(The second season breaks the fourth wall, kills off the hero, has the writer - Phillip Martin who played the villain in the original play - turn up disguised as a Vietnamese hitman surgically transformed into W.C.Fields and was one of the oddest things one had ever seen back in those days of innocence. I shall be interested to watch it when Lovefilms gets it to me.)
Obviously, the show is full of very dodgy sexual and racial politics and yet was probably on the side of the angels. Its ex-con, ex-soldier hero Kline seems to have no very strong convictions about anything and the show is an odd couple buddy movie from one point of view in which he is being run in his rise to supreme gangland power by a Pakistani cop, Khan. Both men develop a genuine affection for Rafiq, one of the principal ganglords they are up against, who manages to combine a career as anti-racist politician with bringing in and then blackmailing illegal immigrants - the odd thing is that we get to see just how awful are the effects of Rafiq on people's lives yet somehow forget about it when Saeed Jeffrey twinkles at us. Yet - and I refuse to worry about spoilers in a show that is thirty years old - Rafiq is genuinely appalled when he discovers that one of his financial backers is a racist politician and seizes the opportunity to change sides...
All of the characters are morally ambiguous - Khan seduces and betrays the wife of a man he has had deported and who offers him information he needs. Kline is motivated by a desire to get back the club he was railroaded out of by a crooked partner, and to survive the murderous attentions of Rawlinson, a ganglord whose brother he killed. Later, he is out for revenge on the Afro-Caribbean gangster Malleson for the death of a young stripper Kline was lovers with and whom Malleson murdered. Latterly Kline develops a serious attachment to Anne, a recovering heroin addict who used to work for Rawlinson.
Some of the dodginess can be justified in terms of realism - Anne has always done what she needed to do in order to survive, whether it be honey-trap Kline, or be thrown into one of Malleson's brothels, or go through rehab. The same applies to the racist jokes of the comedians in Kline's club.
This was one of the first shows to pay serious attention to characters of colour and it is not without stereotyping - Malleson is a second-rate superfly character with idiot sidekicks and Rafiq's lieutenant Kuldip is a giggling psychopath with poor English. Some of this is generic - Kuldip is also in some respects a version of the gunsel from Maltese Falcon just as Rafiq is a version of Gutman, albeit a comparatively skinny one.
The crucial thing though is how interesting it is to see something that I watched when I was in my twenties and still enjoy it thirty years later. I nearly bought it on DVD when I spotted it was out and may yet. The odd thing is, how few people remember it by comparison with other major shows of the period.
It makes me want to watch my other fondly remembered show of that time Rock Follies.