothing; not even speaking to him. Instead he gets hold of his home address pretending to be a deliveryman. Then comes the outstanding scene.

McGovern (name of said journalist) rides out of the city in his leathers and into the countryside towards home and his wife, where he can tell her the good news of his promotion. The tension slowly builds as it’s evident something will happen. Then we see a car in the distance on a straight road, with McGovern heading towards it. Both vehicles, bike and automobile, disappear into a dip in the middle of the road. We hear a screech and only the car emerges on the other side. The episode ends with a close up of our fallen journalist, in the middle of a sun drenched road, blood dripping in vivid drops from his helmet against a background of bright blue sky.

Scenes like that are the reason I continue to watch The Shadow Line. Some of them use too much style but most are refreshingly well executed, subtle and classy. This episode was full of irritating performances, including McGovern/Casino Royale man’s intonation that made everything sound like a question, hardly a subtle portrayal of an investigative journalist. It also had some of the worst dialogue so far and perhaps more of it. And the plot development became frustratingly unsatisfying too. But occasionally I am still gobsmacked, even in this mostly bad episode, and I am still intrigued.

With some questions answered new ones arise. Why kill the pestering journalist when he appeared to know very little? More interesting still, why did Gatehouse kill him, when he was investigating police corruption? Do Gabriel and Gatehouse know each other? Perhaps Gabriel simply can’t remember with that bullet inconveniencing his brain. And how exactly did it get there? Was Gabriel responsible for the death of partner Delaney? Can Chiwetel Ejiofor put in a good performance despite increasingly ludicrous plot twists for his character and sledgehammer emotional dialogue? Will Bede and Glickman’s girlfriend get together? Will next week be more enjoyable and make more sense? Will I get to see Bob Harris completely naked?

I’ll keep watching for the answers.

The Shadow Line – Episode 3


I am beginning to simply enjoy The Shadow Line. I couldn’t care less about what sort of television it is anymore or overanalysing the drama, I am just well and truly hooked. Episode 2 was all about that frenetic chase getting things moving, with Episode 3 following it up with a series of shocks and twists. And an impressive fight scene for a TV show.

First off Gatehouse’s mysterious passivity burst into deadly action at the beginning of the episode. After initially revealing that he and Andy Dixon appeared to be in cahoots (insofar as Andy knew Wratten would get shot), raising questions as to why Dixon didn’t go to him quicker, he kills not only Dixon in his living room, but his pregnant girlfriend and mother too. Cleverly he got Dixon to walk round with the gun, saying he’d need it for protection in a meeting with Jay Wratten, thus leaving oil marks on the young driver’s trousers. All the evidence pointed to suicide after a double murder for the cops, apart from the lack of motive. Gabriel, as usual, had his doubts. But then he can’t trust his own memories so no one takes him seriously.

The big cliff hanger ending was once again Gabriel’s, played by Chiwetel Ejiofor. His partner Honey on the one hand said she believed he was a good cop but on the other started doing some digging into his “double dipping” past. She followed him, rather inexpertly I thought, at the end of the episode, to discover he has a secret family; a woman that is not his wife and a baby. Given his wife’s emotional frustration at not being able to get pregnant, and a scene in this episode where Gabriel appears to share her heartbreak and love her dearly, this is one big secret and apparent proof of his tendency to keep secrets and live a dual life.

Honey had a fair bit to do in this instalment, after getting herself into a close quarters fight in a warehouse full of red dresses, again due to her rather rubbish tailing abilities, this time on foot. This was a needed injection of action for this episode and a surprisingly well executed, hard hitting bit of fisticuffs from the BBC. Her opponent had just attended Wratten’s funeral and was apparently responsible for sending both Jay and Harvey to prison. He adds another dimension to the gangster side of things.

