Dressed in black two motorcyclists arrive at night to steal the street sign from outside Paris' 36 Quai des Orf�vres (the French equivalent of London 's Scotland Yard). In another part of the city a gang of men assault the owner of a bar leaving her badly beaten. Later, a retiring police office r is presented with the famous street sign at his retirement party. With this stylish opening sequence director Oliver Marchal blurs the lines between the police and the criminals they are paid to catch, setting up the conflict at the dark heart of his story.

With this brooding thriller 36 Quai des Orf�vres, former police officer Olivier Marchal depicts a complex world of professional integrity undermined by personal rivalries and of bitter disappointments. Set in 1980s Paris, it hones in on squad leaders Leo Vrinks (Auteuil) and Denis Klein (Depardieu). Both are determined to apprehend the gang behind a series of heists on the understanding that this will earn them the position of chief of police and the prestigious command of 36 Quai des Orf�vres.

While Vrinks is a known maverick, operating outside of the rules and at time the law, his code of conduct is nonetheless one to which other office rs subscribe and to which senior office rs turn a blind eye, passively sanctioning his 'ends just ify the means' morality. In contrast, Klein maintains an outward show of adherence to procedure � a facade of respectability that conceals a grim and obscure personal code where everything is allowed if it serves his purpose. Marchal sets up a great central conflict where rather than being evenly matched, there is a growing disparity of power between the two men � Vrinks becoming increasingly vulnerable as Klein only grows in power and confidence.

Depardieu is horribly compelling as the quietly menacing Klein, attacking his breakfast as if it too were his enemy and seeming to grow heavier as every scene passes. And Auteuil is brilliant as the increasingly compromised Vrinks, a loving husband who's desire to conceal the truth of his violent work from his wife contributes to their downfall. He plays the part with great emotion, conveying a disillusionment with policing which is mirrored by the office rs he leads � exemplified when he discovers that one of his idealistic young colleagues has left the force to become a night-club bouncer.

Marchal's film clearly draws on much personal experience, with characters, settings and dialogue giving a ring of credibility from the outset. Yet the director forfeits some of this authenticity as the story is propelled, via convenient if implausible plot developments, towards its all too neat conclusion. However the strength of the central performances, with quality support, notably from Valeria Golino as Vrinks' wife, are more than enough to carry 36 Quai des Orf�vres through.

DIRECTOR INTERVIEW