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British television drama in which war veteran-turned Police Sergeant David Budd (Richard Madden) must grapple with the conflict of his duties and his own core beliefs. Working for the Metropolitan Police's Royalty and Specialist Protection Branch, Budd is drafted in to be the chief protection officer of Home Secretary Julia Montague (Keeley Hawes). Having served in Helmand and experienced first-hand trauma, David's mental stability is shattered underneath the surface, and his memories of the atrocities he encountered leaves him questioning his loyalty to Montague and her means of power. (ITV DVD)

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Reviews (8)

Lima 

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English Throughout all six episodes, there are four amazingly composed action scenes, twists and turns like on a treadmill from the third episode onwards, and the main villain was for me only on the last line in the list of suspects, I really didn't guess him (but maybe I'm just dumb). The long scene with the explosive vest in the last episode is something, something so bizarrely suspenseful that you almost can't believe your eyes. But in a good way, it had drive, I had a great time. Richard Madden was incredibly good at it, a pro in every way, the minister's lapdog and a bundle of nerves all rolled into one. He was fantastic! I’m not giving it five stars only because at the very end I didn't believe at all the sudden transformation of one of the characters into absolute evil, given the previous course, the way she presented herself, what I felt from her (those who have seen it, will probably guess). The filmmakers simply overdid it with trying to surprise. ()

angel74 

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English I can't remember the last time I saw such a thrilling series. What a ride! Especially when I realized that I had no idea who was behind everything until the last few minutes. Some situations were hard to believe, but I will forgive the creators for that. The bottom line is that I was not bored at all. Richard Madden definitely deserves high praise for his outstanding portrayal of the titular role. (85%) ()

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Kaka 

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English Bodyguard has almost everything: an ideal number of episodes, i.e. the length of the entire series, outline with good optics the thorny issues of contemporary terrorism, corrupt government agencies, double agents and the protagonist's post-war traumas that affect his mental health. The creators deftly combine all of these key screenwriting puzzles together to create a great collage of believable realistic-within-the-possibilities political/spy thriller/drama that is fast-paced, unpredictable and dense with plot. Compared to the US version of Bodyguard, this one feels like it's on steroids, including the love story. Give 007 to Madden! ()

Marigold 

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English A series that for a long time looks like an update of John le Carré's chess games, but in the end may only go down in history as a captivating audition tape by Richard Madden for the role of James Bond. On my god! The boy has it - a killer look, vulnerable charm and a special fragility. His body changes smoothly before the eyes from a powerful machine to a completely scattered trauma factory. Unfortunately, everything else in this world does not have a firm foundation. Until the fifth episode, these are slow promises, which are scattered by the sixth episode, which is overwhelmed by twists, meaningless explanations and the explicitly stupid motivations of the central conspiracy. As a political thriller, Bodyguard is, after all, not a carefully thought-out chess game, but rather stupid screenwriting work with holes in the logic. Unfortunately, the ridiculous structure devalues ambitious attempts at drama and makes it clear that the smiling clichés about the relationship between the bodyguard and his trustee were not just momentary flings. It's actually a cheap, albeit nicely filmed and modern-sounding B-movie. Too bad. but Madden is currently top on my 007 list. ()

DaViD´82 

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English Jed Mercurio took a year off from his flagship series Line of Duty and created… Well, basically not admitted spin off, which “inherited" all the strong points (tangible graduating tension, ambiguous characters, understandable motivations, intense interrogation and dialogs) and the week points (a little too much coincidences, twists at all costs, slightly excessive conspiracy) from the Line of Duty. As long as he sticks to the characters who, during their inevitable journey to hell, try to put out the consequences of their actions, it's great. As soon as he moves away from the individuals to a high backstage game full of intrigue, it gets worse and it's almost like the new Dan Brown. Which is again the fact that the same goes for, wait for it, Line of Duty. ()

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