The fight culminated, after some scrambling for guns and an inventive use of a light bulb from Honey, with a tense standoff versus a gun and a coat hanger. And some of that divisive dialogue that some will think brilliant and others think forced and artificial. I personally quite liked this exchange: “Kill a cop and you won’t see the light of day”/”Where’d you learn that? On a course in Hendon? You’re not on a crash mat now love”: (quotes are from memory, apologies for errors).

Away from Honey’s strangely attractive and smouldering delivery of lines (just me?) Christopher Eccleston’s Joseph Bede is having an increasingly tough time of it. Despite just about pulling together a deal to sell a lot of drugs for a lot of money, which may or may not involve Wratten’s killer Bob Harris (Dixon named Harris but it seems likely Gatehouse or those behind him want Harris framed), Bede is feeling the pressure of leading. Yet again he claims he doesn’t want the power but yet again I wasn’t quite convinced.

He has got a lot on his plate at home though, like Gabriel across the line. Bede must cope with the worsening severity of his wife’s Alzheimer’s, as she bawls at him and hits him and forgets the memories of their honeymoon and marriage. As the Guardian points out, the waves washing away a timeline on the beach wasn’t the most subtle of metaphors for her fading memory.

So the wheels of the plot are well and truly turning. There wasn’t a lot of Rafe Spall’s Jay this week, which might be just as well. Perhaps after a breather from his full on performance I will appreciate its impact more again next time. This week it seems we found out that Gatehouse killed Wratten. But next week questions remain as to just who he is; and why he did it. I am now properly glued.

The Shadow Line – Episode 2


Last week I confessed my confusion as to what precisely constituted “event television”. The first episode of The Shadow Line offered up an answer full of lingering shots of shiny details and realistic, stylised dialogue. Opinion was split between the lovers and the haters. Some drooled over the glossy detail and ominous script, whilst others gagged over the pretentious direction and fakery of the lines. I fell somewhere between the two extremes. I welcomed a British show oozing quality and ambition, but I grimaced at some of the glaring blemishes when the script tried too hard.

All in all it was a mixed opener, which set up a myriad of competing plot lines to speculate about. Thankfully the second episode built on the strengths of the first, whilst ditching most of its failings. Last night it felt like The Shadow Line properly broke into its stride. Literally. The episode ended with a selection of the key characters running at full pelt across a park, and then through London streets.

It was a chase sequence that prompted Chiwetel Ejiofor’s character to shout “SHIT!” and “I am on foot. Typical fucking British car chase”. But it didn’t feel like a typical action sequence from British TV for the audience. And it certainly wasn’t shit. Perhaps I was finally beginning to understand this “event television” nonsense. The climax to the episode was brilliantly judged, with the chase sequence moving up through the gears of drama. It featured only one standout stunt, a relatively simple car crash, but it shunted characters from cars to parks to tube stations (Bethnal Green incidentally, one I am familiar with) with expert fluidity.

The episode finally got its hands dirty with some plot progression after all of last week’s posturing and half formed questions on beautiful lips. Essentially it was the story of the hunt for the driver. Young Andy Dixon certainly doesn’t look like your average murderer, but he witnessed the killing of drug lord Harvey Wratten and is the only clue to the puzzle either side, criminal or police, has thus far. Wratten’s nephew Jay, played by Rafe Spall, quizzes Dixon’s mother and pregnant girlfriend menacingly, whilst Ejiofor’s Gabriel interviews them for the police. A third side also emerges, in the form of a character that may or may not be called Gatehouse, played by Stephen Rea.

The characters of Jay and Gatehouse illustrate exactly why audiences are split over The Shadow Line. Both could either be interpreted as colourful villains wonderfully acted or caricatures being painfully over acted. I’m inclined to agree with a comment from “dwrmat” on The Guardian series blog with regards to Spall’s portrayal of Jay: “ Whenever he’s on-screen, I can’t make up my mind whether he’s very, very good or very, very bad, which is a little distracting.”

