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.

If one were to ever question where we, as American audiences, get our prime-time television ideas, it should never be considered original, or genius, or groundbreaking – it should be simply coined, "borrowed". As we see popularity with such shows as "The Office" or the most recent "Life on Mars", we seem to be gobbling up popular programs from across the pond at the speed of light, and oddly more and more seem to feel less authentic. Sure, the actual conversations and dynamic dilemmas that occur each episode my be home-grown, but the idea – it is the original idea that should be coveted. It would be equal to saying that you love DSL without ever experiencing dial-up – how can you compare? Recently, I was able to scrounge around and discover a VHS that may, upon first viewing, seem like a hodgepodge of police interferences within the confines of Paris, but look deeper. Does our heroine, a tough, never by the book-paper pushing detective whom isn't afraid to corrupt the system to get results, a cop who isn't afraid to have a wife, but also a prostitute informant on the side? Wouldn't you agree that perhaps I am explaining the life of Vic Mackey from "The Shield"? Yet, I am not – I am talking about Lulu, our Parisian officer in the outstanding "L.627".

Lost within the conversion from VHS to DVD, this obscure title has not seen the light of day for a long time; in fact, you could probably find this at a yard sale for less than a dollar. If this is ever the case, pick it up and buy it – it is worth viewing at least once to demonstrate the raw grittiness of police work. It has never been a colorful position, despite the humorous depiction in "Police Academy", and director Bertrand Tavernier knows how to push the envelope to such an extent that our fictional officer's cause affects the reason. They want drug off the streets, Lulu is constantly pushing his girlfriend to stop using drugs, but the means are not readily available. With broken police vehicles, pranksters instead of officers, lacking budget with technology, Lulu and Company are forced to take measures into their own hands. They fight crime, perhaps not the way the officer handbook suggests, but they fight crime. One scene that specifically stands out is one where Lulu is about to bust a dealer/supplier in a nearby park, he uses a nearby school to ensure that they are able to see the transaction take place. They are able to find an empty room, but the principal doesn't want them in the school – contradictory to the ideals that schools want drugs off the street. There was this sense of animosity between person and officer – as if the principal didn't believe that our officers would actually do anything of value. This was a small, yet shocking scene that defines Tavernier's central theme.

Does Lulu get the drugs off the streets? Does he finally get the funding that he wants? Does his personally life collide with his cop life? These are all questions that Tavernier answers with small, seemingly insignificant scenes. There is a perfect ending scene that resonates within my mind between Lulu and his prostitute sideline. It demonstrates the quality of Lulu's work, and summarizes this film in a small 10-minute scene. That seems to be Tavernier's trademark with this film. A full range of quality small scenes that tie our characters together. Individually, this is a rather bland film – difficult to begin and even longer to finish with nearly 2 ½ hours of play time, but intertwined, these scenes speak about the Parisian police force. "L.627" is a film that resonates within the mind. Oddly, I recently finished watching "La Haine" for the first time, and could argue that this is Tavernier's counter-discussion. Here, he shows why there may be police racism, why the law uses brutality, and why frustration between officers reigns supreme. Kassovitz's film gives us the counter-point, the view from the poverty on the streets.

Overall, does "L.627" demand repeat viewing? Is it wronged not to have a DVD release? These are all important questions, but the answer is not readily available. "L.627" demonstrates powerful acting, documentary-esquire camera work, and a chilling theme, but the honesty lies within Tavernier's storytelling. While Lulu is our central character, this isn't a story about him. We don't have an emotional roller-coaster of a film where our hero redeems himself at the end. This isn't a Hollywood movie. In "L.627" social commentary is king, and we, as outsiders looking in, must just absorb the honest nature of the film. It is a tale of good corruption, hard working individuals, and the hardships of control. This will not be a film for everyone, but those privy enough to catch a viewing of this film will be impressed by every element of this film. From the filming to the unequivocal truths, "L.627" is a film to absorb. I am just sorry that I didn't see this film sooner.

