IMDb > The New Centurions (1972)
The New Centurions
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The New Centurions (1972) More at IMDbPro »

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Release Date:
1972 (UK) See more »
The nationwide bestseller about cops - by a cop! See more »
An idealistic rookie cop joins the LAPD to make ends meet while finishing law school, and is indoctrinated by a seasoned veteran. As time goes on, he loses his ambitions and family as police work becomes his entire life. Full summary » | Add synopsis »
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User Reviews:
The NEW CENTURIONS—An Unheralded Epic First in Cinema History! See more (25 total) »


  (in credits order) (complete, awaiting verification)

George C. Scott ... Kilvinski

Stacy Keach ... Roy

Jane Alexander ... Dorothy

Scott Wilson ... Gus
Rosalind Cash ... Lorrie

Erik Estrada ... Sergio

Clifton James ... Whitey
Richard E. Kalk ... Milton (as Richard Kalk)

James Sikking ... Sgt. Anders
Beverly Hope Atkinson ... Alice
Mittie Lawrence ... Gloria

Isabel Sanford ... Wilma

Carol Speed ... Martha
Tracee Lyles ... Helen

Burke Byrnes ... Phillips

William Atherton ... Johnson
Peter De Anda ... Gladstone (as Peter DeAnda)

Ed Lauter ... Galloway
Dolph Sweet ... Sgt. Runyon

Stefan Gierasch ... Landlord
Debbie Fresh ... Rebecca
Mike Lane ... Lumberjack (as Michael Lane)

Roger E. Mosley ... Truck Driver
Charles H. Gray ... Bethel
Read Morgan ... Woodrow Gandy

Michael DeLano ... Ranatti
Adriana Shaw ... Drunk Mother

Pepe Serna ... Young Mexican Man
Bea Thompkins ... Silverpants
Hilly Hicks ... Young Black Man
rest of cast listed alphabetically:

Otis Day ... Mugging Suspect (uncredited)

Dick DeCoit ... (uncredited)

Kitten Natividad ... Go-Go Dancer in Bar (uncredited)

Anne Ramsey ... Wife of Crazy Man (uncredited)

Directed by
Richard Fleischer 
Writing credits
Stirling Silliphant (screenplay)

Joseph Wambaugh (novel)

Robert Towne  uncredited

Produced by
Robert Chartoff .... producer
Henry Gellis .... associate producer
Irwin Winkler .... producer
Original Music by
Quincy Jones 
Cinematography by
Ralph Woolsey (director of photography)
Film Editing by
Robert C. Jones 
Casting by
Lynn Stalmaster 
Production Design by
Boris Leven 
Set Decoration by
Harry Reif 
Costume Design by
Guy C. Verhille  (as Guy Verhille)
Makeup Department
Del Acevedo .... makeup artist
Dave Grayson .... makeup artist (as Dave Greyson)
Delree F. Todd .... hair styles (as Delree Todd)
Production Management
Russell Saunders .... unit production manager (as Russ Saunders)
Second Unit Director or Assistant Director
Russell Saunders .... assistant director (as Russ Saunders)
Malcolm R. Harding .... second assistant director (uncredited)
Art Department
William Black .... leadman (uncredited)
Albert Indrisano .... second props (uncredited)
Joe LaBella .... property master (uncredited)
Sound Department
Arthur Piantadosi .... sound
William Randall .... sound
Jack Night .... boom operator (uncredited)
Special Effects by
Augie Lohman .... special effects (uncredited)
Thomas R. Ward .... special effects (uncredited)
Skip Botelho .... stunt performer (uncredited)
Carey Loftin .... stunt coordinator (uncredited)
Ron Veto .... stunts (uncredited)
Camera and Electrical Department
James Glennon .... second assistant camera (uncredited)
Don Jacobs .... second grip (uncredited)
Martin Kashuk .... key grip (uncredited)
Frank Leonetti .... gaffer (uncredited)
John Monte .... still photographer (uncredited)
Chris Schweibert .... camera operator (uncredited)
Robert Shaw .... best boy (uncredited)
Ronald Vidor .... first assistant camera (uncredited)
Costume and Wardrobe Department
Izzy Berne .... wardrobe (uncredited)
Ron Dawson .... wardrobe (uncredited)
Transportation Department
Vern Jacobs .... transportation captain (uncredited)
Other crew
Jeffrey Benjamin .... assistant to producer (as Jeff Benjamin)
Duane Toler .... script supervisor (as Duane Tober)
Tom Clark .... publicist (uncredited)
Richard E. Kalk .... technical advisor (uncredited)
Emily Torchia .... publicist (uncredited)
Bill Venegas .... location manager (uncredited)

