La sombra del poder

What makes a good political thriller? Some things are obvious. Firstly, strong believable characters. Secondly, a fast-paced, complex, dazzling plot. But the plot must resolve into something comprehensible - there may appear to be one hundred mysteries, but beneath the smoke and mirrors, there must be one story. Anyone can write an infinite collection of coincidences and conspiracies - but a strong story makes simple sense in the end. Finally, a political drama needs to say something authentic about the current state of the world. If the final conclusion is that the Prime Minister has a prediliction for drinking the blood of teenage girls, then however plausible this is made to seem, an opportunity has been lost - if politics really is the subject matter, and not just the setting, then the personal drama must make some wider political point. Paul Abbott's 'State of Play' succeeds gloriously on all these points, and confirms his reputation as among the the sharpest writers in British television today.

Director David Yates also deserves credit, for keeping the mood tense but unmelodramatic throughout, while the cast show uniform excellence in bringing Abbott's characters to life. Abbott has commented that he knew he would have failed if any of his (largely journalistic) heroes could be sumarised as "mavericks" - a simple lesson ignored by ninety percent of writers today. Instead we have real, three-dimensional portrayals. What's especially impressive is how well the female characters are realised - neither passive decoration nor kick-ass post-feminists, but believable, not necessarily glamorous women - the contrast between the sexes has a low-key ring of truth. David Morrissey as the MP around whom the storm breaks is also excellent - when politicians are held in universally low stock, 'State of Play' avoids all the easiest shots. If one of the tragedy of politics is that many of its protagonists are first rate idiots, another is what it makes out of those who are not. Morrissey's Stephen Collins is never sympathetic, and yet comes across as the sort of man you might almost choose to try and run the country. Paul Abbott, meanwhile, is certainly the sort of man you'd choose to write a drama. In 'State of Play', he has produced the best British TV series since 'Holding On'.

Just bought and watched this on DVD. Up until the last episode I was enthralled with the story.

The mixture of journalism, politics and police work made for an interesting mix, although the latter two took more of a back seat nearing the end, replaced with lover's quarrels and artificial exposition more similar to soap opera writing.

While the cinematography is fairly average, the casting and acting is superb.

If you want a suspenseful thriller this one should entertain you, just don't expect a satisfactory ending.

I'd give the show 8/10, but the horrible finale totally undermined the story's credibility with several loose ends, and I was left frustrated instead of with the great feeling I had during the first 5 episodes.

I take issue with some of the people commenting on "State of Play" who declare that they believe it to be "as good as American TV" or some other such nonsense. That's ridiculous! Perhaps it's a generational thing, but I have always thought that British productions, particularly drama, are light years ahead of American TV and the actors are in a whole different galaxy. The original "State of Play" is brilliant, suspenseful and a pleasure to watch. I cannot believe that there is going to be a "remake"! I love Helen Mirren and Russell Crowe, but there is absolutely no need for this series to be remade. Why can't they write something original for Mirren and Crowe? The Brits are the best. Period!

This BBC political thriller mini-series is far superior to the American remake.

If you like newsroom dramas, and films involving investigative journalism then you'll love this.

Enough said.

The BBC haven't made a mini series as good since 'Edge of Darkness' in 1985. Although 'State of Play' doesn't quite match that seminal classic it is still superb. It is an oasis in a very large desert of quality programming from the once mighty BBC. Apart from the 2001 co-production 'Conspiracy' the BBC drama output is a poor shadow of what it used to be in the sixties and seventies.

The six episodes of 'State of Play' need close attention but once the plot gets going it is a roller coaster ride to the last few minutes of the last episode. The journalists, the politicians and the police prowl around each other as the conspiracy is unravelled. It is not just a driving narrative however, there are real people with real emotions caught up in the action. The six episodes allow several characters to become rounded and interesting. High praise indeed for Paul Abbott, the writer. It gripped from start to finish.

The acting is excellent. David Morrissey and John Simm as Stephen Collins and Cal McCaffrey play brilliantly off against each other as truths are eventually discovered. The last scene between them is corker. The journalists are the heroes but they are also flawed and troubled. All the actors playing the journos were great but I thought Kelly Macdonald as Della Smith was exceptional. Bill Nighy had some hilarious lines which he gave full justice to. Forget Hollywood star names, these are proper actors.

Apart from the human characters the other character that is well portrayed is London itself. London has many faces and the series brought several of those out. From nights by the Thames , to the bleak housing estates, to the pretty suburban streets, to the formality of Parliament, to the sounds and almost the smells of eight million people jostling together. All photographed atmospherically. As a Londoner it made me look at my city again.

I'll run out of superlatives soon, so I'll just say it is a great achievement by all the artists concerned. Apparently another series is being considered and hopefully that will be just as good.