Non mi lasciare

If ever there was a show where the achievements of the cinematographer outshone those of the writer, director and cast, this is it. True, the camera crew have Venice to work with, and Venice (as so many filmmakers have found) is a character in itself: all you've got to do is pay attention to its details and idiosyncrasies. Even so, the camera work and editing here is remarkable good, full of curiosity and maybe even love for the location.

The script, however, is a total plodder, more leaking dinghy than gondola. Mysterious girl returns to hometown after decades away, now cast as the avenging angel for kids being abused and sold online. Tough work, for sure, but it's treated here as almost backdrop to the mawkish romantic plot elements in which our heroine (improbably partnered with her old boyfriend who wasn't even a cop but a musician last time they met!) is an Italian kickass ninja with great hair rather than a real person moved by the plight of those she has devoted her life to saving, i.e. Abused kids. (I tack them on to the end of the sentence here the way the plot tacks them on to this otherwise entirely average romance cop show in a cool location.)

So often, Italian dramas (with some honourable exceptions) add mush and Muzak where muscle and motivation would be much more welcome and effective. This is one of those shows where the splendor of the backdrop makes the main attraction (if we can use such a term of the theme) look like nothing to get worked up about - hardly what you want in a show on such a subject.

You'll learn nothing about how pedophiles really work (except that it has to do with the Dark Web, apparently) and you'll think Venice looks great if a bit damp off season. Other than that you'll see some nice clothes and some handsome people pretending to be serious and getting in and out of boats of various kinds.

Sadly, three episodes were more than enough.

Although we were initially concerned that the romance from the past would overshadow this series, it didn't. The cinematography was blissful and while at times the story seemed to move slowly, suddenly there was a plot twist making you sit up and go wow. We thought the last episode was just so moving and we still think about it weeks after.

It is not often that this jaded thriller fan is impressed, and less often that he is moved to tears. But this series did both. I was all the more impressed and moved because the real coup de theatre came from a direction I did not anticipate but could not deny. Among the many outstanding contributions (besides the direction and writing) are the lead actors, who are incredibly charismatic, and a marvelous music score that evolves and sneaks up on you over the course of the series. I persevere through many so-so or merely satisfying shows to come upon a gem like this. Bravissimo!

PS: Months after posting this review, I occasionally come across this show in listings, and try to remember what I so loved about it. Then it comes back to me...and I suddenly catch my breath. So heartbreaking, so beautiful.

I found this series to be riveting from the get go. The story was more than compelling and the writing was perfect. The directing was incredibly disciplined and beautifully artistic at the same time.

The subject matter is horrific and heart-rending but it was handled so adeptly, without being exploitive.

The actors were all at their very best, and thoroughly believable in their roles.

It is clear from the onset that Elena is driven by the case by some troubling force, which at times threatens to derail her investigation. But her belief in the case, and winning over her fellow detectives by her determination assures they will all pursue it to its end.

Her past relationship with fellow detective Danielle, and his marriage to her best friend, Guilia, adds a personal tension to the story, but only serves to more deeply develop those characters rather than interfere with the overall storyline.

Guilia, Danielle's wife and Elena's friend, for instance, delivers one of the most exquisite performances in the entire series, offering Elena exactly the genuine love and support she needs in order to see the case to its fruition.

The series is so very much worth the watch.

Most of the events take place in Venice - in a pearl of Italy - and the start was quite promising, but then odd relations, flashbacks and scenes began to dominate and the pace of events reduced significantly. True, towards the end of this miniseries main mysteries were explained, but the roundup came hastily in the second half or so of the final episode. Some scenes were anticipated and when it all ended, I did not feel content with what I had watched - in comparison with e.g. Rocco Schiavone, Signora Volpe, Commissario Montalbano - other Italian crime series focusing on a location outside major Italian cities.

The characters-performances in Non mi lasciare were not excelling as well, and I still have 2 main questions about the things that annoyed me (as many twists and turns emanated from them): 1) If a country/city has issues of street kids and running-off kids, why the wrongdoers took so much time and energy for luring their victims via Internet?

2) How-why the files of a closed and abandoned orphanage remained openly available to everyone - in a modern EU society with strict privacy rules?

So, although the Series is over the average, it is not a must watch.