The same could be said of Rea’s performance, although I instinctively found his mysterious and enigmatic character intoxicating, despite some far from subtle dialogue (“What I’m about to tell you is the most important thing you’ll ever hear. Ever”). His technique of scaring the family and friends of the fugitive driver is subtle however, when compared to Jay’s. The mental nephew of the deceased half drowns a cat and threatens to kill an unborn child to extract promises of cooperation. Rea’s character intimidates via a shadowy knowingness to his words and muted manipulation of his interviewee’s fears.

The main mystery now is who is Gatehouse, and which side of the investigation does he fall under? But other strands of the plot rumble on. Christopher Eccleston’s Joseph Bede managed to appease another disgruntled drug lord who hadn’t been paid with some dazzling calculations and a promise of ten million back instead of one. He again insisted to other characters he was simply a front man, installed by recently murdered Harvey as innocent and legit cover. Last week though he seemed to be far more important than that and in charge of things, and this week he’s still making the big deals and having people report back now and then. Ejiofor’s Detective still has a bullet in his brain, his wife wants to try for babies again, and the bullet might yet kill him. Glickman, another vanished but presumably still alive drug lord, remains undiscovered. Could Gatehouse be Glickman? Or working for him? Or is he a corrupt cop or some other darker side of the law?

By focusing on developing these irresistible mysteries and zipping along at a gripping pace, the second episode of The Shadow Line upped its game and got me looking forward to next week.

The Adjustment Bureau


Chance and fate are like twin sisters; biologically related but far from identical. They are concepts we all know and experience day after day. Yet their effects fluctuate so wildly that no human being can define, prove or explain what exactly they are, or indeed confirm their existence with any certainty. The best, most brilliant minds throughout history have focused their attention on these beguiling, fascinating, unknowable sisters at some point. Everybody, from genius to crack addict, ponders the cruelties of chance, the favours of fate.

Was it chance that brought the girl of your dreams out onto the street in front of you? Was it just bad luck that you were spitting out your gum at the time, so that she walked head on into a potent projectile of sugared saliva and masticated goo? Or were you doomed to failure? Manipulative Miss Fate may have singled you out as her joke of the day. Then again, perhaps she was just redressing the balance after she took out the lights in the bar that time. Your powers of attraction increased tenfold in near darkness, allowing you to raise your standards considerably. That girl, let’s say Linda, barely noticed the peculiar crook of your nose, for instance, or the irrepressible leering tint to your eyes. But then again maybe there’s no balance at all, no order. Maybe it’s just Miss Chance, a bored, daydreaming secretary at her desk, absentmindedly jabbing at her keyboard.

Often the only way we can begin to explore or talk about these sisters is through storytelling. And George Nolfi’s first feature film as a director, The Adjustment Bureau, is fairly explicitly about the human relationship between our free will, each and every choice that we make, and our fate, the possible destiny that may be already determined for us, laid out beyond our control. The Adjustment Bureau is also a film that can claim to be a “sci-fi romantic thriller”; a distinctive and intriguing description of any story.

Indeed ever since I saw the trailer for The Adjustment Bureau I have been anticipating a thoroughly different blockbuster. Several of Phillip K. Dick’s stories have been taken on and adapted by Hollywood, and several more such as The Man in the High Castle (an alternative history of the Cold War), would make excellent movies. Dick had a knack for capturing fascinating science based or philosophical questions, within a captivating narrative framework that really made you think about the issue. Apparently Nolfi has expanded considerably on Dick’s short story, Adjustment Team, for this project, and that may account for some of its failings.

Numerous reviews have pointed out the plot holes in The Adjustment Bureau and lamented its implausibility. For a film marketing itself as exciting, the lack of engaging thrills has also been highlighted. It’s certainly something that requires a greater than usual suspension of disbelief to really enjoy it. However, critics have also been quick and correct to heap praise upon the performances of the two leads.

