Criminal: UK – Talkative Tension

Everyone likes a good crime drama. Are you interested in cross-episode storylines, then give Broadchurch a try. Or if you are inclined to a stand-alone episode format with the same pun-enthused detectives, CSI and Law & Order might be able to scratch that itch. Produced by Netflix, Criminal combines a rich and thrilling style with episodes that can essentially be watched in any order (although if you are that kind of person, I suggest seeking help). An anthology at heart, Criminal focuses on a single crime per episode with an ever-evolving sub-plot between the team of detectives, emphasis on sub. But what makes the show that more intriguing is that there are four different versions… and they say three’s a crowd… YEAAAAAAAH (every CSI intro, ever).

Criminal is spread across four separate countries: UK, France, Germany, and Spain. Each show is done in that country’s native language and features different detectives, crimes, and witnesses (an anthology of anthologies). Yet they are also very similar. Each show is shot on the same set and created by the same people, each version having three episodes as part of a single season, the sole exception being Criminal: UK which has 2 seasons and is set to continue with a third on the way. So far, I have only seen the UK version but plan to watch the others in the future, although I do need some time to recover from the brilliance that is covered across the 7 British episodes.

Simple ways at filling a tight space.

This is a crime drama that never shows the crime. Actually, the camera never changes floors as we only ever get to see the interrogation room, the room behind the stereotypical one-way mirror, and the corridor when the detectives feel like a coffee. Naturally, I was intrigued. For a TV show to only show the psychological battle between criminal and detective, the acting must be top notch, the cinematography spot on for fear of boredom, and the writing as fresh as ever. And even then, with such a limited area to experiment, how are the episodes going to feel unique if it’s just talking?

Well, I love just talking. Criminal: UK capitalises on everyone’s inherent fantasy of cops & robbers and latches onto the real battle: the psychological fight as the flow of control within the conversation changes from one side of the table to the other. And yes, brilliant actors such as David Tennant, Kit Harrington, and Sharon Horgan really help in creating a real battle of wits but while the writing hogs the limelight, the cinematography creates a visually thrilling world, all in the same four walls (or there about).

When people in the one-way mirror room (as I shall call it) disagree with each other, their reflections are juxtaposed onto those in the interrogation room, both equally in focus. When the detectives move onto the offensive, they are visually empowered while the interviewee is placed awkwardly, or the camera angle is simply awkward yet never alienating (a balance I struggle to find in my own projects). With very specific and realistic dialogue (or realistic-seeming as I have never found myself being interrogated and don’t intend to do so), a lot is left unsaid and unshown. The camera compliments the action in subtle ways, favouring the cold unmoving shot as it restricts our view as if we are in the tight room.

An abnormal two shot showcases the power dynamic. The same shot is used again when the interviewee regains some power showing that she is, in fact, hiding in plain sight.

But at the end of the day, it is the writing that does set Criminal apart from any other crime drama I have seen. I have always loved long, dialogue-heavy scenes where tension oozes out of every crevasse, characters battling for verbal supremacy without ever rising physically. As a writer, dissecting the subtle interactions can be tiring as every detail (word choice, ordering, placement, tone, etc.) plays a part in the final product, but a standout notion is the withholding of information.

As criminals spout their alibis, the detectives don’t immediately contradict or interrupt, they let them go on. Instead of creating immediate conflicts, Criminal isn’t afraid to wait patiently for a big climax, a style that I find myself wanting to emulate in my own work. Not only does this offer the audience a chance to absorb what is being said and to come to their own conclusions without being spoon-fed, but it also draws you in as you listen to every word, breaking each sentence down into our own investigations. In other words, you can’t help being invested.