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"Precinct 45: Los Angeles Police" - , Ireland (English title) (imdb display title)
"Centurion" - Japan (English title) (imdb display title)
See more »
103 min
Color (Eastmancolor) (uncredited)
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:
Canada:14+ | Finland:K-16 | France:U | Iceland:16 | Netherlands:14 (original rating) | Norway:16 (original rating) | Norway:15 (re-rating) | Portugal:M/18 | Sweden:15 | UK:AA (original rating) | UK:15 (video rating) (1988) | USA:R (MPAA rating: certificate #23297) | West Germany:16 (f)

Did You Know?

The picture was re-titled "Precinct 45: Los Angeles Police" for its British release.See more »
Movie Connections:


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1 out of 1 people found the following review useful.
The NEW CENTURIONS—An Unheralded Epic First in Cinema History!, 19 February 2015
Author: KissEnglishPasto from Pasto, Colombia

This film, aside from its very special status mentioned above, is quite worthwhile and entertaining. It is an excellent George C. Scott vehicle, well-directed, well-scripted and well edited! Like other quality police dramas, it has several intertwined seamlessly integrated story lines, none of which is left unresolved, or most of which are left unresolved, when the end credits begin to roll…depending on your point of view! At times, on screen events resonant with such realism that it lends a dimension of docudrama to the overall production.

CENTURIONS clearly transmits the boring nature of most of the daily, moment to moment activities that permeates police work, while, at the same time, emphasizing that this aspect of the job must be tempered by a heightened awareness intrinsic to survival owing to the ever-present possible reality of life-threatening scenarios on a one second event horizon! These "Men In Black" would, undoubtedly, prefer to live in a world where all their on-the-job decision options were delineated by a simple Black or White distinction. The reality of the New Centurions is that they clearly come in every imaginable shade of gray! Scott's cynical, scarred, veteran, Kilvinski, nearing retirement, has constructed a reality where his quasi-legal technique of locking up street-walkers in his paddy wagon and driving them around all night to keep the streets "clean and decent" is a necessary evil with which he feels, at least, reasonably comfortable!

Keach's enthusiastic and idealistic rookie, Fehler, oozes frustration from every pore, as he perceives the lifeblood of his initial optimism being drained, drop by drop, by the cold, hard cement indifference of L.A.'s Mean Streets! Viewing, impotently, as both his marriage and his upbeat rookie positivism flounder in an ocean of problems, he finds consolation and support in the arms of a sensitive and empathetic nurse, played by Rosalind Cash.…Here is where I will reference the "Unheralded Epic First in Cinema History": I suppose that today, in 2015, in a perfect world, we are not supposed to notice or mention a good number of things because we must be "P.C.", right?

But CENTURIONS wasn't made in 2015…It was released in 1972! To the best of my recollection, in the early 70's, whenever we saw a bi-racial on screen couple, which was really not all that frequently to begin with, their racial difference was always a focal point of the relationship. Usually because of the problems they encountered because of this difference from friends, from relatives or parents, from those in authority or simply from others in society! How briskly refreshing that in CENTURIONS they were just a police officer and a nurse who cared very dearly for one another… Absolutely no mention whatsoever of their racial difference! Isn't that exactly the way it should be? The way it is now… (Well, almost, anyway!).

Hope to get some feedback from someone, anyone on this aspect of the movie…9 Stars! ENJOY!/DISFRUTELA!

Any comments, questions or observations, in English o en Español, are most welcome!

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