L.627

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.

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.

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.