In interviews Emily Blunt and Matt Damon have talked of how they “dicked around” on set and tried to transfer some of this interaction, this genuine banter, to the screen. It’s a technique that worked tremendously well. Much of Nolfi’s dialogue in this film is good, but inevitably when trying to encompass such grand themes and deal with an issue like love at first sight, the odd passage is clunky, cliché and cheesy. These bad moments have the potential to seriously deflate the quality of a film. But Damon and Blunt’s brilliance ensures that these dances with disaster become strengths. Whenever an emotional speech is about to over step the mark, one of the characters, usually Blunt’s, makes a jokey remark to both lighten the tone and preserve the intensity of what went before. With such sensational plot components Blunt and Damon’s incredible, immense believability and appeal makes the romantic element of the story feel constantly real and affecting.

Damon in particular is excellent as the focus of the tale and adds another impressive notch to his CV. He appears to have truly arrived as a top Hollywood leading man. Here he plays up and coming senator David Norris, who concedes a mammoth lead in the polls thanks to some revelations about his wild shenanigans in the past. It was a step too far for voters, who had been willing to back the fresh faced, young and local candidate. Damon is completely convincing as a politician passionate for change but disillusioned with the system he must embrace to achieve it.

Underneath it all, Norris just wants company and affection, and this Damon portrays well too. In the Gents after his election defeat, he bumps into Elise, a contemporary ballet dancer. After an odd (but believable!) first meeting, Norris is as infected with the chemistry between them as the audience is. He abandons his conservative losing speech in favour of a frank, electrifying exposure of behind the scenes campaigning and the nature of politics as a whole. His popularity sky rockets (one of the film’s multitude of interesting ideas and points is how the public wants honesty in politics but good men are continually stifled from being themselves).

However when Norris tries to pursue his instant infatuation with Elise, he’s warned off by mysterious looking types in 1950s style period suits, wearing silly hats. This is The Adjustment Bureau; the people that make things happen according to plan. They are not all powerful, as they appear to be governed by their own set of rules and frequently require greater levels of “authorisation”, but they can flit about New York City by teleporting through doors and predict the choices you make. John Slattery, Anthony Mackie and Terrence Stamp, all give decent performances as agents of this supernatural organisation.

The dated look of the agents has come in for considerable criticism; but I rather liked it. Whilst the film could be more thrilling, it’s refreshing to watch a blockbuster that’s still exciting and engaging without being stunt heavy. The focus is not on the action but on the plot and the romance between Elise and David. As for the plot holes, especially increasingly silly ones towards the end, these are probably due to the fact that The Adjustment Bureau is ideas heavy. Sure some of these musings on such debated subjects as the limitations of free will, determinism, God, chance and love are far from subtle. But to me that doesn’t matter, especially given the convincing chemistry at the heart of the film driving it forward as the narrative focus. It’s extremely admirable, valid and bold to make a mainstream film about any of these ideas at all. The Adjustment Bureau will get you thinking and talking about them, and hopefully exploring these fascinating areas further.

Besides, in my opinion, not all of the film’s ideas are as flat and basic as some reviews would have you think. The corporation like structure of The Adjustment Bureau for example (with God referred to as The Chairman), made an extremely relevant point about the limitations of our free will today, in supposedly completely liberated western societies. We no longer realistically worry ourselves with tyrants and dictators, but money, class and big business can substantially shape our paths through life and the hold the powerful keys to turning points in our destiny.

I applaud the abundance of ideas in The Adjustment Bureau then, even if it could have been a better film. Because of all the talking points and its compelling romance, it is still a good and worthwhile watch. Perhaps the most resonant, but also cliché, point that it makes though, and chooses to conclude with, is that love is worth fighting for. Whatever uncontrollable obstacles life throws in the way, be it distance/geography, illness/injury or rivals/opponents, love can be enough and worth holding on to. No matter what.

Oh god. Did I actually just type that? Shoot me now. Yes their performances really are that good.