Always remember, instead of WWVMD? (aka What Would Vic Mackey Do?) – try thinking of WWLD? (aka What Would Lulu Do?).

Grade: **** out of *****

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.

"L-627" touches on an issue explored several times in many films and TV series, which is the problems faced by police forces while dealing with the organized crime, yet it looks like something never seen before. While many of those films that dealt with the theme always feel the need to show some piece of the action (or just become it rather than make its denounce) this movie seems more concerned in just following the many pieces of a failed mechanism, the bureaucracy that doesn't allow those honest, hard workers and badly paid people to do their job with efficiency. It's a system so failed and broken that the only way for these law men act is to use of brutality, wrong doings and corruption as way to survive, stay alive or fulfill the law the "best" way they can.

Miles away from being the usual thriller/action flick, "L-627" is a realistic closer look at the day-to-day of a police team and their methods to bring down an important drug dealer. Most of the time is occupied by arresting couriers, minor bandits acquaintance of those bigger ones, and lots and lots of paperwork, stakeouts and beating of suspects. The main character, Lulu, is an inspector (Didier Bezace) transfered to another team after a misunderstanding with his superior. Things were supposed to look worse than it was but no, it looks the same to him, slightly better. He still needs to deal with lazy and irresponsible co-workers, more concerned about playing pranks at each other or acting in the wrong time instead of following the rules. To make things more complicated he has to deal with personal matter such as his occasional lover, a prostitute with many problems of her own; and also deal with his ex-wife, lives already torn apart due to his commitment with his career in the force.

Although there's some lack of a chief figure around their team, the pressure is present at all times. It is soaked in their bones and it follows them through the every operation, every missed chance. At a certain point, while improvising a stakeout inside of a school, you feel like supporting these characters in their arrest of a suspect even though the cops were rude and careless about what the headmaster is saying to them. It's the only way they can work, they don't have other ways. It's not by the book but in the end it was the right thing to do. And the saddest part is that most of their effort goes to waste when the judicial system sets free many of the people they detained, because of lack of proof, crooks who have money to pay for their bails, and things like that. Yet, the inspector needs to show results, chase, run, escape from bullets and eminent danger to make those arrests...

This truly looks as a real movie about real police stations out there around the world. It's quite a shock that even in a great developed country like France you would see such a thing happening. It's a work of fiction but of course they were looking at real examples. I couldn't leave behind "Elit Squad" and its sequel. Those movies, made years later and based on biographical accounts that took place in Brazil, are very similar in its story treatment and criticism about the police system. The difference is that in "Squad" you have a certain detachment because it tries to be the generic and exaggerated action film, filled with stars, and very didactic with an overexposed voice-over from the main character (already a classic in here) while "L-627" is almost like a documentary with relatively unknown actors, and all centered in the few perks of the job - pay attention to the many humored moments they have as a group - and its countless disadvantages. Bertrand Tavernier got perfectly right with the casting, allowing the audience to be there with the characters rather than following a main star doing all the action. All the performances are terrific, but the highlight goes to Mr. Bezace, who plays this anti-hero/common man easy for us to relate with, even in his hardest moments, completely out of control. Yet he loves all that stress and the pressure that comes with all the obstacles present in its work. Tavernier's view on the problems faced by police corporations is relatively the same and present everywhere, that's why it's relevant (even now) to watch a movie like this. You get a wider understanding on why being in such line of work is ungrateful, and very tempting that good professionals may succumb to addictions, corruption, or abusing of their authority.

I only object to a certain slowness from the plot, staggering really bad sometimes, and the fact of having two extremely similar guys acting on the same team. There's an actor, also playing a policeman, who looked exactly like Lulu and it was very confusing to set them apart from one another. Other than those rubbish complaints, "L-627" is a powerful movie with a great statement to make. 9/10

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.