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All in all a fair series, worth adding to a collection if you're a fan of Euston Films products but it won't excite like the rough and tumble action and social commentary of the now legendary "Sweeney" series.
I wonder how many people would consider Special Branch to be part of the 'golden age'. Not many, I reckon. Even the actors who appeared in it - George Sewell and Patrick Mower - interviewed on the DVD set of the 1974 series (also available as a network release) seem to be somewhat apologetic about it. Mower suggests that he was brought in to "grab the series by the balls" after the filming of the first six episodes because the format wasn't working, and Sewell disarmingly admits that it lacked the "polish" of its highly-regarded successor, The Sweeney.
Well, forgive me for disagreeing, but Special Branch - at least the 1973 and 1974 series - certainly deserve to be seen as part of the golden age of British TV. Well acted, well scripted, and the first of Thames TV offshoot Euston Films' productions shot entirely on film and on location, this series is a gem from start to finish.
Chic, it certainly isn't. It's gritty and cynical, an attitude superbly captured by Sewell's portrayal of Detective Chief Inspector Craven, a smoking, swearing, punching copper whose idiosyncratic methods - in a wonderfully cliché-snubbing way - do not always get results. A sense of almost sordid ethical ambivalence pervades the series: you find yourself siding with the 'criminal' as often as with the law, who themselves often wonder why they are pursing their latest hapless victim.
London in the 'seventies - a far grubbier and decaying city than that of today - is superbly captured on film, as is the dullness and dimness of Special Branch's office. The dialogue often displays its 1970s heritage - girlfriends are 'birds', gays are 'queers'. Yet, Craven - an archetypal East Ender - has a West Indian girlfriend, and becomes prickly when racism rears its ugly head. This on-screen relationship must have been quite a novelty on early 'seventies TV, and I bet it did far more to highlight the absurdity of racism than any number of episodes of the 'ironic' 'Till Death Us Do Part or the ghastly Love Thy Neighbour.
In a series of 13 episodes there will always be the odd dud script and there is one here - Episode 9, Threat, is absolutely dire. But the rest are uniformly excellent. Some stand out as superb television drama, especially A Copper Called Craven, Round the Clock and Inquisition. The latter, in particular, sums up the essential virtues of this series - a great script, superb dialogue, and down-to-earth, believable actors who can carry it off. The pace of such episodes is also interesting - slower than contemporary TV drama, but all the better for it. Absolutely wonderful stuff.
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